November 23, 2005
Urotsukidoji and Beast City reviewed, with tentacles.By Kristy Lin Billuni
These two Hentai sci-fi/fantasy delights serve up creepy creatures mingling with adorable schoolgirlish heroines. And plenty of tentacle sex.
In the imaginative, violent, and far out Beast City, demon Sex King Lord Karma turns the citizens of Tokyo into beast slaves who seduce and screw people, stealing their endorphins for him. It's up to Mina, the Vampire Madonna (voiced by Tuesday Knight) and her Draculon sisters Aine and Annie (Ruby Seedless) to stop them.
In Urotsukidoji*, Amano-Jaku and his sister Megumi are half-man, half-beast characters seeking a "promised one," the fabled Cho-Jin, who will rise up, destroy the evil Makai, and make everything peaceful on Earth. They set their attentions on goofball-hero Magumo whose budding romance with the innocent Akemi serves as the sexual centerpiece in the story of his struggle to realize his Cho-Jin destiny.
The different approaches to plot serve as a nice metaphor for the types of Hentai each anime represents. Urotsukidoji's story has very little to do with sex - it's a solid, end-of-the-world variety sci-fi. The script takes its time developing, and with some of the violent fight and disaster scenes, it's easy to lose track of what's happening, but the story is the axis, with the sexual tension between Magumo and Akemi key. Their abbreviated sex scenes cut off early and end badly: Akemi and Magumo often kiss, but that's almost all we get. In one mean-spirited teaser, a nude Akemi thanks Magumo for saving her, but we don't get to see the thank-you-sex. Instead, we are escorted to more mandatory fight scenes and plot development. I never got to get-off to any prolonged, steamy Magumo-on-Akemi hard-core action although I certainly wanted and expected to.
In Beast City, however, the irresistible Draculon sisters get it on in a wet and vivid shower scene, reminiscent of Kondom's Bondage Fairies. One of the villains (in The Beast II: Awakening of the Beast, the second episode on the same DVD), sexy transfer student Seia is a hose-and-gartered dominatrix Sex Demon with schoolgirl sisters. And there's a sweet little masturbation scene where we get a glimpse deep... inside, fingers pulsing against a swollen g-spot - you just can't get that quality of interior close-up in live-action porn.
And the plot, with its clever and thorough weaving of sexual concepts and backdrops (rope-bondaged, live-babe furniture in the Sex Demon's palace, for example), devises penetration opportunities aplenty. Meanwhile, in Urotsukidoji we really don't get to see much that you could call hard-core: no close ups of penetration, no concentration on sexual bounce and body rhythms. Instead we get to see a brawny basketball star's tongue repeatedly on Magumo's cheek, a promise for hot boy-on-boy action that never delivers.
But be warned that even the naughtiest fetish scenes in Beast City can turn disturbing on you without warning. Just when you think it's getting really good - wet panties, bondage, discipline, sticky-tape torture, and lines like, "If the pain becomes pleasure you can come as much as you want" - the sexy characters are apt to turn into tentacle-throat beasts. In fact, the Makai in Urotsukidoji are very similar to the phallic-tentacle-out-of- throat-creatures as the sex demons of Beast City, but that's about all they have in common.
Pick up Beast City for sex-packed action and Urotsukidoji for heavy sci-fi sprinkled with sexual tension.
November 15, 2005
ei Cinema's Michael Raso: All about Seduction
Michael Raso is president of ei Independent Cinema, the folks behind the curtain for Seduction Cinema, Shock-O-Rama Cinema and Retro Seduction Cinema. They're most famous for their seemingly vast repertoire of Misty Mundae titles, many of them erotic spoofs of genre films, but as Raso tells Jonathan Marlow in the ensuing interview, the company has a great affection for classic erotica and other blasts from the past, as well as horror films and "B" titles. Here he talks about how the company started and where it's going now.
Where did the name "ei Independent Cinema" originate?
