In the mid-nineties, Kevin Lindenmuth was my hero. He self-financed, wrote, produced, directed and edited a feature horror film, “Vampires and Other Stereotypes,” which was filled with Hollywood-quality prosthetic effects. More than that, he got it distributed worldwide on VHS, the then-reigning format for home viewing.
Imagine my thrill when he asked to be in his second feature-length film (which turned out to be even more popular, and to spawn two sequels), a dark, original vampire drama called “Addicted to Murder.” I shot my scenes in LA and Kevin cut them into the rest of the footage, which was shot in New York.
I was inspired and greatly motivated by his ambition and drive, and I wanted to follow in his footsteps.
So I did.
Kevin’s love of dark tales began in some disturbing childhood events.
“My father was going to medical school in Chicago, and one of my earliest memories was walking into a white room and seeing all these headless bodies,” Kevin reminisced. “I remember asking, ‘Where are their heads at?’ Their heads were all covered for the medical students with white fabric, and in the white room it looked like there were all these headless corpses. For some reason, I was at his school and had wandered into a room I wasn’t supposed to go into…”
Kevin also remembered other childhood traumatic such as a babysitter who would have sex with her boyfriend in the same room as him. He also remembered being held hostage by spinsters when his ball bounced into their yard and he and some friends tried to retrieve it. “That was scary,” Kevin remembered.
Other influences Kevin cited were the horror films on TV and the 1960s supernatural soap opera, “Dark Shadows.” As people who know me well know, that show was one of my prime corrupters, er, motivators, as well.
Kevin started, like most of us microbudgeters in those days, making super 8 films in his back yard.
“’Vampires and Other Stereotypes’ was the first feature I did on my own, but I did make lots of Super 8mm films when I was a kid, mostly stop-motion animation stuff. Then, in college, there were the student films, which were weird, like “Roadkill,” where it was this guy’s job to hit and run people during the day.”
However, the payday and liberation from his day job did not come from his first feature effort. New strategies had to be considered.
”While one of the more well-known Brimstone titles, ‘Vampires and Other Stereotypes’ was the least lucrative of them all,” Kevin explained. “That is primarily because it cost the most to produce. That was the only movie I got money from an outside source (parents!). I still haven’t made money back on that film!”
Long before social media, Kevin struck on the idea of farming out segments of his anthology films to fellow filmmakers throughout the nation. It had the additional happy effect of drawing us all together into a community, myself among them. I don’t remember much destructive competitiveness, bickering or pettiness among any of us. We were all thrilled to get the boost of Kevin’s growing horror movie machine. And Kevin was able to make quality product at a budget that afforded him a profit. Most of us remain good friends.
“A year after I shot ‘Vampires and Other Stereotypes,’ I wanted to do another movie, as did Mick McCleery, who starred as the demon in that flick,” Kevin continued. “Mick was a really good filmmaker. So we came up with ‘Twisted Tales,’ an anthology. He directed an episode, I directed one, and the third was directed by a friend of Mick’s, Rita Klus, who helped work on ‘Vamps.’ That was the first collaboration, and that went smoothly.”
By the time Kevin finished “Addicted to Murder,” he was already in contact with many other filmmakers around the nation.
“This was from going to the conventions like Chiller and Fangoria, and also from magazines like ‘Independent Filmmaking,’ ‘Daculina,’ and ‘Alternative Cinema,’” Kevin said.
He began including cameos of other microbudgeters in his early films. Some of those include Scooter McCrea (“Shatter Dead”), Jeffrey Arsenault (“Night Owl”), and myself (“Rage of the Werewolf”).
“I also enjoyed killing (‘Fangoria’ writer) Mike Gingold a few times (‘Addicted to Murder 2,’ ‘Alien Agenda’), which was weirdly cathartic.”
Other anthologies followed, among them the franchise anthologies “Creaturealm,” and “The Alien Agenda.” My signature film, “Hollywood Mortuary,” started as a short film produced for one of the “Creaturealm” films – “Creaturealm: From the Dead.”
The video stores in the 1990s saw a lot of Kevin’s movies, which he tirelessly self-distributed, selling and reselling around the planet. But, as it did for all of us, things began to shift with the turn of the millennium and the rise of the cyber age.
“I made a decent living with the indie movies in the mid-to-late nineties, but in the early 2000s, even sub-distributors didn’t want to pay any money for independent films,” Kevin explained. “Also, my contact at Blockbuster decided to establish his own company (Maverick Films) and just funneled his own movies in there, so Blockbuster was out.”
