By Sean Boelman

In anticipation of the release of his new anthology Welcome to the Blumhouse, disappointment media got the opportunity to speak with producer Jason Blum. Featuring four films from underrepresented voices, this anthology challenges viewers to find horror in unexpected places. Check out the interview below!

disappointment media: So my first question is that horror is typically something that's seen as a communal experience. But right now, given the circumstances, obviously, seeing a scary movie in a packed theater isn't really something that's possible. What is it about these four films in Welcome to the Blumhouse that you think will allow them to thrive despite not having this experience?

Jason Blum: Well, that's a good question. Three of the four films were produced and bought and designed specifically for streaming. So we had different boxes we were looking to check. I think when you're looking to do a theatrical, scary movie, you know, there's certain guardrails that you've got to hit, even, you know, Get Out, or Split, or The Invisible Man, you know, there's got to be jumpscares, they've got to be timed in a certain way. And one of the great things about doing scary movies for streaming is that you're relieved of that, you can tell stories slightly differently, you can really lean into making the stories more unnerving and unsettling, as opposed to jumpscares. And actually, I think that it allows a broader canvas for our filmmakers. So in that sense, you know, one of the reasons I was really excited about doing this was the idea that I was going to get to tell horror movies that I didn't have to worry about opening weekend, which is a big relief.

disappointment: Welcome to the Blumhouse is the beginning of what should be a fruitful relationship between your company and Amazon Prime. What else can we look forward to from this collaboration?

Blum: I don't really remember what else is announced or not, but we have three or four projects. One finished movie that hopefully will come out next year with Amazon and then three or four projects in development with them, both on the series and the movie side. So I'm looking forward to doing a lot more with them. I was extremely happy with how this show was introduced to the world. I thought the marketing on it was great. I love the poster. And all of that 100% came from Amazon. I love the trailer. As a producer, you work so hard on these things, you want to feel like your distributor's taking care of it. And I felt very well taken care of by these guys. So hopefully, there'll be a lot more to come. 

disappointment: Yeah, that's awesome. I look forward to it. And also Blumhouse has kind-of been at the forefront of the changing landscape of film distribution in recent months. What do you see as the direction in which the industry should be heading?

Blum: Look, I think everyone should adopt the PVOD model. I think that premium VOD, eventually is going to keep the theatrical-going and experience alive and well and relevant. I know, that's a relatively controversial thing to say, but I believe it. And I think we have to give exhibition their fair share. And I'm sure that's, you know, what some of what the holdup is, but I really believe, not for all movies, but there are a lot of movies now that are going straight to streaming. And I think a lot of those movies would play in theaters if we could agree on, you know, this shorter window. And I think, I think in a world where all the exhibition chains and all the studios agreed to what that window would be, you'd see many, many, many, many more movies playing in movie theaters for a much, much, much shorter period of time. But I think you could potentially see more business in movie theaters and the consumer would have more choice. You know, consumers always complain. You know, the only thing that's in the movie theaters are tentpole movies and horror movies, our movies. I understand that. You know, it's largely true. And I think if we could get exhibition and studios to agree, that you'd have a much wider variety of movies. If every movie to play in the theater had to open to $20 million, you took that pressure off, you know, you could see a much greater variety of movies playing. So I'm very hopeful for it. It's almost happened, but it hasn't quite happened yet, but I have big hopes for the new theatrical window.

disappointment: I think one of the really cool things about Welcome to the Blumhouse is that three of the four films are directed by people of color, and two of them are directed by women. Could you talk about some of the work that Blumhouse is doing to promote diversity and horror?

