John Fasano Interview!!!

John Fasano is the hardworking mastermind responsible for creating three of my all time favorite 80’s horror epics – Zombie Nightmare, Rock ‘N’ Roll Nightmare, and Black Roses! I was honored to have the opportunity to ask John about his memories of writing and directing those beloved cult clas-sicks…

Brain Hammer: IMDB has you credited as “assistant director” for “Zombie Nightmare.” The film’s credits do not list you at all. What exactly was your involvement in that film and why aren’t you credited for your work?

John Fasano: I wrote the script and directed about half the scenes. I agreed with producer Jack Bravman that he would get Director credit, since he had made the film possible and wanted a credit. I was just starting and would have plenty of time to get more credits (I did) on the video box it says screenplay by John Fasano but when I saw the film it saw someone else, a CANADIAN (who actually edited the film) – because a tax shelter (i.e., money back from the Canadian Govt) did not allow a film to have an American Director AND writer, so Jack just took my name off. Never told me, by the way. I got $5000 for the script, and it was the first “real” film I had a hand in directing.

BH: What was the budget for “Zombie Nightmare” and how much time did you have to shoot?

JF: $180,000 budget. Ten days of shooting in Montreal.

BH: What was the atmosphere like on the set?

JF: Wild. Frank Dietz, Thor, and the effects guys Tony Bua and Andy Clement were all friends of mine, all the crew were French Canadian and HATED us. BTW, the kid playing Jim who drives the car that kills the zombie is Shawn Levy, the director of “Night At The Museum.”

BH: You appear in “Zombie Nightmare” in a short but memorable role. Did you enjoy your acting debut?

JF: Not entirely, because I wrote it for my childhood wrestling hero Superstar Billy Graham and no one picked him up at the airport. The Zombie appliance had been made on a cast of his head and shoulder and I was the closest in his size. I was BLIND in the mask, it had no eyeholes, and had to sort of direct the scene and act blind. It was a hoot. Recently a mask maker in Illinois named Aaron Lewis recreated my makeup as a collector’s mask he sells. Looks just like me. I got one and sent it to Thor so he could use it in concerts. When I pulled Adam West into “hell,” I told him, “The joker couldn’t do it. The Penguin couldn’t. But I killed Batman.” He laughed. He is the BEST guy.

BH: “Zombie Nightmare” is a unique zombie film, as it features no flesh eating or gory gut munching. I also noticed a lack of profanity or nudity. Why was the film so tame?

JF: No money for blood.

BH: “Zombie Nightmare” features an excellent heavy metal soundtrack. Whose decision was this? Do you have a favorite song from the soundtrack?

JF: Jack found the score. “Ace of Spades” rocks in the titles, and “Zombie Night” the song as Frank is leaving the graveyard I think is very effective.

BH: Have you seen the Mystery Science Theater 3000 episode featuring “Zombie Nightmare?” Did you find it funny? Were you offended when they had your character shout “I’m husky!” and accused Dom Delusive of doing your fight chorography?

JF: No offense. Dom is an ex-neighbor of mine in L.A. Really, everything they said about the movie we had already said. After I finished shooting the film, I offered to edit it myself (I was a trained editor) but Jack went with two local kids who would do it free for the credit. After they edited for a few weeks they called me and asked if I could send them a script, so they could see what they were supposed to be cutting. They had scenes where characters were killed and then put in an earlier scene after that where the guy was still alive. A mess. Also, they used the original negative to cut the trailer, so all the best shots in the trailer were GONE and could not be used in the film.

BH: Was Adam West drunk while filming? Is there is reason why he says “HEY!” to Frank Dietz five times in one scene? Was that scripted or clever improv from Adam?

JF: Adam was NOT drunk. That was him taking several shots at the line until he found the right tone, and the editor didn’t understand he only was supposed to use one. Some of the scenes were written at the last minute and Adam had to glance at the script, and the editor LEFT IN when he’s looking at it instead of cutting away to Frank!

BH: Why the 18 second shot of the setting sun?

JF: Running time. Film had to be a certain length. Editor again.

BH: What was up with the penguin voiced medical examiner?!?

JF: That was him doing “Columbo.” Jack would ask the actors to ape certain actors or characters he knew.

BH: “Rock ‘N’ Roll Nightmare” was your second film working with Jon Mikl Thor. How did this second project come to be?

