Up Close with Joe Zaso

Starring in such films as Demomium, Nikos The Impaler, 5 Dead On a Crimson Canvas and Evil Streets. Joe is quickly climbing the ladder in being a cult/horror favorite. His ability to either bring chills to your bones with his portrayal of Frank Heller in NIKOS THE IMPALER or put on his playboy routine to score a few. Joe has shown that there really are no boundries to what he can do as an actor. He has also displayed that his abilities are not just reserved for in front of the camera as well. Directing, producing and even writing, his talents are all round.

CN-Joseph I would like to thank you for taking the time to answer a few questions for us here at Cinema Nocturna. Let's jump right into the mix with the first question. Where did it all start? Your drive to become an actor/director etc?

JZ-First off, Steve, thanks for interviewing me on your great site.  I am a fan of many of the people and films you regularly discuss.

I have always had a love affair with film, particularly the horror genre.  I had always aspired to work in film in some capacity and growing up during the Golden Age (the 70s and 80s) of Horror, I was surrounded by inspiration.  I began making Super 8mm films at the age of 9 after observing my brother (who is now a doctor) make vampire movies and an homage to The Incredible Hulk called "PROJECT GREEN MAN."  My first little movie was called "THE HYPNOTISM" and I was inspired to make it after watching "THE FURY" on Cable.  I later made a series of video features called "OUR BLOODY MANSION" (a salute to MOTEL HELL), "THE INCREDIBLE GROWING DOG" (!!)  - a salute to "THE INCREDIBLE SHRINKING WOMAN" - "SCREAMBOOK" (a salute to CREEPSHOW).  Basically, whatever was my favorite movie that I saw on cable was my inspiration.  My friends and family were always roped into the procedings.  I always took my work very seriously, despite the fact that what were doing was totally crazed and silly.  When I reached the age of 17, I got the acting bug and I became involved in a lot of community and Off-Off-Broadway theater.   When I graduated college, I moved to Hollywood for the Summer of '92 where I got "extra" work in films like INDECENT PROPOSAL, DRAGON: THE BRUCE LEE STORY and PLAYBOY'S SECRETS AND CONFESSIONS.  I wasn't crazy about Hollywood despite the fact that there was lots of work (I much prefer New York and Europe) and I returned home to New York where I continued to do theater and "extra" work on soaps like "ALL MY CHILDREN."  I enjoy working on both sides of the camera, but I've always felt that acting is quite fascinating since it is a different kind of challenge.  A much different creative process.

CN-Who were your influences on both planes, acting and directing?

JZ-My favorite directors are Dario Argento, Robert Altman, Woody Allen and Tim Burton.  Until "DAY OF THE DEAD," I adored the work of George A. Romero and I've always admired Joe Dante.  My favorite horror film will always be "THE OMEN." I know by today's standards it's pretty tame, but it did a number on me when I saw it at the age of 6.  The other films that made me want to get up and make films are "CREEPSHOW," "SUSPIRIA," "CARRIE," and "GREMLINS" to name a few.  

As far as acting, I have no "favorites," but I study the style and technique of different actors.  More often than not, I tend to imitate and incorporate the personalities of people I know into the roles I am given.

CN-Can you talk about your first project,"IT"S ONLY A MOVIE"? Not only did you direct it, but cast yourself in it. What doors were opened in light of this film?

JZ-"IT'S ONLY A MOVIE!" was a horror musical-comedy I did at the age of 18.  I was inspired by movies like "PHANTOM OF THE PARADISE" and "LITTLE SHOP OF HORRORS."  Indeed, at the time, this was my most ambitious project, but ultimately my worst as it was a big mess.   The script had an interesting storyline and interesting characters, but the film constantly shifted tones, the singing was bad (and out of SYNCH!!), the cinematography and lighting were messy...  VARIETY Magazine did say it was "well meaning" :) .  But then again, I made this when I was 18.  Most of my friends and colleagues were only watching movies, not making them. It was a fun experience, but I can say that the one good thing that came out of it was the fact that I learned a lot about organizing film productions.