Blum: Yeah, for sure. Well, this series was one of the big things we have. We have The Craft coming out later this month, directed by a woman, we had this movie called Run Sweetheart Run, which is directed by Shana Feste, another woman. So for instance, [since] the beginning of Blumhouse, we've been mindful of making movies about race and gender and ethnicity, and less mindful about the people behind the movies you know, looking different than I look. And in the last couple of years, I'd like to say, you know, before we had to, and certainly this, this started two years ago, I put a big emphasis on the importance of having the storytellers behind the camera represent our audience, and our audience is less than fifty percent white. And you know, this show is the best example to answer your question.

disappointment: So one of the things that ties these four Welcome to the Blumhouse films together is the idea of family. And so what about this theme really resonated with you?

Blum: Well, to me, if you task a filmmaker with doing something, you know doing a horror movie and don't give them a lot of money, as soon as you say money is no object, they start talking to you about what the CGI, what the monster is going to look like, or killing fifty people, right? But when you take money out of the equation, it focuses the filmmaker on making it tighter and smaller, and how do I scare people without special effects. And the way to do that is, the most effective way to do that, I think is you take what's most sacred to everyone, which is their relationships to their family, to their parents, or their kids, their husband, their wife, their brother, their sister, and you threaten it with some kind of exterior event. And I think you see that in all four movies to a certain degree. That you have some kind of human relationship and you have this exterior event and it threatens it and then you watch and see how people react. And I think that's very satisfying. It's very satisfying as an audience member, I find that always fun to watch and exciting to watch and satisfying to watch and satisfying to say like, hey, how would I do this differently? Or what would I do? And then also satisfying to twist things around like, you know, with The Lie you think the parents are great people protecting their daughter and they turn out not to be. With Evil Eye, you know, you think that she's this overbearing mother who's out of her mind and she turns out not to be. And I like that too. I like twisting, twisting things around like that, like our filmmakers did. 

disappointment: One of the things that I think makes Welcome to the Blumhouse really unique is this idea of programming it as an anthology. What was the appeal of this to you guys?

Blum: There's a big appeal when you can go to the world and you can say, look, we have eight slots, I have eight slots for movies, they have to be scary, the filmmaker has to be from an underrepresented group. But otherwise, you know, anything else goes and the amount of incoming material we had was great. We had a ton of different things to look at, and a lot of really quality things and a lot of really talented people. And you know, my hope is that this series is successful. And every October you can see four new Welcome to the Blumhouse movies from us and Amazon, I really hope that's what happens. But that's the advantage of instead of looking for one offs and being able to say we have it, every year we have four of these to fill and it becomes a self-fulfilling thing. So then when a representative or an artist is like "Ooh, you know I have a movie that would fit Welcome to the Blumhouse, better send it to Jason." So you get more and more, it's you know, the opposite of diminishing returns, the longer it goes, the better it gets. So hopefully we'll be able to do it for many years to come. 

disappointment: Another really cool thing about these films is that they partner rising stars with legendary performers. What did you like most about setting up these pairings?

Blum: You don't want to make everyone a kid right? Or just starting out, I should say. So you know a lot of times our talent on the acting side were actors of note who've had terrific careers. I think in a lot of cases, they would help mentor the filmmakers and vice versa. With Veena [Sud], a mentor to the actress in her show. And I think that makes for interesting work. You know, when you have people who were at the beginning of their career and people who were established working together, I think it makes for more interesting work, sometimes tense conversations, but it leads to great work.

disappointment: A lot of people initially think of Blumhouse as a horror company, because that's a lot of what you guys do. But you guys also make thrillers and other horror-adjacent movies like The Lie, which isn't quite a horror movie. Why do you enjoy telling these types of stories?
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Blum: I like kind-of exploring dark theme things on the TV company, you know, it's much broader, even than that we did The Loudest Voice, which is definitely not a horror movie, but about someone in my mind who was very horrible. I mean, Roger Ailes, you know, horrible guy. And why, I don't know, but I'm interested in exploring dark themes. I guess, I'm interested in shining light on people who are doing things that are wrong, and, you know, letting the public decide about it. And so that's kind of the filter that we look through to decide if something should be Blumhouse. It's mostly horror, you're absolutely right, but I think there's room for other things that touch on horrible issues. Whiplash is not a horror movie. But JK Simmons was certainly not a nice music teacher. 

disappointment: You mentioned Whiplash, and with Whiplash and now Nocturne, you've produced two films about obsession in music conservatories. What do you think about this premise is so terrifying? 