JF: I had finished shooting “Zombie Nightmare” and it was being butchered by the neophyte Editing team in Montreal so I was back in Manhattan at Reeltime when Lenny Shapiro flew into town to offer Walter and Roberta a deal — he knew they could shoot a feature for 100,000 dollars (they had done it on “Blood Sisters”) so he would give them 50K and they would put up 50K, Reeltime making the film which his Los Angeles based company Shapiro Entertainment would distribute the pic and they would split the NET profits 50-50. Walter laughed at that. They should split the GROSS 50-50. Hell, Lenny didn’t want that, so he returned to his hotel in preparation for heading back to L.A. I quickly called him. If he would give ME 50,000 dollars I would raise 50,000 and make the film, happy to split the net profits.

You see, I had a plan. I would make the movie for Lenny’s 50,000 — I’d just write, direct, edit, and do the special effects myself with no pay — shit, all that stuff HAD to be worth 50K. Lenny (probably sensing my true intentions) agreed if I would meet his criteria — the film had to be shot in 35mm, it had to have X-number of monsters and naked chicks (actually eight naked breasts) and a world wide soundtrack album — sure, I said, I can do that.

BH: Tell me about more the background/budget of “Rock ‘n’ Roll Nightmare.”

JF: I definitely had more balls than brains, then. The first thing I did was make a deal with heavy-metal rocker/Canadian John Mikl Thor — who had stepped in halfway through “Zombie Nightmare” to take over the lead — to star and supply an album for half of my half of the net profits. I then made a deal with the Toronto crew who had shot Thor’s video “Knock Them Down” to supply ALL CREW and EQUIPMENT for 10,000 dollars Canadian (like 7,000 dollars US) then I went to all my friends who wanted to be actors and said, “I can give ya one hundred and fifty bucks to star in this movie — that’s it, no points, no residuals — but you get to stay in a hotel in Toronto and you get to be in a real movie. They all agreed. Then I went to all my friends who wanted to be effects men. By this time I had moved from the Bronx to Bronxville New York, to a house with a finished basement. I set up the basement as an effects shop and ensconced all my friends there. In post I had to ask Lenny for $3000 more dollars to finish, so the total budget was $53,000.

BH: You must have felt pressured trying to complete a film in only seven days. Was it a fun shoot for you, or were you stressed out all the time?

JF: Sheer joy! I was directing my movie all by myself!

BH: How was it filming in Markham Ontario in winter?

JF: Fucking freezing! On the nighttime time lapse shots of the house DP Mark Mackey FROZE to the side of the camera and he had to take the camera off the head, bring it in and hair dryer him til he got free.

BH: What films would you say inspired “Rock ‘N’ Roll Nightmare?”

JF: “Evil Dead.” “Legend of Hell House.”

BH: “Rock ‘N’ Roll Nightmare” features a pair of music videos within the film for the songs “We Live To Rock” and “Energy.” How long did it take to film those videos?

JF: Just during the course of the day with the rest of the filming. A couple of hours each. My ex-brother in law, Jim Cirile, who plays STIG is the only one in the band who can play and instrument so his hands double for the Frank and the Dave in the close ups.

BH: Could you describe the “rush” of filming concert performance footage?

JF: I love it. I get into it. I jump around on stage and sing along at the top of my lungs. Those are some of the most fun scenes in any movie, “Black Roses” Murder At The Presidio.” I LOVE the concert scenes.

BH: What is your favorite song from the “Rock ‘N’ Roll Nightmare” soundtrack?

JF: “We Live To Rock.” Should have been a hit single.

BH: Not to be mean to the women involved, but I have to say that the four chicks that were supposed to be paid $100 each to get topless were all hideous looking! How angry were you when they showed up on set and refused to take their clothes off?

JF: I could have killed them and Mike Dolgy, the slime who hired them and then told them they didn’t have to take off their tops. Two of them were kinda cute. Anyway, it forced me to have my FRIENDS take their tops off, and our relationships were never the same.

BH: On the commentary track for “Rock ‘N’ Roll Nightmare” you mention an incident on the seventh day of shooting where your cameraman shot an entire roll without reloading the camera and missed filming several scenes! Do you remember what was footage was lost? Did you have to reshoot any scenes?

JF: I don’t remember now, but that’s why the film was too short.

BH: Another point repeated over and over on the commentary track was how bad the actor who played the guitarist of the Tritonz smelled! Was the smell really that bad? Could you describe the smell? Did you have to pay that actress any extra money to have a love scene with the guy?

