Bill Zebub--September 2010
Bill Zebub is a veteran low-budget film maker, who often makes comedy, horror, and death metal documentary films often combining the genres. He is also magazine publisher and radio show host.
Thank You for participating in our interview! Firstly why don’t you tell us about yourself!
I''m really just a fun-loving person who makes off-the-wall movies.
How and why did you get into the business?
I had been filming skits and Jackass-type public stunts ever since I
got my first video camera. These were just edited from one VCR to
another, and when I discovered that the skits were amusing to people
outside my circle of friends I started dubbing the tapes and selling
them at local stores on consignment. I never thought that they would
become anything other than a local phenomenon. One day I went to a
horror convention and a guy who introduced himself as a director gave
me a movie to review in my magazine. When I saw it I couldn''''t
believe how bad it was. He didn''''t seem to care about entertaining
people. I thought that it was possible for me to succeed at horror
conventions because I actually put effort into what I do. I didn''''t
know how to write an entire movie. If I made a skit that sucked, that
was only 5 minutes of viewing time wasted. A 90-minute waste of time
was something I didn''''t want to create. So I bought a book about
screenwriting by Syd Field and wrote "Metalheads" as my practice
movie. While I shot it I wondered what it would be like to be good
enough to submit a movie to a distributor and to get a contract.
Well, the practice movie got into the hands of a distributor who
wanted it as-is. And that is what started it all. My demo movie
actually launched me, without me doing anything but experimenting.
The distributors came to me
got my first video camera. These were just edited from one VCR to
another, and when I discovered that the skits were amusing to people
outside my circle of friends I started dubbing the tapes and selling
them at local stores on consignment. I never thought that they would
become anything other than a local phenomenon. One day I went to a
horror convention and a guy who introduced himself as a director gave
me a movie to review in my magazine. When I saw it I couldn''''t
believe how bad it was. He didn''''t seem to care about entertaining
people. I thought that it was possible for me to succeed at horror
conventions because I actually put effort into what I do. I didn''''t
know how to write an entire movie. If I made a skit that sucked, that
was only 5 minutes of viewing time wasted. A 90-minute waste of time
was something I didn''''t want to create. So I bought a book about
screenwriting by Syd Field and wrote "Metalheads" as my practice
movie. While I shot it I wondered what it would be like to be good
enough to submit a movie to a distributor and to get a contract.
Well, the practice movie got into the hands of a distributor who
wanted it as-is. And that is what started it all. My demo movie
actually launched me, without me doing anything but experimenting.
The distributors came to me
What are your aspirations?
My only aspirations are to keep being able to make experimental
movies. I''''ve learned that I could make a sex-horror movie to pay
for the experimental stuff. I never worry about making my money back
because I don''''t make movies to get money. When I start shooting, I
consider all the money to be lost. It''''s nice that I always have
made the money back, though. But it''''s never something that I expect
movies. I''''ve learned that I could make a sex-horror movie to pay
for the experimental stuff. I never worry about making my money back
because I don''''t make movies to get money. When I start shooting, I
consider all the money to be lost. It''''s nice that I always have
made the money back, though. But it''''s never something that I expect
Who are your idols, and/or influences?
I am a natural fan of low budget stuff. What I mean by that is that I
was not "taught" to appreciate it. I loved the flavor of it. When I
watched the British sitcom "The Young Ones" I couldn''''t get over how
amazingly creative it was. When I saw "Desperate Living" by John
Waters, I couldn''''t believe that someone would make a movie that was
so fucked up. I am saying that as a compliment. I didn''''t know
that these were low budget things. I wouldn''''t really say that I
have idols or influences, other than Laurel and Hardy, but I had
stopped doing slapstick when I made features instead of skits. Maybe
I will return to slapstick in the future, and you will see the
influence at that point.
was not "taught" to appreciate it. I loved the flavor of it. When I
watched the British sitcom "The Young Ones" I couldn''''t get over how
amazingly creative it was. When I saw "Desperate Living" by John
Waters, I couldn''''t believe that someone would make a movie that was
so fucked up. I am saying that as a compliment. I didn''''t know
that these were low budget things. I wouldn''''t really say that I
have idols or influences, other than Laurel and Hardy, but I had
stopped doing slapstick when I made features instead of skits. Maybe
I will return to slapstick in the future, and you will see the
influence at that point.
Tell us about your movies, What Should we expect from them?
The only thing to honestly expect is originality. They are not really
for the mainstream per se, although some are actually sold in malls,
like "Night of the Pumpkin." I sometimes warn that they are
offensive, but smart people don''''t actually get offended. If you
actually think about what you watch, and if you have god
comprehension,, and haven''''t been brainwashed, then nothing I have
made could ever anger you.
for the mainstream per se, although some are actually sold in malls,
like "Night of the Pumpkin." I sometimes warn that they are
offensive, but smart people don''''t actually get offended. If you
actually think about what you watch, and if you have god
comprehension,, and haven''''t been brainwashed, then nothing I have
made could ever anger you.
What are the best, worst, and hardest parts of making low budget movies?
I can''''t name anything as the hardest part because if there is ever
an obstacle I look at it as a push to find a new way. I''''ve stopped
answering questions about advice because other movie makers and I have
made movies with nothing but obstacles. It''''s either in you to do
it, or it isn''''t. Sure, I''''d love to have the luxuries that a
proper budget awards, but those luxuries would come with boundaries.
Rather than be ashamed of my indie status, I milk it for all of the
freedom that it allows me. So that is the best part of low budget
movies. I''''ve talked to people who have pitched their projects and
were given their desired budgets, but they seemed to be miserable.