Since that time, sadly for his fans, there have been no Kevin Lindenmuth horror films.
“The reason I stopped making the features was that I couldn’t afford it anymore and I didn’t consider it a hobby. Plus, I had to pay bills and survive. It isn’t like I became an indie filmmaker to make millions. Everything made on one movie went into the budget or budgets of the next ones.”
Kevin moved in another direction that has paid off better than the narrative features ever did.
“I went in the other direction and started making documentaries,” Kevin said. “It was an opposite process – making something out of a bunch of footage rather than shooting a specific bunch of scenes for a narrative – but far more people and far more income was made making the documentaries. And it is something I enjoy doing.”
“My recent one, finished a few years ago – ‘The Life of Death,’ – is getting a widespread release on DVD through Wild Eye Cinema next month,” [Actually, due next week. December 15 – RF] Kevin said. “That documentary, which features interviews with genre personalities like Tom Sullivan (‘Evil Dead” effects), Lloyd Kaufman (Troma), Bob Fingerman (‘Adventures into Digital Comics’), Jack Ketchum (‘The Girl Next Door’), Keith R.A DeCandido (‘Done the Impossible: The Fans’ Tale of ‘Firefly’ and ‘Serenity‘’), and past collaborators like Scooter McCrae, Debbie Rochon, and Sasha Graham – all talking about their perception of death. It’s one of my favorite projects so far.”
Kevin has also spent his post-feature filmmaking time writing books about filmmaking. Some of those include “The Documentary Moviemaking Course,” “How to Make Movies,” “Making Movies on Your own,” and “The Independent Fimmaking Experience.”
Kevin’s fans, however glad for him we are, still miss looking forward to his next dense, dark horror drama.
“I miss working on the narrative films, too,” Kevin admitted. “I’d love to make another horror film. In fact, I recently collaborated with Tim Ritter and wrote a Truth or Dare/Addicted to Murder” cross-over movie, which I’d love to do. But that’s sort of gone to the wayside [for now]. The main problem is recouping the money invested in these movies – and also the time. It’s been 25 years since I shot my first movie, and it’s not any easier or more lucrative. In the meantime, I do have a zombie book coming out called “The Dead Don’t Die,” that I co-wrote with Evan Jacobs (‘Walking Between the Raindrops,’ ‘Alien Force’), so the collaboration with other filmmakers is still happening.”
“I do think, though, that I’ll be making another feature in the next few years,” Kevin concluded.
You BETTER not be yanking our chains!
The Pace of Things
Time is money, even in microbudget (or perhaps especially so). If you take too much time getting it in the can, you’re burning meager resources, and tempting the labels of pretentiousness and egotism. But if you move too fast, you can get sloppy and destroy any chance of rising above the dreck and challenging the attitudes and preconceptions that many bring with them to the screening of a microbudget film.
I’ve been at both ends of that spectrum. But mostly, I have been accused of moving TOO fast. I learned on the run, trying to please producers who gave me little to nothing and expected results yesterday. It’s the groove I fall into whenever I am on a movie set. Yet I look back now and cringe at some of the sloppy details, most of which could have been fixed while keeping on schedule and budget if I had taken a moment to step back and look at it coolly.
Of Price and When
The pace of your shoot is heavily determined by budget and deadline. Many of the short films I make now are for timed competitions (see Ron Ford’s Microbudget Blog, July 4, 2015), a challenge I find especially stimulating and feel particularly suited to, given my background. In those cases, shooting fast is everything. But still, without taking care and time to get good sound, images and performances, the project will have little chance of taking home awards.
Even if yours is a personal project, and costs you nothing but your time – that is, even when there is no incentive to move more quickly – there must be some sort of urgency to the pace of the shoot, lest cast and crew people become bored and move on to other projects. I’ve been there, too. One project I acted in in the early 2000s was never completed, and can never be now, though we would love to. We’ve all changed too drastically. – That is a tragedy.
Hurry Up and Slow Down
The only really answer to the question of how quickly or slowly to shoot your project is to strive to make the best movie you can, under any given circumstances. In other words, go in prepared, do your homework, take your time on the set, and try to get it right. But keep an eye on the clock. – Oh. And try not to panic.
Remember: Sound. Lighting. Performance. Those are what count. No matter how special your effects are or how revolutionary your ideas, if those basics aren’t up to snuff, nobody will give a damn.
NOBODY. WILL. GIVE. A. DAMN.