JF: It was just bad B.O. We never mentioned it to his face. Smelled like he was a Frenchman.

BH: “Rock ‘N’ Roll Nightmare” was one of the first films to be edited digitally. Were you confident in what was at the time this “new technology”?

JF: We didn’t have money for dailies. We had to cut electronically. Like I said, I was sure we could do ANYTHING.

BH: I think the answer should be obvious, but why the 10 minute sequence of Jon Mikl Thor driving a van?

JF: See above – we had a ten day schedule and Mark bugged out after seven. The film was that much short.

BH: “Rock ‘N’ Roll Nightmare” features a number of scenes where people are killed in front of a sink. Why is this? Were either you or Thor traumatized in front of a sink as youngsters?

JF: My older sister used to let the water run until it was boiling hot without telling me and then when I went to the sink I got scalded. Or did I do that to my younger sister? One or the other.

BH: The end battle between Triton and old Scratch is the stuff of LEGEND! Share your unique memories of filming and participating in that epic battle!

JF: The Scratch puppet weighed like a hundred pounds and I had to scramble around on my knees holding the thing up with my arm sticking over my head into the torso. It’s head was SOLID resin and alone weighed sixty pounds. When I hit Thor with it, it hurt.

BH: “Rock ‘N’ Roll Nightmare” was originally titled “Arc Angel”, and then “The Edge Of Hell”. Which of those three titles do you prefer?

JF: “Edge of Hell.”

BH: Out of all of your films “Rock ‘N’ Roll Nightmare” probably has the largest following of loyal and loving fans. Why do you think that is?

JF: The wacky ending. I was trying to do a sendup of all these haunted house, “kill the cast one by one” movies. I LOVE superheroes and Steve Reeves movies and thought it would be great if a horror movie ended like that. People who got to the end of the film FREAKED and they told their friends. “Black Roses” is technically a much better film.

BH: Did the success of “Rock ‘N’ Roll Nightmare” pave the way for “Black Roses”?

JF: 53,000 total budget — 400,000 worldwide sales and Lenny Shapiro was back with a new offer. 450,000 budget for another Horror movie. I had an idea….

BH: “Black Roses” to me is the definition of a heavy metal horror movie! What was the inspiration for the script?

JF: Back in the mid 1980s there used to be this chick named Tipper Gore who thought that Rock Music was the hand of THE DEVIL! Oh. Yeah. That’s ex-Vice President Al Gore’s wife. Well, anyway, back then she was leading this crusade to ban Heavy Metal, and I got thinking about my next project. “Rock ‘N’ Roll Nightmare” had made about $400,000 in sales on it’s $53,000 investment and Lenny Shapiro wanted another project. He’d since become partners with James (The Exterminator, Shakedown) Glickenhaus and asked me to try my hand at delivering a film with a bigger budget: an astronomical $450,000! Since I had delivered albums for both “Zombie Nightmare” and “Rock ‘N’ Roll Nightmare,” I was looking for a subject that would lend itself to an album. You gotta realize that this was back before films had soundtrack albums filled with top 40s hits for the sake of the album sales.

Cindy and I got to talking — what if Tipper Gore was right and some heavy metal band was not only playing music of the devil, but was fronted by the Evil Dude himself. I figured the band would blow into some “Leave It To Beaver” town and corrupt the morals of the kids — they’d start drinking and smoking dope and having sex — yeah, this was back before they were doing all that shit in High School anyway. The hero would be the person who was the hero in my life — their hip English teacher, who is the only one who sees the changes going on in them. I thought of it as a morality play, and Cindy went off and wrote a script heavy on psychological crap.

BH: Is “Black Roses” meant to be a cautionary tale warning parents about the dangers of metal?

JF: Ha! It’s about MONSTER killing bad parents! Pay attention to your kids or you’ll die!

BH: You obviously had more money to work with this time around. What was the budget and shooting schedule for “Black Roses?”

JF: $450,000, 21 shooting days in Hamilton Ontario (DP Paul Mitchnick’s home town. )

BH: Like “Zombie Nightmare” and “Rock ‘N’ Roll Nightmare”, “Black Roses” features an amazing soundtrack! Masi, Lizzy Borden, Hallows Eve. Just fantastic. What is your favorite song from the “Black Roses” soundtrack?