The name ei has its roots in film school. "Ei" is a technical term for film speed - it stands for exposure index. I was going to school with my partner Jeff Faoro and we were a little more ambitious than most of the other folks in class, and we tended to hog the film department's equipment. We'd be checking the cameras out all the time shooting, so when Jeff and I were walking to class, the other students would say, "ei, ei, ei!" because in class we were discussing exposures. So they called Jeff and I the ei brothers, and it stuck. A really early incarnation of the company was called ei Brothers Production company in the 80s, then, when I formed the film production and distribution end of it in '94, ei Independent Cinema. Quite a few times I thought about changing the name of the company, but I just never got around to it and here we are 10 years later and a lot of folks in the industry and distribution know us [by that name].
There's no sense changing it now. Besides, you have four sub-imprints.
That's why I kept ei, because it functions well as the company name, but the brands - Seduction Cinema, Shock-O-Rama Cinema, and now Retro Shock-O-Rama and Retro Seduction Cinema - they're doing well and there's a lot of fan recognition to the brand names. That's really worked well.
I think the reason that Retro Seduction gave 1990 as a stop point is because we have not explored [that era] yet, but I think very soon we'll start exploring movies from the early 1980s like Hollywood Hot Tubs, films like Lunch Wagon.
We currently do not have them under license, but with a few trips out to Los Angeles, I met a few producers. Most notable is Mark Boardy, who produced those films. They're currently not available for the public and when I see a film like Lunch Wagon, made in '81, I find out that Missing Persons did the soundtrack and Dick Van Patten's in it and it's a really goofy sex comedy very similar to the West German comedies from '74. It's very appealing, but I think [we need] another year or so to start introducing these early 80's films.
Part of our agenda at BlueCine is to revive this lost era of narrative sex films. What you're doing and what we're doing somewhat overlaps.
It's fun. Sometimes I have to wear my sleuth hat. I have to find the films, track down the owners of the films. It's a difficult process and I think that's why it's very comforting to work in the films of Joe Sarno. We've established that we're releasing these films and we're working with the Sarno family just as we are with director Nick Phillips. It's great to kind of mine a library and comprehensively release films from a particular filmmaker and I think that theme is a very good parallel to what we're doing with Seduction or Shock-O-Rama, because we're continuing to work with Brett Piper and filmmakers like Tony Marsiglia, John Bacchus, star Misty Mundae.
There's a thread of consistency with our films. We try to make it like a club, so to speak. That's also a very satisfying part of the job. Most people think of the various labels of ei cinema, Misty Mundae films, Darian Cane films, Tony Marsiglia films, Brett Piper movies, Joe Sarno's films. Certainly, Something Weird Video is putting something together for Joe Sarno's films as well, but besides us and Something Weird, there really doesn't seem to be a heck of a lot of interest in properly releasing these films. That's a shame. I gladly take on that responsibility and move forward with it.
This is an area that [Something Weird's] Mike Vraney has mined for quite some time.
Yeah, I've seen a few of their releases and certainly, when they do focus on releasing a title, they have put out some films with extras and whatnot. As we continue with retro, especially now, we're putting out a lot of loops, and getting into the whole featurette scenario with these hour-long lost films. We're really starting to do things very similar to what they've been doing for quite a long time. Hopefully I'll run into him at one of these conventions and chit-chat, because there is a bit of a parallel to what we're doing, though I think they're approaching it in a little bit of a different way.
How did you decide to go in this particular direction?
Upon discovering that in a lot of older films, especially from the 60s, a different time, when a filmmaker would make a movie and not put their name on it because they did not want to be put in jail. A time when the laws were this very gray area of exhibiting a film in a theater and having the FBI do a bust. It was a very strange time, and it was such low budget filmmaking, that with the loops in some of these smaller features, even Nick Phillips to some extent, the films were not properly copyrighted and the copyright laws have changed so drastically. Back then you would need to send a copy of your work in the form of a print to the copyright office and copyright your motion picture. This is not done, especially when it comes to a loop, which is a ten-minute film with no titles.