Blum: I don't know, I haven't mandated that. I haven't said to my people, like find other music conservatory scary stories, but I think people get passionate. It's like what I was talking about, you know, your tightest relationship is with other people. But I think that same passion exists, especially in musicians, you have to have, you know, something that most of us including me don't have to become a professional musician. And interfering with that drives people crazy. And that's a fun thing to watch. 

disappointment: It was recently announced that you were going to be doing an adaptation of Firestarter. Are you excited to tackle this iconic Stephen King story?

Blum: Oh God, I really am. I mean, we've been working on this a long time. It's taken a long time for all the pieces to come together in the right way. But I'm a huge Stephen King fan and we've got a lot with him going on right now. And I'm really psyched. I love this script and I can't wait to make the movie. 

disappointment: Yeah, I'm very excited for it. ​Blumhouse often takes pre existing material and puts a spin on it, like The Lie is a remake of a German film, you've got Firestarter, and you've got The Craft. So how do you focus on the filmmaker's voice coming through?

Blum: You tell the filmmaker to take the existing IP and make it their own. I think that's how you do it. I think the idea is not to rip off the first version of it but not to divorce yourself completely. Otherwise why are you using it, but to kind of walk this fine line in between those two things. But it's very important that the filmmaker find their own voice using whatever IP we're using. And we did that with David Gordon Green with Halloween, you know, we said, "What is David Gordon Green's version of Halloween today?" And he said, "Do I have to take into account all the rest of the movies?" I said, "No, you know, you have to take into account the first movie, what you do after that is up to you." He chose to take into account one and two. But I think you have to get the filmmaker in the world of the IP that you're dealing with for a while, and then tell them to forget it, and do your own thing. That's what I think.

disappointment: And low budget sci-fi is another thing that you guys do a lot. And so you did Upgrade and Black Box is also low budget sci-fi, but it's a very difficult genre to pull off. Do you have a secret to success for that genre?

Blum: The Purge is low budget sci-fi too. Uh, you know, I look at it like a low budget horror, which is if you take the sci-fi out of it, is there a drama that can work? I think that all three movies, that it's true that if you took the sci-fi out of the movie, there would be a drama that still works. Even in Upgrade, a guy coming to terms with recovering from an accident? I mean, and how the accident happened and losing his wife. I think that's the key. And we don't always succeed at this, but I think the key to making a good genre movie, whether it's horror, or sci-fi, or even action, is that if you take out the action, or you take out the horror, you take out the sci-fi element, if there's a great dramatic story that stands on its own without that, that's the key to making a good low-budget genre movie of any kind.

Black Box and The Lie are now streaming on Amazon Prime. Nocturne and Evil Eye stream on Amazon Prime beginning October 13.

By Sean Boelman

In anticipation of the release of their newest film Black Box, disappointment media got to sit down and talk with actors Mamoudou Athie and Phylicia Rashad. In the interview, we discuss the film's script, the dynamic between the rising star and the acting legend, and the role of people of color in Hollywood. Check out the interview below and watch Black Box streaming on Amazon Prime beginning October 6!

Review by Sean Boelman

In anticipation of the release of their newest film The Secrets We Keep, disappointment media got to sit down and talk with actors Noomi Rapace and Joel Kinnaman. In the interview, we discuss kidnapping movies, what drew them to the script, and Rapace's return to the revenge thriller. Check out the interview below and see The Secrets We Keep now in theaters and on VOD beginning October 16!