JF: “Rock Invasion.” Eliot Solomon, the distributor Alan Solomon’s son, did the soundtrack. He was friends with Carmine Appice and these other guys. His score for “Black Roses” is AMAZING for the budget of the film. I love it.

BH: “Black Roses” is notable for featuring Vincent Pastore from “The Sopranos.” How was it working with him? Was he a “big pussy” during the filming of his death scene?

JF: Vinnie was great. When I showed my cut of “Black Roses” (twenty grand under budget) to the company, I got a great lesson from my producer/distributer Jim Glickenhaus — the movie was lame. There weren’t any scares, any monsters in it. EVERYTHING was psychological and implied. All the killing occurred off screen. I figured the movie was dead — but since I’d come in under budget, the money was there to do reshoots. So I quickly came up with five new monster scenes, storyboarded them and got the effects guys working on new creatures which I would shoot in and around my house in New York. I hired Vinnie Pastore in his first role as Tony’s dad, and had him sucked into a stereo speaker by a Tony Bua-created spider thing.

BH: The original “Black Roses” vhs release featured a beautiful cover with 3D plastic artwork. Do you think this flashy packaging helped the flick stand out in video stores? Did it help with sales?

JF: I get people today who don’t remember ever seeing the movie but remember that video box.

BH: Which of these three “heavy metal horror flicks” is your favorite?

JF: “Black Roses.”

BH: Can you pick a least favorite?

JF: Easy, “Zombie Nightmare” as it turned out.

BH: Finally, any other stories or memories to share?


I was lucky to get Carmine Appice (Rod Stewart’s drummer who had co-written IF YOU THINK I’M SEXY) Lou Ferrigno’s wife Carla as the stuck up Mayor’s daughter, Ken Swofford (principal on TVs FAME series and Sheriff on MURDER SHE WROTE) and my fan boy casting, JULIE-FREAKING-CREATURE FROM THE BLACK LAGOON-ADAMS as the Tipper Gore busy body who raises a ruckus over the Band’s shows. The CREATURE was the first horror movie I ever saw on television, at the age of like, two, and the images were burned into my head forever. I’m sure I got a two year old woody when Ricou Browning swam beneath Julies shimmering form. Okay.

All I needed was a guy to play the intrepid English Teacher. I knew who I wanted: Gedde Wantanabe, the disgraced Japanese businessman in Ron Howard’s GUNG HO. Casting against type — frail intellectual teacher fights monsters in big effects driven finale. Too bad his agent thought that the movie was beneath him. Then another Soap Opera actor came into our casting sessions — handsome John Martin, who actually been The MARLBORO MAN (back when you could advertise cigarettes). We had our teacher. Now we needed the monsters. Like I said, the movie was gonna be all psychological and shit, but at the end I needed the band to turn into monsters in their final concert. I went back to Tony Bua and Andy Clement, my SUNY Purchase classmates who had done Zombie Nightmare, and Andy recommended Richie Alonzo, who had done MY DEMON LOVER and now works at Stan Winston’s Shop doing pix like RELIC and JURASSIC PARK 3.

I storyboarded EVERY shot and we flew (okay, we still had to drive) to Toronto to hook up with my crew. Paul Mitchnick (DP of TVs HIGHLANDER) took me to Hamilton Ontario, just west of Toronto, a town which still had the innocence of America’s heartland. I got two Lamborghini Countach exoticars from a local dealer and we started shooting.


Jack Bravman was another New York based porn movie producer who switched to low Budget Horror films when the porn industry switched to shooting on video. He was friends with Walter and Roberta and when he heard I had fixed their script he asked me if I could write a script for him. I said I would write it if I could direct it. He said he wanted to direct it, but I could direct it with him as his “assistant director” I agreed and ZOMBIE NIGHTMARE was born. I planned to shoot the film in my home town of Port Washington, Long Island, and wrote the script around locations I knew and people I could get from the Port Play Troupe summer stock company I had worked with growing up. Up to this point I had been cranking out hundreds of pages a month for magazines on what I considered the finest writing tool available, the IBM correcting Selectric II typewriter — man, you could backspace and frigging ERASE a mistake. I thought writing couldn’t get any better., Until Zombie Nightmare.

