Creators of monuments in bad cinema
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Todd Sheets is known for Dreaming Purple Neon (2016), Hi-8 (Horror Independent 8) (2013) and Bonehill Road (2017).- Actor
- Director
- Writer
Widely known for his frequent collaborations with Rainer Werner Fassbinder, a creative partnership which lasted 10 years and produced over 20 films, Ulli Lommel is one of the most consistently creative filmmakers to come from the New German Cinema movement.
The son of German comic performer Ludwig Manfred Lommel, Ulli Lommel began his career in show business as a child. His second feature film as a director Tenderness of the Wolves (1973) brought Lommel to New York, where he began working with Andy Warhol at The Factory. The Warhol / Lommel years spawned several features, including Cocaine Cowboys (1979) and Blank Generation (1980), both of which were directed by Lommel and feature Warhol in an acting role.
In the summer of 2013 Lommel went for nine months to Brazil, where he wrote a book and also made a film about Campo Bahia, the official camp for the German National Soccer Team. His autobiography, entitled Tenderness of the Wolves, is due out in late 2015.- Actor
- Director
- Writer
Coleman Francis was born on 24 January 1919 in Oklahoma, USA. He was an actor and director, known for The Beast of Yucca Flats (1961), Red Zone Cuba (1966) and The Skydivers (1963). He was married to Barbara Francis. He died on 15 January 1973 in Hollywood, California, USA.- Writer
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- Actor
Harold P. Warren was born on 23 October 1923 in New Haven, Connecticut, USA. He was a writer and director, known for Manos: The Hands of Fate (1966). He died on 26 December 1985 in Scottsdale, Arizona, USA.- Director
- Producer
- Actor
Although it is very unlikely that his admittedly cheap-'n'-cheesy films will ever be acknowledged as true works of cinematic art, producer/director/screenwriter Al Adamson did, nonetheless, make a slew of entertainingly trashy low-budget exploitation features for the drive-in market throughout the 1960s and 1970s.
He was born on July 25, 1929, in Hollywood, California, the son of actress Dolores Booth and actor/director Victor Adamson who, appropriately enough, specialized in shoddy B-grade - and lower - Westerns in the 1920s and 1930s, both as an actor and especially as a director. Adamson's first foray into filmmaking was helping his father as director and producer on the film Halfway to Hell (1953). In the mid-1960s, he founded the prolific grindhouse outfit Independent-International Pictures with fellow producer/distributor Samuel M. Sherman. Adamson cranked out flicks in every conceivable genre: scuzzy biker items (Satan's Sadists (1969), Hell's Bloody Devils (1970), Angels' Wild Women (1971)), grungy Westerns (Five Bloody Graves (1969), Jessi's Girls (1975)), smarmy softcore porn sex comedies (The Naughty Stewardesses (1973), Blazing Stewardesses (1975)), funky blaxploitation films (Mean Mother (1973), Black Heat (1976)), ridiculous science fiction dross (the gloriously ghastly Horror of the Blood Monsters (1970)), two Jim Kelly martial arts/action outings (Black Samurai (1976) and Death Dimension (1978)), lurid horror fare (Dracula vs. Frankenstein (1971), Brain of Blood (1971), Nurse Sherri (1977)) and even a tongue-in-cheek softcore porn science fiction musical (Cinderella 2000 (1977)). Moreover, Adamson served as producer for both the exciting Fred Williamson blaxploitation vehicle Hammer (1972) and the acclaimed made-for-TV drama Cry Rape (1973). The casts of Adamson's films were made up of oddball but enthusiastic amateurs and faded professional thespians whose careers were on the wane, including Kent Taylor, Russ Tamblyn, Lon Chaney Jr. and the ubiquitous John Carradine. Adamson frequently gave his wife, Regina Carrol, sizable parts in his films. Moreover, he was a mentor for future schlock feature directors Greydon Clark and John 'Bud' Cardos. He was also instrumental in launching the career of ace cinematographer Gary Graver. In addition, Adamson kept fellow top cinematographers László Kovács and Vilmos Zsigmond employed in the early days of their careers.
Al Adamson's life came to a brutal and untimely end at 66 when he was murdered by his live-in contractor, Fred Fulford, on August 2, 1995.- Director
- Producer
- Writer
Self-described schlockmeister Larry Buchanan was born Marcus Larry Seale, Jr. on January 31, 1923. Orphaned at an early age, he was sent to a Baptist orphanage. After graduating from high school in Dallas, the 18-year-old turned down a scholarship to study the ministry at Baylor University to accept an apprenticeship in the props department with 20th Century-Fox Studios. Fox eventually signed Marcus Seale to an acting contract, renaming him Larry Buchanan, the name he would keep for his entire professional life.
