Love it or hate it, I'm sure that
most of you will have seen or at least heard of 'Camp Blood'. It may not
have been well received by many critics, but Director Brad Sykes has
managed to defy the odds, and carve out a successful career in the low
budget horror genre. Read on to see what the man has to say about his
time spent torturing and inevitably slaughtering many an actor and
actress, all for the sake of our beloved horror genre.
Your first feature was Camp
Blood which was I believe, shot and
released in 1999. What is your background? I just wondered why you
suddenly appeared as a director, when it would appear that you had only
previously worked in various assistant capacities on film projects?
First off, Phil, it's great to be here at the Horror Asylum! Camp Blood
was actually my third feature. I had written and directed two movies
before it, but it was the first to be released. As far as my background
is concerned, I had considerable experience in film production prior to
getting any professional directing gigs. I made eight video features in
my hometown of Virginia Beach during high school and college and attended
film school at Boston University for four years (during which time I
worked on Kiss the Girls for Paramount and worked as a script reader for
Ridley and Tony Scott). Once making the permanent move to L.A., I
directed second unit for director Jeff Burr as well as working as
Assistant FX coordinator on several
Brian Yuzna films, plus various other production jobs. So, given all
that, it's not too surprising that I was given the opportunity to write
and direct a low-budget horror film.
How did you go about getting
the film made?
Dave Sterling called me and said he wanted to make a 3-D horror movie, and
did I have any ideas. Knowing that the 3-D format worked better outdoors,
and given that our budget was very low, a Friday the 13th type slasher
film set in the woods seemed like a logical choice. I submitted a short
synopsis, the 3-D company approved it, and we were off and running.
How did you find your
We had a brief casting session, through which we found most of the cast.
There were a few exceptions, though. Michael Taylor (the male lead) was a
neighbor of mine in the apartment building I used to live in (you'd be
surprised how many people in Hollywood get jobs this way!). Vinnie
Bilancio, Joe Hagerty, and Tim Sullivan were all people Dave or I had
worked with before on other projects.
Tim Young most recently worked
on George Romero's Land of the Dead as head carpenter so he has done well
for himself. Do you keep in touch with the cast?
It's been five years since we did Camp Blood, and while I kept in touch
with (and even worked with) a few of the cast members for a few years off
and on, I really don't have much contact with any of them these days. I
saw Tim in Emmanuel Itier's Scarecrow, but I didnít know he was also
working as a carpenter.
Jennifer Ritchkoff fascinates
me, as she truly did give her all and
really seemed to believe in it. What is she up to now?
Jennifer did a great job in both films, though she had a lot more physical
action (and screaming!) to do in the first. She's still active in both
film and theatre.
Camp Blood is a lot of fun and
is wildly popular, but it isn't really scary. Was this your intention, or
did you simply fail to capture that aspect of fear on film?
I never thought Camp Blood would be truly "scary", as there were so many
limitations on the project, budgetary and otherwise. I figured the best
approach was to play it straight and go over the top with the violence and
gore (especially toward the end) so it would at least be entertaining for
the horror audience (such as myself!). Most people seem to enjoy it for
what it is: a fun, ultra low-budget homage to eighties slashers.
"I've seen both good and bad reviews for Camp Blood since it was released".
The film was made as a 3-D
movie but it isn't presented that way in the
UK which I think makes it look terribly washed out. Do you have any idea
why this happened?
I don't know why it wasn't released in 3-D overseas. In the States, it's
available as a 2-sided DVD which is 3-D on one side and 2-D on the other,
which at least gives people a choice. I've heard comments about colors
being washed out on overseas DVDs, but I unfortunately have no control
over what version is released in different territories.
I think I may have only seen
one positive review for Camp Blood, did you feel that everyone attacked
you because the director tends to get the credit and the
I've seen both good and bad reviews for Camp Blood since it was released.
In fact, the recently published "Legacy of Blood: A Comprehensive Guide to
Slasher Movies" calls it a "definite guilty pleasure" that "harks back to
the good old days of the slasher movie". Getting reviews, good or bad,
comes with the territory of being a filmmaker, and EVERYONE has an opinion
about your work. So, I'm used to it by now and it doesnít affect me too
much one way or the other. I do try to learn from my mistakes (and
believe me, I know Camp Blood is far from perfect) but at the end of the
day, I simply made the best film I could with the resources at hand.
I truly do admire you for
managing to go on and have the career that you have had, after making what
was essentially a step up from a student film. Why do you think that the
film was so successful?