Really, from a collective perspective of just being very interested and completely fascinated by the genre. Through some private web auctions and through eBay, I've hooked up with a bunch of collectors throughout the country, and found a whole underbelly of film collectors. This is completely fascinating to me; here are clubs where people buy films 16mm or 8mm, and they trade them. Some of these collectors, they don't have DVD players or VCRs. These guys are collecting movies and screening them on projectors. I guess the ones they feel are keepers, they hold on to and get a [duplicate copy], they put one up on eBay. I've immersed myself into this world of collecting and have collected probably about two hours worth of loops - black and white and color - from the late 40s through 1971, and this is a whole new world.
So they have just volumes upon volumes of these collections. Hours upon hours.
So now the job is to categorize and classify the loops. What are they? Is there anyone notable in them? From a historical perspective, let's put out a series from the 60s, say, a DVD of just one particular year. Then let's see if we can dig up any history on these. Let's put it in a collection with a collectible four-color booklet. I want to present it to the public as historically accurate as possible and make it fun by including a booklet or setting up the menus as if it's a peep show arcade, where, before the loop starts, you hear a quarter drop into the slot.
Also, we've only put a few volumes out and they're brand new. There are so many other questions. Is the general public really interested in this? Will traditional retail stores and fans be interested in purchasing a collection of naughty loops from the 60s?
Meanwhile, simultaneously, I'm still restoring some of Joe [Sarno]'s films, which will be coming out in 2006, and attacking that in a very specific way. For example, we just released Joe's films from '74 and the three German films. We've interviewed Joe and Peggy and had liner notes writted by Joe's biographer. So just trying to be as comprehensive as possible because, I think, from a collector's perspective, that's what makes our releases so much fun.
Clearly, "grindhouse" cinema is ripe for rediscovery on a mainstream level. When ei Independent started, it was initially conceived as a relatively conventional film organization. What impact did Caress of the Vampire have on pushing you in an exploitation direction?
Yeah, early on, in the mid 90s, ei cinema was sort of nebulous. Myself and Jeff and the other folks that worked with us at the time in our offices knew we wanted to make movies. Ei cinema was initially started as a company that would be making and distributing horror films. Early on in traditional distribution, we actually started working with a company called Ventura in California and retail opportunities opened itself up and you sort of discover the mechanics of releasing films on a regular basis. In order to be effective you need to be consistent and that means releasing films every month.
In the early to mid 90s, ei Cinema experimented in many different genres. We released a series of stand-up comedy tapes, including early Chris Rock performances, and it didn't work for us. We had an exercise line where we released Oscar de la Hoya's championship boxing workout and something called the grip step workout. Here we are releasing exercise tapes, not good. We tried to release some foreign films. One was produced by Jim Jarmusch, another, Attack at Dawn, was a Japanese war picture. In the mid 90s, we didn't have an identity of exactly what we were doing and there were a lot of one-offs from all these start up labels that we had, and Caress of the Vampire very effectively sealed the fate. It was successful. There was a need for that kind of product.
Do you remember the Surrender Cinema films? It just so happened that there was a tail off of those films and here we are in the East Coast starting with Seduction Cinema and it worked, retailers wanted this type of product in their store. Take that in conjunction with the brand new DVD format and you have some hits, because retailers are actively looking for anything on DVD - especially something that is naughty. Not since the early 80s... I always use Fast Times at Ridgemont High as a perfect example of an edgy comedy with sex in it, actual sex and nudity and all the good stuff that I remember growing up seeing in the theater.
Then somewhere into the 90s, Hollywood becomes very homogenized even in their "teen films." You [still] do not see a lot of sex coming from Hollywood and that is why something like a label called Seduction Cinema works so well - because the only way that stores and fans can get it is from small independents on a scale of what we were in the 90s. Most young filmmakers were not out there shooting erotic comedies or attempting to shoot horror films. Being a bunch of starving guys working out of a small flooded office in New Jersey in 1996, anything that worked was palatable to us.
We took our cable TV, comedy background and decided to spoof James Cameron's amazing Titanic, unfortunately releasing it a little too late into the marketplace to capitalize on [Titanic's] success, but the following year we were able to hit on mark with The Erotic Witch Project. It was shot in, literally, real time. Two days in the woods, edited in a week and released to the marketplace the following month. It hit at a perfect time and was able to take Seduction Cinema a little more mainstream to the point where Entertainment Weekly ran a little picture from The Erotic Witch Project because there were so many spoofs of Blair Witch, including other erotica spoofs, but we were the first of the DVD market.
