Interview by Bob
Ignizio
John Moritsugu has
been making committing his unusual visions to cinema since 1985,
usually in collaboration with his wife Amy Davis. He kept up a fairly
steady pace, releasing such features as MY DEGENERATION, MOD
FUCK EXPLOSION, and SCUMROCK until writer's block struck
for about a decade. He finally got past that with the help of Davis,
and the result is his latest film, PIG DEATH MACHINE, which
screens this weekend at the Cleveland Cinematheque. I recently had
the chance to ask John about his career and latest film, and this is
what he had to say.
CLEVELAND MOVIE BLOG: What got
you interested in filmmaking, and specifically, what drew you to
underground/avant garde/whatever you want to call 'em type movies?
JOHN MORITSUGU: Ever since I was
a kid, I was interested in putting things together, taking things
apart, you know, that destroy/create ethos... so of course, the
choice was between being a surgeon or a filmmaker. I told my uncle
these plans when I was 8 and he told me to go into film cuz it was
"cooler." I agreed and here I am now, traveling down that
twisted road to cinematic ruin. As far as types and genres of films,
I am not prejudiced. I like as many mainstream films as underground.
I mean, THE TERMINATOR
rocked my candy ass way harder than all of Man Ray's experimental
stuff put together. Film is film - it can suck or be sublime. The
coin that went into it and the genre really don't matter to me. That
said, I really dug Jarmusch's new vampire flick.
CMB: Some people tend to look at movies like yours and assume
they are weird for weird's sake. Even though I don't think I
completely “got” the movie, I definitely had the sense that
wasn't the case here. So help me out a bit – what was the
inspiration for the film, and what were you trying to get across
thematically?
JM: Amy (my wife of 20 years
and cinematic partner in crime) and I were just talkin', you know,
stuff like GENIUS=MADNESS and dreams getting realized and sliding
into nightmarish realms. Okay, FAST FORWARD 5 years, and we're
watching PIG DEATH MACHINE at the Hawaii International Film
Festival and both thinking that the movie is gonna look really tame
and normal.... and halfway through the screening, she leans over and
sez, "This movie is really WEIRD... like fucking WIKKED-HELLA
WEIRD!" It was a funny moment cuz we don't generally think
we're too out there or strange, but sometimes reality just whips
around and slaps you in the face like a piece of cold bologna. As
far as the theme of the film, it's basic: ENVY. Both leads envy
shit. One yearns to live in a world devoid of humans and just bliss
out with her botanical buddies. The other is a twit but knows it and
desires the brains to not only understand life, but to also be able
to order haute cuisine at lunch. As far as movie inspirations, they
are for me (and not in this particular order): cheese pizza with
truffle oil in Switzerland in October, Black Flag (the band, not the
insecticide), the smoggy beauty of an industrial sunset, and
anything in life that grabs you by the collar and makes you FEEL. Oh
and my wife bitching at me for 10 years to make a FUCKING MOVIE!
Writer's block sucks.
CMB: I keep seeing in all the reviews of PIG DEATH MACHINE
the comparisons to John Waters and Nick Zedd. I can see that, Zedd
probably more than Waters, but I also sense a Gregory Dark or maybe
Rinse Dream influence in the vivid color palette, weird animal
masks, and anti-erotic sex scenes. Am I in the ballpark at all?
JM: Oh yeah, you're totally
there! And you can also add a sprinkle of Jodorowsky, Cronenberg,
70's Japanese Kikaida TV shows, kung-fu theater, and PUNK ROCK. When
MOD FUCK EXPLOSION opened in Los Angeles, it ran for 11 weeks
and Gregory Dark was there a few nights in a row checking it out,
taking notes, and guffawing from the back row. On another note, John
Waters sent me a fan "KEEP ROCKING" postcard back in 1989
after MY DEGENERATION played at Sundance. He actually loves
PIG DEATH, not to name drop, but I must speak the truth. I
still have that postcard.
CMB: As out there as the film is, and despite the intentional
shot on video look, I thought PIG DEATH MACHINE still looked
and felt professional. In particular, the editing really has a nice
flow to it that keeps a viewer engaged even if he or she doesn't
necessarily “get” what's going on. So, to finally get to an
actual question, given that you clearly have the skills to work on
something more mainstream, I'm curious why you haven't done crew
work on other people's films to help finance your own work, or even
done a quickie for hire piece as a director on some low budget
horror film or something. Or maybe you have under a pseudonym?
