ZOMBIES
and MANIACS:
An EXCLUSIVE Q&A
with
BLUE
UNDERGROUND’s Bill Lustig
STEPHEN SPAZ SCHNEE: You’ve just released two of the most beloved
cult horror films of all time – ZOMBIE and MANIAC. How are you
feeling about these projects and the reactions to them so far? The transfers
are stunning and certainly much better than any versions I’ve seen before.
BILL LUSTIG: We did 4K-16 bit Arriscans of both films’ original
camera negatives, so the results can’t be any better! Of the two, I consider MANIAC
to be a miracle from the movie gods! Let me explain, although we always
intended to use the title MANIAC, it was filmed under the
title ON THE RUN for the purpose of having a less provocative title to
secure city permits, insurance, locations, etc. We shot the film on 16mm then
after editing did a 35mm blow-up negative. The 35mm negative was then used to
strike the release prints and video transfers. 10 years ago, we could no longer
use the 35mm negative due to its age and condition and thus began a search for
the original 16mm, which was nowhere to be found. In April, I got a call from
my producing partner Andrew Garroni, “I found a box in my deep film storage
labeled ON THE RUN”.
SPAZ: A film you originally directed, MANIAC, might be the most
emotionally horrifying of the two films because it deals with a crazed human
killer and not a fantastical monster. Is it a thrill to finally release the
ultimate 4K remaster of this amazing, jaw-dropping film?
BILL: The MANIAC 4K restoration is truly a revelation! It looks like it was made
yesterday, not nearly 40 years ago! I feel like a nasty veil has been lifted.
We had tremendous audience response at the Fantastic Fest, Beyond Fest and
Sitges screenings. My film is like new again!
SPAZ: This package is perfect for those that have never seen the
film yet it is a must-have for longtime fans as well. What bonus features can viewers expect to
see?
BILL: Besides the dramatically improved feature presentation, we
produced two new special features featuring never-before-seen deleted scenes
and behind-the-scenes footage.
SPAZ: Does this 4K version come close to the way you envisioned MANIAC
to look nearly four decades ago?
BILL: Definitely, but I had to live with the 35mm blow-up.
SPAZ: Although MANIAC is certainly a film of its
time, it is a subject that perhaps seems more relevant today than when it was
released in 1980. Thirty-eight years on, are you surprised that the film is
STILL reaching new audiences? There are plenty of more successful films
released around the same time that are seemingly long forgotten…
BILL: Horror tends to transcend time. I’m thrilled MANIAC
has found a new appreciative generation and I’m young enough to
experience it.
SPAZ: ZOMBIE’s transfer is quite beautiful even in its horror. This
is most certainly the definitive version. The film itself has a strange history
dating back to its release. In some
territories, George A. Romero’s DAWN OF THE DEAD was released as ZOMBI, followed by this film, which was
confusingly called ZOMBI 2 as if it was an official sequel. Do you hope that
people can now watch ZOMBIE on its own merits without
comparing it to DAWN OF THE DEAD? It really is a killer film that now finally
gets the treatment it has deserved for years.
BILL: For me, ZOMBIE is its own film. The story
dates back to a film like WHITE ZOMBIE, not Romero’s brilliant
zombie films. ZOMBIE is the work of the great filmmaker Lucio Fulci. In this 4K restoration, you can really appreciate the
beautiful cinematography.
SPAZ: Apart from the gore and suspense, there are two key scenes in
ZOMBIE
that everyone remembers: the zombie vs. tiger shark scene and the splinter in
the eye. The film holds up now better than it has over the years. What can fans
expect with this new edition?
BILL: Besides the restoration, we have a new interview on the disc
with Fulci historian Stephen Thrower. We also produced three different limited
edition lenticular covers, including the infamous “splinter in the eye”!
SPAZ: In creating a 4K remaster, what steps do you and Blue Underground need to take in order
to make a project a reality? Or is it different for each project?
BILL: It’s a different process for each project. We need to start
with the original camera negative whenever possible.
SPAZ: Your catalog consists of many fascinating, often-overlooked
and always riveting films. Is there a certain film that you’ve been wanting to
release but the rights have eluded you to this day?
BILL: Several films, but I don’t want to alert my many competitors.
It took me 20 years to secure the rights to THE LIFT and AMSTERDAMNED,
which we released a year ago!
SPAZ: Like any type of art, some assume that since it was poorly
reviewed or didn’t do great at the box office, certain films are considered
‘bad’. However, Blue Underground has always been a company that champions these
overlooked films. Is it humbling to know that you are responsible for giving
this art a new lease on life?
BILL: The backstory of my film preservationist career is my love of
showing overlooked films to friends and associates dating back to the ‘70s!
This is what drives me in my business.
SPAZ: The enormous catalog of films on Blue Underground include a
plethora of well-known actors. DEATH LINE alone features Christopher Lee, Donald Pleasance and A
HARD DAY’S NIGHT’s Norming
Rossington. There are so many more examples on many other Blue Underground
titles including Naomi Watts in DOWN.
Are you sometimes amazed that so many of these worthwhile films didn’t do
better box office when officially released?
BILL: There are so many factors that can derail a theatrical
release. I come from the days when audiences didn’t know film grosses so it’s
much tougher today. I like to view films with an open mind which then allows me
to be more adventurist.
SPAZ: Do you have any releases in store that you can share with us?
BILL: Lucio Fulci’s NEW YORK
RIPPER and George A.
Romero/Dario Argento’s TWO EVIL EYES, both 4K restorations.
SPAZ: Is there one release on Blue Underground that you feel hasn’t
received the attention that it deserves?
BILL: LA SCORTA, a great overlooked thriller!
Thanks to Bill Lustig
Special thanks to Larry Germack and Greg
Chick
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