By Sean Boelman

In anticipation of the release of their newest film The Secrets We Keep, disappointment media got to sit down and talk with actors Chris Messina and Amy Seimetz. In the interview, we discuss what drew them back to indie cinema after their blockbuster breaks, their collaborations together, and why ambiguity is key in a film like this. Check out the interview below and see The Secrets We Keep in theaters on September 16 and on VOD beginning October 16!

By Sean Boelman

The newest film from cult-favorite Troma Entertainment and its leader Lloyd Kaufman, #ShakespearesShitstorm, makes its debut at the virtual edition of the Fantasia Film Festival. And in exciting news for fans, this is the only screening of the fest geoblocked to both Canada AND the United States, so Troma fanatics in both countries can check Kaufman’s interpretation of William Shakespeare’s The Tempest out!

We at disappointment media got the opportunity to speak with Mr. Kaufman about his new film in a conversation that got surprisingly political, talking about the making of the movie, how Troma has evolved over the years, and some of the issues regarding free speech that have been weighing on his mind! Check it out below!

This isn’t Troma’s first re-invention of one of the Bard’s plays — Tromeo and Juliet came out in 1996 — and Shakespeare’s work was transgressive in its day. This is what Kaufman had to say about what he feels the iconic playwright would have thought of this version of the tale:

“I think Shakespeare... I know enough about Shakespeare that he would love this without a doubt. In fact, I’m sure he was… almost all of these guys were blacklisted and censored. We’re living in an age in the United States where we have free speech as long as we don’t say anything. And the move has been stronger and stronger towards the oligopoly and the world of media and YouTube and Amazon and the phone companies who control the media now. They’re in a nice little club and they’re slowly kinda doing what the Chinese guy is doing in his country: getting rid of independent thought. Thank the Good Lord for Fantasia Film Festival!”

#ShakespearesShitstorm is arguably Troma’s most ambitious film yet, but it still retains that iconic do-it-yourself feel that helped Troma’s first films become cult classics. Here’s what Kaufman said some of the biggest difficulties were in making the film:

“I think the making of the film was very challenging because we had to get whales. You know, it’s a fifty million dollar movie made for less than half a million U.S. American dollars. Maybe half a million, I don’t know, about that amount. And it’s a fifty million dollar movie, so it was very very very difficult. And because our first rule of production is safety to humans, it has to go very carefully and be very very very well-organized, months in advance. It was a very difficult film to make. We also had to film in Albania for eight days with a wonderful crew there who were all Troma fans and the movie went very very well. Justin Martell and Pat Kaufman, my beautiful wife, and John Brennan produced the film and I think we stayed on budget. It went very well. Everyone on the movie was a fan and very very enthusiastic about working on something that they truly believe in. It wasn’t a job for them — it was art. They were paid, but it was art, and they were paid about ten percent of what they would normally get. So it was a very devoted group, every actor. I mean, people came from Europe and all over the map to work on this movie. And they paid their way to go to New York to shoot, and Albania too. We had people from Iceland, from England, France, Japan, and Canada! People from Canada! All coming to take part, and it was really a very joyful, loving group. And the film is without a doubt the most interesting film that I have directed, and thank you to Fantasia for premiering it.”

It’s hard to watch #ShakespearesShitstorm without wondering about some of the logistical challenges of working with artificial poo. Kaufman broke down the process of creating the eponymous shitstorm:

“On Toxic Avenger, we had a team who worked 24/7 making the slime. You know, now you can get slime, buy it at your supermarket or the toy store. But we would have to go 24/7 boiling agar agar, which is a seaweed component. A lot of work. So this time, thirty-five years after Toxic Avenger, we’re manufacturing. Doug Sakmann, who has worked for Troma starting when he was sixteen years old, now he’s very old, and he was in charge of the special effects, and his team would literally be making excrement for 24/7. And like blood, you have to make different versions for different things. So the Albanians, I asked them to put corn in the whale excrement and they loved that, they thought it was very funny. And I think if you notice in the movie, I love it when you can actually see the whales’ fecal bloom there’s corn going in it, which is fun. By the way, a fecal bloom is real and a very important nourishment for the oceans. Apparently the plankton, the things that a lot of fish eat enjoy it, and whales get together as a group and go to the bathroom. So everything in the movie is based on truth. Everything in #ShakespearesShitstorm. It was a lot of work. Tapioca pudding, oddly enough, I think that was one of the main ingredients. And when we had to go into the water, the scene where we’re coming out of the water after the ship was sinking, it was freezing and it was raining. But the special effects team put all that artificial... I think it was artificial... shit on us, and it was warm, it was very warm, right out of the oven. I’ll never forget how nice that was because it was cold, we were all shivering like crazy.”