You see, Jack and I envisioned ZOMBIE NIGHTMARE as an urban thriller, with a mostly African American cast. The bad guys were a group of white yuppie scum kids who ran over an innocent black athlete, whose Voodoo practising neighbor brings back from the dead. The Black characters all had stereotypical urban names like Leon and Leroy and others that started with “Le-”. Until the day that Jack informed me his investors found out they couldn’t sell a primarily Black cast low budget film to the foreign buyers (this crap still goes on today – if Denzel or Eddie Murphy or Will Smith ain’t in it, it ain’t worth as much to Germany, Japan, etc.) so I had to change all the characters, and their NAMES to white. But how the hell do I do that with a completed, TYPED manuscript? I had to type “BOBBY” and “David” and so on, a hundred times each, cut them out with an exacto knife and then rubber cement them into the script. After doing that for several days, I looked up at Cindy and said, “We’re buying a computer.”

Dude, this was 1985, and PC s were just becoming available., They were like magical objects in Dungeons and Dragons. Mystical boxes that Science Majors understood. Cindy thought I lost it. Computers cost, like, a thousand dollars for a 12 MHz machine with 8 megs of ram and a 40 MEG hard drive, and I was getting five grand total for writing and co-directing the whole film. I just looked at her and said “I think we’re going to have to write more scripts some day, and I’m not going to go through this shit with revisions again.” You see, up to that point most of the NY based films I’d seen shot basically went out and shot whatever shitty first draft they had. So I bought a Leading Edge PC and learned the now infamous a:/C: Run Print fuck you PC boot up procedure. Shit, in those pre-Mac, pre-Windows days, sometimes you’d turn on the computer and the screen would just stay blank and THERE WAS NOTHING YOU COULD FUCKING DO ABOUT IT.

Anyway, with the computer humming away in the bedroom/office/editing suite of our Bronx roach infested apartment, We began prepping Zombie Nightmare. Jack hired a casting director in Los Angeles who got us Adam West to play the Police Chief and a young chick from GENERAL HOSPITAL named TIA CARRERE (Yeah, the RELIC HUNTER in her pre-WAYNE’S WORLD glory) For the lead Zombie we hired an actor/body builder named PeeWee Piemonte who had a Coke commercial running, and for the daddy zombie I had my eyes set on WWF wrestler Superstar BILLY GRAHAM, a far out dude I used to watch on TV with my dad, he always wore these tie-dyed tights. I got Jack to hire two classmates from SUNY Purchase. Andy Clement and Tony Bua, to do the zombie prosthetics, Andy was taking Dick Smith’s correspondence course, and Tony was a Sculpture major who was just about the best damn sculptor you ever saw. They cast up PeeWee and SuperStar and got to work. Jack and I worked out the directing deal — HE would direct the scenes with Tia and Adam West in them, and when it was just the other people, I could take over sometimes. Hey, cool, I was gonna sort of direct a film I wrote.

Weeks — no, days before we were going to shoot in New York, Jack came back with more great news: He couldn’t make a deal with the crew Unions. We couldn’t shoot in New York or “union representatives” would shut us down (or break our legs) but he had made a deal with a producer of Porn in Montreal he did business with in his “former” life. We could go to Montreal and shoot the film. We were goin’ to Canada. I had to fire every person I promised a job to from my home town and drive North. When I arrived and Jack introduced me as the Assistant director the Canadian crew asked me for the schedule. I said, “don’t you have it?” And they said, the AD makes the shooting schedule. And I said, “Oh, I’m not really the AD, I’m the co-director.” They looked at me like I was a two headed chicken. This led to great confusion the nights when Jack would walk off the set and I had to BEG the crew to listen to me. “Really, I’m directing now — Jack’s gone back to the hotel room.”

Shooting “Zombie Nightmare” was a trip. The Montreal Producer put all of us Americans up in a sleazy Motel by the airport — porn on the TV of course which NONE of us had seen before, and the crew only spoke French in front of us (even though the bastards spoke perfect English behind our backs) Tony and Andy showed up with, like ONE FUCKING COPY of the Zombie Appliance which had to be worn by Peewee for all ten days of the shoot. Andy said he couldn’t get his foam to gel. A call To Dick Smith straightened him out and he was quickly cranking up more appliances. On I think the second day of shooting Billy Graham was flying up to join us. I returned from the set to the production office and asked if his flight got in on time. The PM blanched, looked at me and said, “Dude, we forgot to pick him up!” I jumped in my car and flew over to Mirabelle airport. Ran into the terminal. Yes, a big man got off a plane ten that morning. He sat in the airport lobby for ten hours. Then flew back to The States. I was crushed. My wrestling hero was gone. Who the hell was going to play the Zombie the next day? It was cast on his head and his neck was HUGE — Shit. We looked around — who would it fit?