I''''ve had negotiations with possible investors but the deals
weren''''t anything that would make me feel proud. I am not saying
that I reject the notion of working with a bigger budget. That might
happen one day. But unlike some of my peers, I know about the supreme
douching that awaits me.
an obstacle I look at it as a push to find a new way. I''''ve stopped
answering questions about advice because other movie makers and I have
made movies with nothing but obstacles. It''''s either in you to do
it, or it isn''''t. Sure, I''''d love to have the luxuries that a
proper budget awards, but those luxuries would come with boundaries.
Rather than be ashamed of my indie status, I milk it for all of the
freedom that it allows me. So that is the best part of low budget
movies. I''''ve talked to people who have pitched their projects and
were given their desired budgets, but they seemed to be miserable.
I''''ve had negotiations with possible investors but the deals
weren''''t anything that would make me feel proud. I am not saying
that I reject the notion of working with a bigger budget. That might
happen one day. But unlike some of my peers, I know about the supreme
douching that awaits me.
Do you enjoy making them?
Indeed. That''''s really the main reason for me pumping out so many.
Any unique/interesting storys from your movie sets?
Actually, COUTNELESS. I will refrain from sharing any in this
interview because I have revealed some in a documentary called "KING
OF THE B-MOVIES" which should be on DVD by April 2011. I don''''t
want to diminish the impact of that. Fortunately there is actully
video evidence of some of the stories. You will just have to wait.
interview because I have revealed some in a documentary called "KING
OF THE B-MOVIES" which should be on DVD by April 2011. I don''''t
want to diminish the impact of that. Fortunately there is actully
video evidence of some of the stories. You will just have to wait.
You have dabbled in both the serious and comedic side of the horror genre, which do you prefer?
I love comedy. I will attempt a Frankenstein movie next year, which
will be the most serious thing that I have ever done. That is the
saddest story ever written. If I succeed in making a heart-wrenching
movie, then I will prefer that. Let''''s hope that I am skillful
enough to pull it off. Until then, my heart favors comedy.
will be the most serious thing that I have ever done. That is the
saddest story ever written. If I succeed in making a heart-wrenching
movie, then I will prefer that. Let''''s hope that I am skillful
enough to pull it off. Until then, my heart favors comedy.
What would you say are your strongest and weakest films?
I''''ve made a number of weak films. I don''''t know which one would
count as the weakest, but suffice it to say that films that have
served their purpose are out of print. As I have mentioned, I make
most movies as experiments. For example, when I first started out, I
met a ton of people at horror conventions who claimed to be in the
movie industry, and I wanted to test whether or not their opinions
were bullshit. So everything they told me NEVER to do, I made into
one movie called "Stereotypes Don''''t Just Disappear Into Thin Air."
When some of them found out what I was doing they told me that I was
committing career suicide. Actually, the opposite happened. However,
it is a weak movie because it was made as an exploration, not as a
movie. My strongest movie has been said to be "Assmonster." It
played at four film festivals, including the Hollywood Film Festival.
Maybe people like it because it is so honest, and because it is not
offensive. Oddly enough, I make fun of myself in it.
count as the weakest, but suffice it to say that films that have
served their purpose are out of print. As I have mentioned, I make
most movies as experiments. For example, when I first started out, I
met a ton of people at horror conventions who claimed to be in the
movie industry, and I wanted to test whether or not their opinions
were bullshit. So everything they told me NEVER to do, I made into
one movie called "Stereotypes Don''''t Just Disappear Into Thin Air."
When some of them found out what I was doing they told me that I was
committing career suicide. Actually, the opposite happened. However,
it is a weak movie because it was made as an exploration, not as a
movie. My strongest movie has been said to be "Assmonster." It
played at four film festivals, including the Hollywood Film Festival.
Maybe people like it because it is so honest, and because it is not
offensive. Oddly enough, I make fun of myself in it.
Two common elements in your movies are acid trips, and rape. Any reason for that?
I wouldn''''t say that acid trips are common. Rape isn''''t that
common either, but the reason why I have it is because it is taboo.
Many movie makers are terrified of incorporating it, so I use it as
another way to set myself apart. It seems absurd to me that much more
vile content is acceptable in movies, but rape is a no-no. I don''''t
think that I glorify it, but suffice it to say that if it weren''''t
such a scary thing to film-makers, I wouldn''''t ever use it.
common either, but the reason why I have it is because it is taboo.
Many movie makers are terrified of incorporating it, so I use it as
another way to set myself apart. It seems absurd to me that much more
vile content is acceptable in movies, but rape is a no-no. I don''''t
think that I glorify it, but suffice it to say that if it weren''''t
such a scary thing to film-makers, I wouldn''''t ever use it.
Your movies rarely fail to supply and enormous amount of bare female flesh, is it ever difficult to find attractive young women willing to strip on camera?
You have just asked the most common question. The only thing that I
will say is that I do NOT talk anyone into appearing naked. The
reason why so many other movie makers have trouble getting girls to be
naked is because they do not pay them, and to a lesser degree, because
they are creepy about it.
will say is that I do NOT talk anyone into appearing naked. The
reason why so many other movie makers have trouble getting girls to be
naked is because they do not pay them, and to a lesser degree, because
they are creepy about it.
Any upcoming or past projects you think may interest of readers?
I don''''t actually know what your readers like, but they might enjoy
ZOMBIECHRIST, my latest. It starts out visceral and low-brow, but
eventually becomes high-brow. Its stupid and smart, funny and tragic.
ZOMBIECHRIST, my latest. It starts out visceral and low-brow, but
eventually becomes high-brow. Its stupid and smart, funny and tragic.