This week East Coast Horror Group writer Adam Holtzapfel had a chance to chat with filmmakers Brian K. Williams and James Bickert about their new project Amazon Hot Box.

 

 

Adam Holtzapfel – In the past few years you’ve both had successful crowdfunding campaigns. Have you found that campaigns with an already finished product have been more successful versus ones just starting with an idea?

 

Brian K. Williams – Unfortunately so many people have been burned by startup film crowdfunding campaigns, and never gotten their perks they paid for, or been forced to wait for a year or more,that a lot of people have turned away from supporting crowdfunding at all. Those that continue to support and back them seem to usually stick to those that have a project that is already finished, or very close to it, to hopefully reduce that risk. It sucks because a few bad apples have tainted an otherwise great tool for independent artists, but both James and I have had successful campaigns that have over delivered on our promises, and done so in a timely manner. We have a lot of repeat customers, which means we are hopefully doing something right.

 

James Bickert – It’s not what it once was but neither are the alogorithyms of Facebook which once allowed you to reach all the people that liked your film page without having to pay for an ad. I think both have contributed. Sadly, this old rocker doesn’t understand how to market on Twitter and the online tutorials put me in a coma. Our best hope is word of mouth from the fans and online writers who know what we’re passionate about and capable of delivering.

 

AH – In Atlanta you have Turner owned networks as well as Stranger Things and Walking Dead being filmed. How had that impacted India filmmaking in the area? Also, Brian has that changed your process since moving to the area?

 

BKW – Yes, very much so. For me it was like night and day, I spent the first couple years of my career making indie films in the middle of Indiana, and we would hold a casting call for a role and maybe get three or four actors to show up, and half of them had zero experience. Out here we had so many responses from casting calls, and from talented, experienced people, who came prepared, and knew what they were getting into. There are lighting and equipment houses, just driving down the road to go to the store it is common to drive around a film set, it’s made me wonder how in the world I ever made films in the middle of Indiana. I’m happy I did, and was able to get the experience, but there are so many talented folks out here, Atlanta is very much the place to be for tv/film right now.

 

JB – All the old bar flies are now in the business so it’s great if you need some equipment or a favor. On AMAZON HOT BOX we had our lighting package delivered by teamsters in a major Hollywood studio semi. We had to return it in a landscaping trailer. (laughs) On weekends, you can borrow things or get the “hook up” from big productions. There is a real sense of community that still goes back to those early days of drinking at The Star Bar, Stein Club, Clermont Lounge, etc. No matter what scale you’re working in the business, we all got in it due to our love of cinema and continue to support each other. That comoradery is really strong in the grip and camera departments.

 

AH – With Amazon Hot Box you tackled an oft forgotten about genre, what made you want to do a women in prison movie?

 

BKW – I met Jimmy back several years ago when he was touring Dear God No!, back when I was starting to work on my first film, Time to Kill. We hit it off, and kept in touch, and I would send him cuts of the film, and he would give me feedback/advice, and was a huge help. We both loved WIP films, and had said how much we both wanted to someday make one. It’s a favorite genre of mine, and there are so many different sub genres of it, but there haven’t really been any in awhile. When the opportunity came along to be able to move down to Atlanta and collaborate with Jimmy, and have our first film together be a WIP film, I jumped at the chance.

 

 

 

 

AH – What films other than Ilsa & The Big Bird Cage did you look to for influence for this project?

 

JB – There are some nods to the beginning of the genre going all the way back to the pre-code social message melodramas and when they started to grow their exploitive teeth in the 50s with CAGED (1950), SO YOUNG SO BAD (1950) and WOMEN’S PRISON (1955). But the main influence is from the drive-in years when Jess Franco kicked the genre into full exploitation overdrive with 99 WOMEN (1969). I’ve always liked that jungle banana republic hellhole vibe he achieved along with the Filipino productions of Jack Hill, Eddie Romero and Cirio Santiago. There are hints of Bruno Mattei, Sergio Garrone, Edoardo Mulargia and Oswaldo de Oliveira’s BARE BEHIND BARS (1980)and AMAZON JAIL (1982)too. Just to name a few that were concious decisions. I know that’s a lot of influence but AMAZON HOT BOX really is its own thing too. You just have to respect what came before in order to add something new to this wonderful genre.

 

You can keep up with Amazon Hot Box on Facebook and pre order a copy here.