Buchanan studied filmmaking in the Army Signal Corps, which made him want to become a director. Back at Fox he played bit parts, most notably in the Gregory Peck western The Gunfighter (1950). However, his creative interests lay elsewhere. In the early 1950s he satisfied his desire to become a director by helming religious documentaries for evangelist Oral Roberts. He also gained experience as an assistant director on The Marrying Kind (1952), directed by the legendary George Cukor.
Buchanan left behind acting for production, taking a job as a writer on The Gabby Hayes Show (1950). In 1951 he directed his first film, )The Cowboy (1951)_, which was nominated for a Peabody Award. Buchanan would never again taste critical praise, as he segued into directing low-budget exploitation fare intended for the grindhouse circuit, the drive-in or straight-to-television. In the late 1950s and 1960s he directed movies for drive-in exploitation specialist American-International Pictures, churning out such celluloid travesties as Attack of the Eye Creatures (1967), In the Year 2889 (1969) and Creature of Destruction (1968). With some of the lowest-rated films to chart on the Internet Movie Database, Buchanan gave legendary Z-movie "shlockmeister" Edward D. Wood Jr. a run for the roses for the title of "Worst Director Ever." In her NY Times obituary of Buchanan, Margalit Fox wrote: "One quality united Mr. Buchanan's diverse output: It was not so much that his films were bad; they were deeply, dazzlingly, unrepentantly bad. His work called to mind a famous line from H.L. Mencken who, describing President Warren G. Harding's prose, said, 'It is so bad that a sort of grandeur creeps into it'."
Buchanan directed a series of low-budget films in the early 1960s addressing such topical and taboo issues as sex (Under Age (1964)) and racial relations/miscegenation (Free, White and 21 (1963), High Yellow (1965)), themes that were perennial grindhouse circuit favorites. He also solidified his reputation as a hack with a spate of ultra-low-budgeted remakes of AIP science-fiction potboilers, including Zontar: The Thing from Venus (1967) and Mars Needs Women (1968), a film whose succinct title, at least, is a classic of sorts.
The year after president John F. Kennedy was cut down by sniper bullets in his hometown of Dallas, Buchanan exploited the event by writing and directing a fictionalized account of the "judicial reckoning" of J.F.K.'s alleged assassin, The Trial of Lee Harvey Oswald (1964). He had been in Dallas to shoot a striptease-film at The Carousel, Oswald-killer 'Jack Ruby''s Dallas strip joint, which was eventually released as Naughty Dallas (1964). The Oswald picture was the first of what would become a lucrative vein for Buchanan: biopics and docudramas that limned the lives of everyone from Janis Joplin to Jesus, with Pretty Boy Floyd, Jean Harlow, 'Jimi Hendrix', Howard Hughes and Jim Morrison thrown in for good measure.
In the late 1960s Buchanan relocated to Texas to continue his film career, helping to boost the Lone Star State's film industry. His movies were made with budgets under $100,000 (a figure that approximates about 1/30th of Marlon Brando's daily wage on Superman (1978) and 1/20th of Robert Redford's daily haul on A Bridge Too Far (1977), to provide contrast with contemporaneous Hollywood budgets). Due to their low costs and the well-developed drive-in and grind-house circuits of the 1950s through the 1970s, almost all of Buchanan's movies finished financially in the black. His production overhead was minimal, as he typically was a picture's director, producer, screenwriter and editor.
In 1996 he published his memoirs, "It Came from Hunger: Tales of a Cinema Schlockmeister." In his memoir, Buchanan called his style of independent cinema "guerilla filmmaking." Classifying Buchanan as a genius of his genre, Rob Craig said on Horror-Wood.com: "Buchanan wrote or adapted prime pieces of pulp genre fiction on assignment, filmed them as best he could given his resources, and offered the results to the world with no apologies, nor any revisionist strings attached."
Buchanan was completing the editing of his last movie at his home in Phoenix, Arizona when he died on December 2, 2004, two months shy of his 82nd birthday. He considered "The Copper Scroll of Mary Magdalene," a story based on a Gnostic interpretation of Christ, to be his finest film. The man who had turned down the chance to become a minister had been working on the film since 1972. Returning to his roots, the film had became the goal of his career, and was an expression of his artistic as well as religious passion.
Buchanan was survived by wife of 52 years, Jane, by his sons Randy, Barry, and Jeff, and by his daughter Dee.- Producer
- Writer
- Director
Donald G. Jackson was born on 24 April 1943 in Tremont, Mississippi, USA. He was a producer and writer, known for Return of the Roller Blade Seven (1993), The Roller Blade Seven (1991) and Rollergator (1996). He died on 20 October 2003 in Los Angeles, California, USA.