Well, Camp Blood might be low budget, but it's far from a student film.
Like any other professional movie, there was a budget, a schedule, paid
crew, and a financier who had certain requirements we had to fulfill.
Dave hired me because he knew I had the experience and skill to pull it
As far as its success is concerned, I think there are a few reasons why
Camp Blood did so well. Despite its low budget, it does two critical
things that many microbudget movies fail to do: it tells astraightforward
story and it delivers the goods. I've seen so many microbudget movies that
fall on their ass trying to reinvent the wheel or shortchange the viewer
by skimping on the nudity or gore. The "Clown" killer also made an
impression; a lot of people think clowns are creepy and there arenít too
many "clown slasher" movies out there. All these factors made it an easy
movie to sell. In fact, Camp Blood sold so well the year it debuted at
the AFM that the distributor asked Dave and I to do a sequel before the
market was over.
You did the sequel a year
later and it was a much better film aesthetically. I know that Dave
Sterling likes the look of the second but the content of the first. Which
is your favourite of the two?
I like them both equally, although I think the sequel is the more
thematically interesting (and technically superior) of the two. I'll
admit it's not as relentless as the original, but I didn't want to simply
remake the same film and doing the sequel as a self-reflexive black comedy
seemed like a unique approach. A lot of the humor came from my own
experiences directing the original Camp Blood and working on other films.
I guess in this way, it's also the more personal of the two.
Dave wasn't so sure about the
intentional humour in the second film (I
thought it was a welcome addition) did you have to do a lot of persuading?
Not really, because I don't think Dave ever read the script! During
shooting, he would watch us filming these long comic/dialog scenes and
come up to me and say: "So, when's the Clown gonna kill somebody?" But
once the FX guys showed up and the blood started flowing, he calmed down a
The films almost have a cult
following and Dave has said that he is waiting for the right time to do
Part 3, would you be involved and is there any news on the
The idea of a Camp Blood 3 has been floating around for a while. Dave and
I have discussed it, but so far nothing has moved forward. It would be
nice to do something on a bigger scale and darker than the others. Weíll
see what happens.
You worked continuously after
Camp Blood, did these projects just fall at your feet or did you actively
NO project ever "falls at your feet" unless your last name is Spielberg.
I've worked hard for every opportunity I've had as a filmmaker, even when
the films were far from being my dream project. Being a writer/director
helps me get work, though at this budget level the producers would rather
you be a writer/director/DP/editor/ composer/special effects guy. Then,
MAYBE you'll get the job.
It would appear that some of
your films are never completed, or at least are never distributed outside
of the US, do you know why? For example is it a finance issue or bad
deals and legal issues?
I don't know where you heard that; NONE of my films are incomplete. All
are completed and some, like Camp Blood, Death Factory, or Demon's Kiss,
have attained wide distribution outside the US. Others are more easily
found here in the States. But they all have distribution. There are many
reasons why one film might be seen more than another; often it comes down
to the distributor's connections with video stores and retail outlets more
than the film itself.
"I'd rather concentrate on making movies".
Some of the reviews are
scathing but I don't think people understand
how hard it is to achieve anything in the industry. Dave Sterling said
that he gets frustrated as his movies have to compete with films like
Spiderman. How do you keep your spirits up when everyone is trashing your
I know plenty of microbudget filmmakers whose attitude toward critics is,
"Why don't YOU go make a movie for $5,000?" And they're right: it's
INCREDIBLY difficult to make a movie, and even harder to get it
distributed in any real way. And even harder to do it more than once.
The truth is, most of the people writing these reviews
have never made a movie of any kind and most likely never will. I've read
bad reviews for my stuff and I've read glowing onesÖso, I don't put too
much faith in reviews, unless they're written by someone whose opinion I
really respect. Even then, I don't spend too much time thinking about it.
I'd rather concentrate on making movies.
Has the bad press ever cost
you a job?
Bad press doesn't cost you jobs. Going over budget, over schedule, or not
delivering the film you were hired to deliver will get you a bad
reputation. And that, in the long run, will cost you jobs.
I think that you are hired so
much because you have
demonstrated time and again, that you can turn nothing into something that
will sell well, and make a decent profit. Would you agree?
You're probably right, though it's not just about "turning nothing into
something." It's giving the viewer their money's worth and maybe a little
bit more. Of course I know Death Factory can't compete with Freddy Vs.