There were dozens, and almost all of them failed except for yours.
There was something called Bare Wench Project which did not go to DVD until years later, but they achieved TV success, I believe, while we attained DVD success. So that's the humble beginnings of Seduction Cinema. If you asked any of us here, do you guys enjoy shooting erotic features, I would say, that's not the reason we got into the business. And I'd never have guessed early in the 90s that we would be shooting such high-powered erotica. We adapted. We want to make movies and we understand that we have to make ones that are going to sell, that are needed in the marketplace or else there is not much opportunity for us to make films.
You made a few decisions early on, which proved to be quite smart. You adopted the "studio system" where your actors were under contract to ei. If people were interested in those actors, they would be interested in seeing your latest releases. Part of that requires identifying the right actors to be your stars. How did you first sign-up Misty Mundae?
Misty Mundae was already acting in Factory 2000 films, which were literally underground movies. They were shot in North Jersey on VHS camcorders. They were homages to The Last House on the Left and all these films from the 70s. They were rough, concentrating on kidnappings and strangulation, a bizarre group of films.
Bill Hellfire was the director and he knew early ei. I was running a catalog, literally, a photocopied catalog that would go out to fans of some of our early releases and he wanted to shoot movies. I'd say, "go shoot a movie." We'd slap a cover on it to a VHS tape (before DVD), put it in the catalog for $29.99 and people would buy it. He adopted a very Nick Zedd/Richard Kern/Andy Warhol-type of scenario where he had this troupe of players, Misty Mundae, Joey Smack, Tim Tomorrow, I mean, all these fictitious names of these fictitious kids. They're all 20-year-olds partying and shooting movies and people were buying them.
Here we are ten miles away at ei cinema, launching our Seduction Cinema, starting to do these spoofs and we had hired Darian Caine through an agency and were always looking for talent. We were able to see in Misty Mundae's early films that this girl really had a spark, an on-screen presence. I think her first starring film with Seduction Cinema was Erotic Survivor in 2001 [a sequel was released a year later].
That's a relatively small part.
Well, that's an ensemble, not a starring role. In that same year, our spoof of Gladiator, Gladiator Eroticus, once again, it was a supporting role, but she jumped of the screen and just did a fantastic job. She was local and going to school and not working, so one thing leads to another. I really saw the potential there and started targeting and focusing on her character. We hired her for something called Mummy Raider, which is also known as Misty Mundae, Mummy Raider. That film was shot in Massachusetts and she had to carry it [with] the focus on her as the lead. That film was the super low budget two-day wonder. At the same time we were coming up with our Planet of the Apes spoof [Playmate of the Apes]. I think that was one of the first Seduction Cinema films to really take off.
And it was sold to television as well.
Yeah, they take off in different mediums because before Playmate of the Apes, we were shooting these erotic films at a very rapid pace and they were fulfilling a DVD market, but at the same time we were exploring the whole expansion. And Playmate of the Apes was a cute title, a great poster, a decently shot film, production values are decent. It hit the TV market and the foreign market.
We see Misty Mundae in Mummy Raider, we're like, "this is the girl, great! Let's cast her as the lead in Playmate of the Apes." From an internal perspective it was no different than any other film she was in. She got a call, "hey, we're doing a film." She had no clue she was doing the lead. She got picked up for the shoot, showed up on the set, "here's the script." "Oh, I'm the lead!" And she pulled it off. I guess from that film, in the course of 12 months, that's when the whole concept of doing a studio system really hit me, making this an ensemble and being consistent without players, to bring this to the fan base. I think that's what makes the films exciting, because fans feel they're part of something, similar to a Troma experience.