Troma’s films have been popular with fans for over thirty-four years, and a lot has changed in the industry in that time. Kaufman discussed how his artistic process has changed (and in some ways hasn’t) since he burst onto the scene:
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“Well I think that Michael Herz, my partner, and I want to make movies that become classics. And to the extent that Toxic Avenger and Class of Nuke ‘Em High and Surf Nazis Must Die (which we did not make) and Cannibal! The Musical (which we helped make) by Trey Parker and Matt Stone, they’re all now mini-classics. And many two-hundred million dollar movies, they have disappeared, will never play again. Our movies are still getting theatrical bookings for movies made forty years ago. We are getting a lot of help from our fans. Troma is a fan-fueled company, forty-seven years old, and we’re only here thanks to our fans.”

“And regarding the making of the film, that has become a much more pleasant thing because equipment is smaller. It’s more fun, you don’t need as much lighting. And it’s almost fun to make a movie that’s digital. And it looks better! The first movie we did was Return to Nuke ‘Em High and the second half of that Return to Return to Nuke ‘Em High. Those were my first digital movies and I have to say, I don’t think I would ever want to go back to celluloid. Even though it has in its third syllable, the syllable ‘Lloyd’, I’ll stay with ‘digi-tal’.”

#ShakespearesShitstorm, like the rest of Troma’s films, is a low-budget comedy. Here’s the advice Kaufman has for filmmakers trying to make their own movies for as little money as possible:

“In the digital world, you can make your art for half a million dollars. That’s the exact same amount that the original Toxic Avenger cost back in 1983, and #ShakespearesShitstorm is actually made for less than Toxic Avenger. We still don’t know the exact budget, we’re going through the receipts. But the point is, you can make a movie for less. So you can see how it doesn’t get any easier. It gets easier to make the movies — you don’t really need the money, that’s what’s so cool. So you could be a nurse, do something with your life that’s useful. You know, teacher, we could use some more teachers these days. You don’t have to be a Harvard law school graduate to go to William Morris Agency and Xerox scripts. You can make your own movie for five thousand dollars and have a real job, do something good for humanity, and then you know, do what Troma does, distribute them yourself and after a few years you’ll maybe have enough movies that bring you enough revenue so that you can be a full-time movie maker. And you can go to the conventions and go to film fan expos, things like that — New York Comic Con, San Diego Comic Con — sell your stuff, have fun, and build up a fanbase. We have millions of fans, and it’s mainly personal contacts, doing what anyone could do. But it’s very hard to live. And I don’t know if it’s possible to start a real independent studio that performs all the functions that Troma does now. I think it would be very hard to do it today, I don’t know, I think it would be virtually impossible to do it today. Maybe with a lot of money you could do it.”

#ShakespearesShitstorm addresses some issues of the limitation of free speech. Here’s what Kaufman has to say about the real-life implications of the issue.