Jason from a production value standpoint, but I always try to deliver a
decent, watchable movie that belies its budget. Most of the time, I've
succeeded in this.
Over the years you have worked
with Janet Tracy Keijser, Tiffany Shepis and Linnea Quigley to name a
few. How did you enjoy working with each of the ladies?
Linnea was in the first feature I directed, Scream Queen, and she was
absolutely great. She worked two days and gave more than a hundred
percent, giving acting tips to other cast members and helping me out a few
times, as well. After the movie wrapped, we shot a music video for her
song "This Chainsaw's Made for Cuttin'".
Tiffany auditioned for Death Factory as one of the victims and I thought
she'd make a better monster. I was right. By the end of the shoot, most
of the cast had cuts and bruises after tussling with Tiffany. Having her
in the film really helped publicity-wise as she's got quite a name in the
I met Janet through Garrett Clancy, a writer/director
friend of mine. She's acted in a few of my movies, including Zombie
Chronicles and Witchcraft XII. Janet does more than just act; she always
helps a lot on set with props, taking stills, etc. A good actress and a
You recently took some time
out to plan your move into bigger features, what can we expect from you in
This past March, my wife Josephina and I just finished shooting ďWITHIN
THE WOODSĒ, our first film through our newly formed production company
Nightfall Pictures. Itís a slasher film that also parodies reality TV,
lots of cute girls and bloody FX. The film is in post now and Iím very
proud of how it is turning out. We had a very professional cast and crew
and pulled the whole thing off in 6 days. WITHIN THE WOODS should be
coming out toward the end of the year: Iíll keep you posted about the
I also have three scripts floating around with
directors and producers attached. All three are horror pieces budgeted in
the $5-10 million range with well-known genre directors involved. It's
just a matter of which goes into production first.
What are your thoughts on the
low budget horror film industry at present? Is it here to
Low budget horror movies have always been around and always will. In the
nineties, when I was in film school, horror was dead, both theatrically
and straight to video. There were only a few guys making and getting
(limited) distribution for their microbudget movies back then. Then in
1996, Scream came along, and three years later Blair Witch. These two
films - especially Blair Witch, which was the first microbudget horror
movie to become a big hit - changed everything. Microbudget movies
started popping up everywhere - and getting real distribution in big
rental chains and retail stores. Horror is still going strong with the
recent hit remakes of American and Japanese horror movies. As a result,
there's been a flood of low-budget stuff and distributors and rental
chains are getting pickier about what they stock.
What this means is that to remain viable, low budget
filmmakers will have to improve their craft. And although advances in
cameras and home editing software help, I'm really talking about stuff
like story, acting, production values. The movies that are well written,
decently acted and have a unique story hook - regardless of budget - will
always have the edge.
I think the real question is: are the filmmakers
themselves going anywhere? So far, I'd be hard pressed to think of one
microbudget filmmaker who's gone on to direct a studio picture or even,
Sci-Fi channel premiere. The low-budget industry will always be here, but
it's not quite the "proving ground" it used to be.
Do you think there will come a
time when you will stop making low budget DTV movies?
I certainly hope so. I've directed seventeen features at this point and
feel like I've "paid my dues" in the low-budget realm, but at the same
time I know how hard it is to make the "leap" from a movie like Within the
Woods or Goth to, say, a million-dollar movie. The days of someone working
their way up the chain "Corman style" are over. Producers usually want
you to do the same thing you did last time, only cheaper. I got tired of
doing that, I was starting to feel a little burnt out, so I started
putting my energies elsewhere. So far, it's paying off.
Your last film Bloody Tease
was written by Eric Spudic, were you impressed with his work?
Not really. I know Eric boasts of churning out scripts in a few days and
this one felt like it. Lots of long dialogue scenes (some of which I had
to rewrite) punctuated by action that was beyond our budget. It's not
that I have a problem directing others' scripts, I'd done it twice before,
but Bloody Tease was not anyone's finest hour and a half.
What's next for
As I mentioned before, I'm very excited about WITHIN THE WOODS, which
should be completed toward the end of this month. We plan on making at
least one or two more horror films through Nightfall this year, with more
to come. I'm glad I've been able to contribute in some small way to my
favorite genre, but I'm also looking forward to making bigger Ė and
scarier -films in the future!
"Thank you ever so much for taking part in this interview
And we wish you the very best of luck in the future."
All photos taken from Brad's upcoming project 'Within the Woods'.