Another decision that has proved successful, in addition to the spoofs, is reviving the history of the erotic films by remaking them. You've made relatively straight remakes of films like Roxanna [original] and Lustful Addiction [original]. Coincidentally, the mainstream Adult business is taking this strategy as well, with Eon McKai's revisioned Neu Wave Hookers and Adam & Eve's new version of The Devil in Miss Jones. They're starting to see that there is a history here that they can do something with. In the early days of Hollywood, they used to produce remakes even a few years after a film was first released.
I'm very saddened by the fact that [the adult industry] doesn't embrace the history as well as they should. You certainly could find Devil in Miss Jones on DVD, but you cannot find anyone finding the negatives, remastering it. The film was so rich in history that it deserves that. I think one of the negative aspects of what I do here is we do that investment but it's a risky business. When you look at the adult film business or any other studio, it's quick, fast, and cheap.
Who would want to invest thousands and thousands of dollars into remastering the Devil in Miss Jones or Deep Throat or any of these films. We attempted to get Deep Throat and Deep Throat II. The latter, because it was directed by Joe Sarno. It just wasn't working. We're at different wavelengths as far as how we approach things. In many respects, I see their perspective because in re-mastering many of these films, it's an investment that is an easy recoup.
At Seduction Cinema in 2002, there were so many things going on at once and most of it did work: signing up these women to contracts, establishing contract players and publicizing that so that they could not work for any other studio and there was ample work here at Seduction Cinema. At the same time, we acquired part of Nick Phillips's film library and we came up with the idea of doing these low-budget remakes. So here we have the ensemble cast, the studio players, a bunch of new directors, and they would just be given a bunch of different assignments, and if you look at any of the different films, based upon a fan of who their preferred director is, you'll see many different results. Roxanna certainly has a great appeal and is a fan favorite. Tony Marsiglia - I don't know if you're familiar with his Dr. Jekyll and Mistress Hyde -
Tony made Chantal, which is a remake of 1969 Nick Phillips film. It's coming out in 2006. I think it really worked because so many of our new directors were given opportunities to loosely base a film on a retro title, and they can take it in whatever direction they want it to go.
You're cultivating an audience for both. The people who are only interested in Darian Caine will come to the remake of Pleasures of a Woman and then they'll discover the Nick Phillips film and they'll likely want to see all of his films. There's obviously a certain artistry in what he was doing that you're trying to carry through in the remakes as well.
Yeah, Nick was here a few months ago and we did some interviews and his films will be coming out in the next few months that will have his interviews attached [to the DVD]. I always say, age a film for 30 years and all of a sudden you get so much more interest. Although, our in-house films, like Playmate of the Apes and Gladiator Eroticus, although they were successful for us, they were pretty heavily dumped upon from a critical perspective. Whereas, you release an older film, I guess it's like a wine or something. It has a different aesthetic 30 years later and a different hipness to it.
I don't think that Doris intended on making Hideout in the Sun a comedy. It's not, but the film is such a blast to watch. It's a combination of so many different elements and you can't really put it all together. Sort of like Nick Phillips, all of a sudden he'll cut to a negative image or he'll do a jump cut. It's like, is this intentional or was he just rushing to get the film into the theater? I tend to think that it was rushing. A lot of these discovered movies now considered brilliant were sometimes even made out of ineptness. I enjoy watching the side of a guy's head talking. "Well, she didn't shoot sync sound, so let's do that later." Or it'll cut to the person's mouth talking while the other guy's talking. All these little exploitation cheats now 35 years later seem really camp and fun.
When you put these films in their proper context, I always refer to Wishman as the Robert Bresson of exploitation cinema. She's so focused on inanimate objects - feet and hands - some of which is a constraint of her budget and her relative inexperience as a filmmaker. There is a certain level of creativity at work when shooting MOS, covering the lack of sync-sound with a well-placed camera. Obviously, there is also a fondness for the work of Joe Sarno at ei, even to the extent that a character in your directorial debut is referred to as Aunt Inga. So what is the influence, overall, of Joe and his work on The Seduction of Misty Mundae?