CN-Can you tell us what it was like to work on the film ALIEN AGENDA:ENDANGERED SPECIES? What was it like working along side scream queen favorite Debbie Rochon?

JZ-It was terrific to work on "AA:ENDANGERED SPECIES" because it gave me the opportunity to act in a simple domestic situation (...until I'm revealed as an alien).  Maybe a little too "DAYS OF OUR LIVES," but it was a fun exercise.  It was actually the SECOND time I worked with Debbie Rochon (we had met years before on a Grad School project, a Hammer homage called "Frankenstein Reborn" - sadly never finished - and written and starring Joseph Parda who would later collaborate with me).  Debbie is definitely charming.  Very professional and committed to her work, but she has this calmness about her that makes a shoot pleasant. We've worked together a few times since.

CN-Now there are many critics that dump on Joseph Parda's 1996 film 5 DEAD ON A CRIMSON CANVAS, why is that?

JZ-"5 DEAD" has gotten a lot of good press and awards (FANTAFESTIVAL-1996 and Best Outalaw Video-Cinefastastique Magzine) and John Anderson of NEWSDAY enjoyed it.  It has also gotten some criticisms.  Some of our detractors have mentioned things along the lines of "it isn't a true giallo or it isn't exactly like the gialli of the 70s."  Well, it's an homage not a clone.  It has the spirit and elements of a giallo, but it's also an original film in its own right.  Joe Parda has his own style which incorporates a lot of Lynchian and surreal touches that may not be very "giallo," but definitely unique.  I prefer to hear critiques from journalists and not fellow film makers acting as journalists.

CN-Is it true that is plays out almost like an Italian giallo?

JZ-It's definitely a love poem to the Italian giallo.  Everything from the convoluted plotline, to the eccentric characters, to the lighting and gory set pieces, to the traumatic flashbacks to the killer dressed in black.  The music also has its giallo-esque flavor as well, maybe not as jazzy as Morricone or as throbbing as Goblin.  No Edda Dell'Orso lullabies here, but I think our composer, Jerry Djerassi did magnificent work.  The film was also shot WITHOUT sound and post-dubbed later to give it an extra dimension of Euro-thriller.  I enjoyed working on this film, but it was definitely a test of wills due to the ultra-tight budget of $25,000.00.  I am a big fan of giallo film (in fact, my most recent favorite is THE CASE OF THE BLOODY IRIS) and I am ready to do another one.



CN-Can you example to us about you second time behind the director's chair, in co-directing GUILTY PLEASURES? I haven't had the pleasure of seeing this film, can you give myself and others details about it?

JZ-"GUILTY PLEASURES" is sort of mine and Joe Parda's version of TWO EVIL EYES, in that it's anthology told in two episodes directed by two different people and using one theme (in this case, the location of an apartment building).  It was going to be in four parts, but that never reached fruition.  I wrote and directed the second episode called "METHOD TO THE MADNESS" which concerns a New York actress (indie star Sasha Graham) who finds herself slipping into insanity after she joins a very intense acting class taught by a foreboding drama coach.  Although the story takes cues from such films as PERFUME OF THE LADY IN BLACK and THE STENDHAL SYNDROME, it mainly is the result of two real-life experiences I encountered.  Several years back, after returning from Hollywood, I was cast in a production of "I HATE HAMLET!" which left a lot to be desired.  The cast and crew were strange and the director was a madman.  The atmosphere of that theatrical production was unnerving.  Years later,  I also once found myself the object a crazed admirer (certainly not as bad as TENEBRAE or MISERY) who would not stop calling or writing me for two months despite anything I said or did.  I incorporated these ideas into the outline my own psychological thriller.  But I was most intrigued by something an actress friend once told me about overly-intense acting coaches performing exercises on actors who have very fragile personalities, and perhaps very unstable lives and backgrounds.  What might seem to be a mere creative process could be very dangerous.  All of these concepts came together and I wrote and directed a project that I am very satisfied with.  The first episode is called "NOCTURNAL EMISSIONS" and it was written and directed by Joseph Parda and it stars me as a "concerned" police detective who becomes involved with a beautiful woman who is being harrassed by an abusive boyfriend and an obscene phone caller.  Meanwhile, the "Sex Killer" is terrorizing the city.  It's a very fetishistic story with surreal imagery and lots of weird sex, but it's amusing all the same.