I had to play the Zombie. They quickly SHAVED my arms and chest (it looked like I was wearing a fur tank top) and glued the appliance on — and I couldn’t see — Tony had sculpted the damn thing on a closed eyes life cast, and the Zombie head had sculpted eyes, so he figured the actor would just crawl out of the grave, fight Adam West, and drag him to Hell — completely blind! Anyway, on a graveyard set we built in some guy’s front yard I was buried in a hole and covered with sod. I smelled something burning — there was a red light in the hole to simulate the fires of Hell — and the hole was so cramped it was resting against my fucking leg! “Roll film,” I cried. “Action!” I broke out of the hole. Stumbled forward and grabbed Adam West — knocked his gun away — wrestled with him a bit. — pulled him back towards the grave. We set up a new angle and I got back into the hole up to my waist. Adam laid on the ground in front of me and I pulled him back into the hole. Once we were both beneath the sod I was smiling beneath my mask. “I did it.” I said. “Did What?” He asked. “Mister Freeze couldn’t do it. The Joker couldn’t do it. But I killed Batman.” Blind, burned, and mosquito bit in a land of French speaking crew. It was one of the greatest moments of my life.


There is so much more to say about “Zombie Nightmare” that will fill more than one chapter of the book I’ll eventually write. It was the first film that I worked on that really felt like a real movie. Being on location, dealing with professional crews, actors, first time of being totally FUCKED out of the credit I deserved, etc., but it will always be most special to me because of Adam West.

He was my first real hero as a kid. When I was five years old, television was black and white, and westerns. Batman burst into my living room in color, the first true fantasy program any of the kids on my block had ever been exposed to. 1966. This was the start of a Golden Age, the beginning of genre fanboys. FAMOUS MONSTERS magazine was on the newsstand, the Universal Horror films had been sold into syndication, Aurora came out with their Monster and Superhero figure model kits (75 cents at Korvettes Department store!) and here, on our flickering Philco televisions, was Adam West as Batman. Sure, he was followed quickly by the Green Hornet (Bruce Lee as Kato!) George Reeves Superman reruns from the 1950’s and Six Million Dollar Man and SHAZAM and a host of others, but Batman was my inspiration. I remember the dank, dark living room of our first house in Farmingdale, New York, a tiny ranch, and the first commercial, maybe the first television image I remember — the animated teaser for BATMAN. Fuck! To finally work with the man — even in a ten day shoot with a $180,000 budget — Well, you coulda’ driven a bus over me and I would have gone to Valhalla content.

Adam was the coolest on the set. He knew that being Batman had typecast him, he had gone through a dry spell in his career, and by the time he got to Z.N. he was having fun with his status. People like us needed “Name actors” He would make a good living dropping into these crummy flicks for a few days, but he didn’t just phone it in. He really wanted to do a good job — even though the schedule and circumstances would work against him. Some examples: Driving Adam to the set I lamented that there wasn’t another scene between him and costar Frank Dietz that was out of the police station. I’d thought it would be cool to have them out for drinks, commiserated how shitty it is to be cops. He said, write it! And so when we got to the police station set I had the art department re-dress the far corner of the room to look like a restaurant, with a couple of plants, tables, and a different colored wall — and we did the scene!

Since he was working, I think two days and we had to shoot like ten scenes with him he had to have the script in front of him for a lot of the Police Station scenes. He’d glance down to refresh his memory while the other actor was giving his lines, knowing that the editor would have cut away from him during that time — but the first time moron Montreal editors left in the shots where it’s clear that Adam is looking at his script! Even in the finale when I get to kill his character, someone shot a flash picture while I was coming out of the ground that no one saw until we got the dailies and saw the few frames flashed. The hazards of Ultra low budget filmmaking.

I think Adam still enjoyed making “Zombie Nightmare,” though, because a coupe of year back when he was asked to host MYSTERY SCIENCE THEATER’S Thanksgiving “Turkey Fest” he agreed if they would show “Zombie Nightmare” as the last film of the night! Of all the honors I have achieved since staring to make movies, seeing my first baby dissected on MST will always be up near the top of the list. Thanks Adam!

Thank you again to John for doing this interview way back when!


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