“The main conglomerates, the media conglomerates, are now owned by phone companies or electrical parts makers, like Sony. They aren’t movie companies, and that’s not art. There’s art, and there’s nowhere near art. It’s a business, and it’s committees and there are very few artists that can leave their mark on the movies because their budgets are so high. And there are very few independent filmmakers who can break in because the rules that used to protect the public, and I’m talking about the United States, against some monopolies have all been done away with. The big guys have even been able to gobble up the competition, the independent movie companies, or just put them out of business. Because they own the theaters, the big guys own the theaters, control the theaters, all the rules against monopolies are done away with. And now, the Federal Communications Commission in America is gonna get rid of net neutrality on the internet, which will allow phone companies to speed up and give themselves a speedy highway and charge, there will be no more free and democratic internet. The price will go up for the fast superhighway for the elites, and then us, maybe even Fantasia, unless we can pay for the speed, we’ll have to go onto the bumpy, constantly buffering road which the public will not want to go on. Also, the courts are giving the giant conglomerates the right to slow down your so-called “content”, your art — they call it content, which is disgusting — your art will be slowed down. Fantasia’s art could be slowed down. But AT&T, who own Warner Bros., their art will go fast. They’ll be able to make art look worse than their stuff, which is not what is supposed to be. It’s a very complicated thing, I’ve been chairman of the trade association for independent studios and we lobbied in Washington against the Comcast merger and against the lying but didn’t succeed really. We did get Comcast to at least speak with independent producers, but as time went on, like China, they didn’t abide by their contract.”

Troma’s YouTube channel was taken down for violating community standards, and Kaufman is obviously not happy about it. Here he talks about YouTube’s double standard: 

“You know our YouTube channel was deleted, supposedly for community standards, but when they started there were a small number of filmmakers, artists, “creators” they called them, like Lorne Michaels and me they invited to use their space down in New York. It’s a studio, a regular studio, mixing consoles and sets and equipment and cameras. And I was invited because of my movies. Now maybe ten years later, because of my movies, they kick off eight hundred thousand fans and our channel of three hundred free movies for some kind of community standards. Meanwhile, what community has not honored Troma and me, from Moscow to Shanghai to the American Film Institute to the British Film Institute, Cinematheque Française, festivals in Spain, Italy, Portugal, the government of Portugal! The Portugese taxpayers paid for half of Mutant Blast! What community hasn’t accepted and praised and honored Troma over our forty-seven years and my fifty years? The only one I haven’t gotten any kind of award from is Antarctica, and I guess that’s penguins there. You know, they marry for life, and maybe they’re a little prudish. I don’t know, the penguins don’t seem to be too excited. But every place else they love us, so I don’t know what YouTube has against us. I think it’s because the big guys have got so much control that any competition, their algorithm is there not just to remove any violence and nudity but to remove independent art. And if you go, you can dial in just about every obscene word and YouTube will have plenty. In fact, right now YouTube is giving us some nice pedophilia. Netflix has a movie called Cuties and the poster has a number of five-year-old boys and girls dressing in pole dancing costumes. And so I put #NetflixPedophilia on my socials. And so YouTube is clearly hypocritical. You can see people getting their heads chopped off by the Arabs. You can dial in any kind of perversion and there’s plenty of it on YouTube. And porn! And CNN: lots of decapitations, lots of people getting blown up and bleeding and war crimes. But meanwhile, we’re the ones that get kicked off. So I don’t know what community we’re transgressing, whatever we’re doing, who we’re bothering. Anyway, that’s a big issue now, we have freedom to say anything we want, but as long as we don’t say anything. That’s how it is in the United States. And when we settle for Biden, #SettleForBiden, it’s gonna be just as bad, ain’t gonna be any better.”

#ShakespearesShitstorm streams online (geoblocked to Canada and the U.S.) at 9:30pm on Saturday, August 29 as part of the virtual edition of the 2020 Fantasia Film Festival, which runs August 20-September 2.

Interview by Sean Boelman

Interview by Sean Boelman

In anticipation of the release of his newest film Waves, disappointment media got to sit down and talk with acclaimed writer-director Trey Edward Shults. In the interview, we discuss some of the film's real-life influences, the role that music plays in the film, and more. Check out the interview below and see Waves playing in select theaters now and expanding nationwide on December 6!