CN-You were reunited with Debbie Rochon in Kevin Lindenmuth's RAGE OF THE WEREWOLF, although it was a smaller role, what was it like t work on this film?

JZ-The role I played in RAGE ("Lazlo") is my favorite of all the roles I've played over the years.  For the first time, I was able to truly play a character and not a reactor who lets the eccentric supporting cast do their thing.  I was able to give a Ming The Merciless-style performance which was lots of fun.  The whole film is extremely comic book in its tone.  I remember enjoying this shoot very much, with exception to wearing those very VERY hot mutant werewolf suits which are NOT one size-fits-all as director Kevin Lindenmuth promised.  It's definitely a silly film with chessy monster effects, but oddly enough, fans in the US, England, Italy and Germany seem to enjoy this one a whole lot.  

CN-How did you get involved with German goremestro Andreas Schnaas?

JZ-It was the case of a happy accident.  I was promoting my newly-Christened web site in September of 2000 and I accidentally stumbled onto a discussion board (The Diabolical Dominion) where I promoted the site.  One of the moderators of the Discussion Board was Ted Geoghegan who noticed my name.  He contacted me to tell me how much he enjoyed my performance in RAGE OF THE WEREWOLF and we started sending notes back and forth.  Eventually, I discovered he was co-writing a film for German goremeister, Andreas Schnaas.  I didn't know very much about his work.  I only knew the names of his work (like VIOLENT SHIT) because a Swiss friend of mine mentioned these titles to me in the past.  The film was to be filmed in Rome in the early Spring of 2001, right around the time I was planning a trip to Italy.  After countless e-mails and arranging and re-arranging, I found myself involved with DEMONIUM.

CN- How were you approached to play Viktor in Schnaas' DEMONIUM?

JZ-I auditioned for Andreas Schnaas and his wife Sonja (the co-writer and co-producer) via e-mail.  I sent my reel to them and just about any infomation on myself I could send them.  I also spoke to them once and a few days before Christmas, I was informed by Ted that I got the part -- which was very exciting news.  I went to Rome a couple of weeks before production started and met Andreas and Sonja.  We hit it off and before long, I found myself getting my head shaved completely (which only Andreas seemed to be able to convince me to do).

CN-Again, what was it like working on a European set and better yet with Schnaas himself?

JZ-It was very exciting and surreal, working in authentic Roman castles with the likes of Sergio Stivaletti and David Bracci (NONHOSONNO).  Except for Ted, I was the only American on the set.  Virtually everyone was either Italian or German and the main language spoken on the set was "baby English," which I thought was very amusing.  There was definitely some hostility between the Germans and Italians as each group has their own work ethic.  There was the occasional shouting match.  Because I speak Italian, I was able to communicate well and I even helped out with coaching the Italian actors with their English pronounciation.   Sometimes it worked, other times...  I think we better call Nick Alexander and FONO ROMA.



Andy Schnaas was fun to work with. When he wanted me to act a certain way, he would explain in German to Sonja, who stood nearby, what he wanted me to do in with great detail.  Since Sonja's English is a little better than his, it facilitated things for her to explain to me in English.  It was all a crazy game with the languages and cultures intermingling.  Certainly, the most unusual experience I ever had on a movie set.  Until NIKOS.

CN-You work again with Andreas yet again in his latest film NIKOS THE IMPALER only this time he brings himself and the filming to your backyard of New York. What was that like?