CMB: Thanks for the
editing/directorial props! I feel that the editor is GOD on a movie
and can influence the picture more than anyone else, which is why I
keep all editorial matters in my supple and powerful grip .Amy is
actually the reason for the films LOOK. She's a RISD kid and knows
all about film timing, color and tweeking. Plus Todd Verow (the
master of digital video and my DP of 22 years) is a lighting and
shooting genius. Though I haven't done much crewing, I have shot
some music videos for bands.... In 2012 Amy and I got a Grammy
Nomination for a video we co-directed for TV ON THE RADIO. The song
is “No Future Shock” and it's filled with tons of glitter and
sweat. As for why I haven't gigged on other people's films, it isn't
ego, it's just luck. I haven't ever been asked, it just doesn't
manifest. Hook me up bro!
JM: That can be chalked up to a
major creative/writer's block, mid-life crisis and huge debt. Amy
helped me to get past this all this shit by lighting a fire under my
ass and cajoling me into making PIG DEATH MACHINE. This one
was the hardest movie for me to make...Hallelujah it exists!
CMB: You're very fortunate to have a wife, Amy Davis, who
shares your artistic bent and sensibilities. What are the pros and
cons of working so closely with the same person you go home to at
the end of the day?
JM: As I just mentioned, it is
SO GREAT to have someone on your side to co-create with, someone who
is watching your back and keeping you inspired and motivated. She's
transitioned beautifully from being my "leading lady" to
being my artistic-partner-in-crime who is also the FACE of the
cinema of Apathy Productions. Of course, there is a downside to
this, like romantic moments transmogrifying into movie shop talk
about camera angles, casting, distribution... creative arguments
that can last for years.... not being able to see movies to
escape cuz they're too much of a reminder of the work to be done.
The male ego VS. the female ego, who knew it's THE SAME EGO! I'll
take it all, though, cuz it is the best life possible.
CMB: Your widest exposure to date is probably through the use
of clips from MY DEGENERATION in Greg Araki's DOOM
GENERATION. Where is the line drawn between films like Araki's –
which are definitely for a cult audience but still get some limited
theatrical distribution – and your own work?
JM: I don't think there has to
be a line between our films... we both started out in the 80's
making wickedly cheap movies that still delivered the artistic and
cinematic "goods." And though it might seem that we're on
slightly divergent paths, we're both just punk rock (Gregg is maybe
a bit more "new wave") nerds with great record
collections. He's actually an old pal. He used Amy's name for Rose
McGowan's character in DOOM GENERATION and then her
character's name (LONDON) from MOD FUCK EXPLOSION in KABOOM.
I guess it's a homage.
CMB: You used kickstarter to fund PIG DEATH MACHINE,
which seems to be the popular way to get financing for projects
traditional investors don't see as having enough return on them. How
was your experience with that, and do you think it will ultimately
make it easier or harder for you to get funding for your films?
JM: I love kickstarter. It
worked out great for us and people really tuned in and turned up the
moolah knob. Without kickstarter, we'd still be trying to edit PIG
DEATH MACHINE on a 10 year old Mac with imovie. So many
traditional funding sources have dried up or gotten waaaaay too
conservative so it is good that the $ can go straight to the movies
without having to navigate through the bullshit of the dominant
hegemony.
CMB: As hard as funding films
like this is, it's just as hard if not harder to get them exhibited.
In theory, digital distribution could change that since you no
longer have to worry about film prints, and I have seen that help a
bit with smaller mainstream films getting a one-week, one screen run
here in Cleveland. I'm curious, though, if that's helping at all for
films like yours?
JM: Yeah, distribution is a
doozy. Sometimes its even tougher than making the movie. But digital
distribution has it's upside - no more expensive prints (that
eventually wear out) + shipping costs... and the internet has proven
to be thee new movie theater. But alas, bit torrents and pirates
keep the money out of filmmaker mitts, and I do miss the experience
of wiping my popcorn greased hands on worn velvety theater seats.
Call me sentimental...
JM: LIVE THE DREAM-EAT THE
CREAM- MAKE EM SCREAM
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