When I shot Seduction of Misty Mundae which was October/November of 2001, at that point we had in-house Joe's Inga, as well as Butterflies, Girl Meets Girl, Vampire Ecstasy. I only met Joe once at that point [when he did] the commentary for Inga. At the time, we were doing all these spoofs, all the comedies, and - first of all, I wanted to make a film, that's why I got into this business. However, being able to get out there and actually direct a film has always eluded me because I keep getting pulled in different directions because of the business, which lead me to just handle the producing of all these films. So I wanted to make an erotic film, since we had just launched Seduction Cinema a few years earlier, and needed product for that brand. I decided I was going to do a drama and decided to use Joe's films as a boilerplate.
He was really able to grab the audience with high powered over the top drama and make it work. The combination of things that happened in the making of Seduction of Misty Mundae, first of all, there would be no film without Misty Mundae playing this part. I knew from her look and aesthetic what she can do. She looks youthful, she can act, she has a girl next door persona. The film was in preproduction for about a year or so because we were waiting to find someone who could play her aunt, another important character. That actor was not to be found until we met Julian Wells. I was actually considering casting Tammy Parks in that role, but she was sort of leaving the business and that didn't work out, so when Julian found her way into Seduction Cinema, it clicked and I saw that those two women would be able to make this film happen. I thought of it as using the coming of age film that Inga was as inspiration.
The youthful innocent who discovers her body and herself during the course of the film.
It's completely fascinating to me, and I call Seduction of Misty Mundae the compression of what would happen to someone that age in a year ompressed to two days. I think it's a subject matter that is not really approached that often. As of late, in independent filmmaking, topics are kind of sensitive and so sexually explosive and as I say in my commentary track, I made the film and I feel that I really got accomplished what I wanted to do which was to make this coming of age erotic drama. The interesting thing about it was that I was able to really make it happen in the window of opportunity I had. This is 2001, when Misty Mundae first started working for us. She was fresh to the business [of] making movies.
I couldn't make that film today. A combination of things really came together and it all worked. It was the easiest film that I've ever shot in my life. Certainly, I've been on all my movie sets, usually producing, but in the directing capacity, the way the crew worked together, the way the actors worked together, it just all worked seamlessly. And now, three years later, it's coming out and everyone seems to really like it. Of course I'm thrilled from this perspective because I helped write and I directed it. I'm waiting to see if a film that's this sensitive with coming of age can also go to television and to foreign.
You originally directed the film under the pseudonym Michael Beckermann. Did you feel that since Misty and other members of the cast were working under assumed names that this was an affectation you should carry through the project yourself?
At the time I was using Michael Beckermann as a pseudonym only because I had my hands in every single aspect of distribution and the business end, and wanted to keep them separate and maintain a low profile [for] producing. As the years progressed, I felt I had nothing to be ashamed of. I shot and directed the film and I'm very proud of that. I really don't need to use a pseudonym anymore, and the only reason I did [more recently] in Lust in Space, is purely out of nostalgia. I'm always amazed with the IMDb, that because things get updated without me doing a damn thing. I don't know who does this, but all of the sudden, the film will show up and the entire cast and crew will be listed and I'm thinking, "well, how does this happen?" I don't know, someone's doing it.
On a commentary track Sam Sherman did for one of Al Adamson's movies, he says plain and clear, "You know what? Take the credit." Because he did so much work on Dracula vs Frankenstein. Young filmmakers out there, listen to me, if you did it, take the credit. That stuck with me, because Sam, as a kid watching his movies on TV, was an early influence and now I'm working with him. I said, "fuck it." I don't need a pseudonym. This is what I do and I can accept that. So the whole pseudonym thing has fallen apart. Even Misty Mundae doesn't even want to be known as Misty Mundae anymore.
Right. The film was shelved because you were busy doing all of the other things required to run your business. It's now finished. Will this basically be the last Misty Mundae film for Seduction Cinema, or at least her last nude role for her?
Well, there's probably a half a dozen films on the shelf. I don't mean sitting on the shelf, I mean they're in post production right now that are coming out in 2006 and it may actually bleed over to 2007. Now this is because of sheer volume. You're talking about working actors under contract in 2002 and 2003. That was their job and it really operated as a very active studio in those years whereas we were shooting something almost every week. It was almost so super active there's a complete glut of films. There are only so many slots to release a film.