JZ-NIKOS remains the most challenging and brutal experience of my entire career.  I am happy with the end results, but this project definitely represents the most work I ever did on any one film.  I was not only the lead actor, but more importantly, the line producer, who was responsible for a seemingly endless array of things.  Our budget was sizable for an underground horror film, but still very tight considering the demands of the script and Andreas.   When I produce and organize films, I always find myself wearing many hats, but here it was pure insanity.  I slept two hours a night for the entire month of October, 2002 into November.  I had to chauffer Andreas and his collaborator Marc Trinkhaus as well as our FX men, Marcus Koch and Jesus Vega, every day.  I drove 8,000 miles in 2 months.  I had to design and materialize the costumes, cast and organize the actors, deal with an assortment of issues with the crew, cast, camera problems, logistical problems, permits, etc.  The average shooting day/night was 20 hours.  It was very dream-like seeing Andreas working in many of the places that I call home (like my gym, the cinema) and taking Andreas to the local Dunkin' Donuts and Best Buy on a regular basis.   All in all, it was riveting and I achieved many new skills. It was a major test of wills, but seeing the DVD for the first time warranted all the brutality of the experience.

CN-Were you satisfied with your portrayal of Frank Heller? Was the end result what both you and Schnaas envisioned?

JZ-I think I gave a decent performance as Frank. The role, like that of any giallo hero, definitely took a back seat to the carnage and wrath of the film's events.  I think my character works well for the first half and then little-by-little dwindles until the finale.  I think it was the way Andreas envisioned it.  But let's bear in mind that this is acting for an Andreas Schnaas movie.  Not a Robert Altman movie, so the character development and performances are never going to be focused upon nearly as much as the gore.

CN-Would you work with Andreas again, how about co-directing with him? Is that a thought?

JZ-I would gladly act for Andreas again.  I still cherish the happy experiences I had working on DEMONIUM, so that's a definite.  There is some talk about NIKOS 2 and other Schnaas projects.  I would like to work with him in Germany or some exotic locale.  Co-directing?  No.

CN-Do you have any intentions of getting behind the camera once again? Is so, what genre could we expect to see you direct?

JZ-While producing and acting are my main passions, I would invite the chance to direct again.  I'm not sure which genre I would end up with, but I know the main focus would be the actors and the atmosphere of the story.  I'm not as visionary as many of my colleagues, but I've seen enough bad acting in so many films, big and small, to know that fine acting is essential.  The script also has to be top notch for anything to work.  Right now, I wish to continue acting more, in roles that are much more challenging.

CN-Ok, I have to ask this out of curiosity, which films do you find to have the most impact on your career?

JZ-Anything from DARIO ARGENTO.  His style has inspired me for years.  

CN-One last question I'd like to add, before we conclude, what advice or last words would you pass along to those who seek a career in either acting or directing?

JZ-You really do have to be insane to endure the ups and downs of working in film.  Truly.  It will never be easy.  You will need to sacrifice your happiness.  You must be willing to make yourself miserable.  You might need to make yourself hungry and poor.  You will need to give 200% of yourself to others who won't necessarily appreciate it.  You must dedicate yourself to not leading a normal life.  And you must always be ready to go back for more.

CN-Joe, it's been a great pleasure conducting this interview with you and would like to wish you all the luck in the future.

JZ-Thank you so much for take an interesting my films and my work!  Cheers!

You can catch Joe has two other films currently doing the festival scene. Joseph Parda's MACHINES OF LOVE AND HATE starring Eileen Daly (RAZOR BLADE SMILE). MACHINES is receiving some really great reviews, so look out for that one. Also, Joe stars in Ray Schwetz's AND THEN THEY WERE DEAD...which also stars Darian Caine. Some of you might recognize Ray Schwetz's as the editor of Andreass Schnaas' NIKOS THE IMPALER. For more information on Joseph Zaso, visit him at CINEMA IMAGE PRODUCTIONS.

***This interview was conducted by Steve Genier via email July 23 2003 for Cinema Nocturna.