You don't want to overexpose your actors. You don't want to have too much stuff out on the market.
We started becoming known as the Misty Mundae company and that's not who we are. We're Seduction Cinema, we're Shock-O-Rama Cinema, so we started pacing the films, and some are still in post production. Her best work, in my opinion, although I consider a film I made to be her best work, has yet to be released and that's going to happen in the next two years. Films like Sinful, Shock-O-Rama and Chantal, which may be the last film released, are really powerful. I'm not just saying that because, as her career progressed, the roles became much better. I started realizing that as an actor and as someone who is really talented, and I mean that sincerely, this is a girl who goes to film school, can load a film camera, shoot a film and edit it, there needed to be a progression. I feel we started that progression asking, "How many sex comedies can Misty Mundae do before it's just such a bore." I mean, Play-Mate of the Apes is what was Gladiator Eroticus, [which] is Lord of the G Strings. Spiderbabe. I mean, they're similar films...
So there was a progression and I think we got the point where we said, "Misty Mundae is lord of this." She let us know, "guys, this erotica thing, how long am I going to do this?" We didn't disagree with her, we just happened to be, at the same time, launching a horror label, Shock-O-Rama Cinema, doing the same thing that we did with Seduction, which is bring in directors and get an ensemble going. Her first Shock-O-Rama film was Screaming Dead, the next film was Bite Me. Both directed by Brett Piper, which lead to our biggest film called Shock-O-Rama, where she's actually playing a burnt-out erotica star who throws in the towel and goes off into the country to take a break and unfortunately encounters some flesh-eating zombies.
That happens, you know, when you go out into the woods.
Yeah. Right now, I want to call for a hiatus because she's doing other things.
So you expect she's going to come back?
I really don't know, and could only be as supportive as possible. She shot a film for school called Voodoun Blues. She's off doing other things, she's working as Erin Brown. I haven't spoken to her, it's been quite a few months. She's currently acting in [Showtime's] Masters of Horror series, Lucky McKee's Sick Girl.
So she's off doing other things, and it's a big question mark. I read it in online chatter, and bulletin boards, Misty Mundae is no longer with ei cinema, she's doing this, and this... And from my perspective, because of the day to day operations here which is amazingly nuts and the fact that we have a consistent stream of very good Misty Mundae films coming out, there's plenty of time to address, "will she come back and make another film?"
Finally, what is your working process with co-writer, DP, composer of the score, comrade in arms, as it were, John Fedele? He's been around since film school, basically, multitalented, like yourself, and involved in all aspects of the business.
People should surround themselves with talent. No man is an island. No one can do everything and that goes for myself and just about everyone that I work with here. I surround myself with people who I work well with. In the case of John, whom I have been producing films with since college; he's a good writer and we had a good aesthetic with each other in the workplace. John has never ever accepted an [official] job here at ei cinema, because he won't nail himself down to a desk. He's always been a contracted work for hire, which allows him to do other things. We work very well together and he's so multitalented - he's directed for us, he's acted for us, produces music, shoots. I call him up, "Hey John, I need B roll of New York City for this film we're shooting in England. I need all the exteriors." Boom. "John, I have these nudie loops, gosh, I need music." "No problem, done." "I'd really like to shoot a movie, what do you think about co writing with me?" He's always on board for anything creative and is a terrific creative partner.
Featured Releases from Seduction Cinema
|From Seduction Cinema|
The Erotic Witch Project
Satan's School For Lust
November 4, 2005
More Hentai on Demand!We're excited to announce we've added even more to our burgeoning Hentai-On-Demand library, with subsequent Anime 18 titles in series mentioned here earlier. Let's start right off with the unforgettable Urotsukidoji series, to which we've added: Urotsukidoji III: Return of the Overfiend ep.1, Urotsukidoji III: Return of the Overfiend ep.2, Urotsukidoji IV: Inferno Road ep.1, Urotsukidoji IV: Inferno Road ep.2 and Urotsukidoji IV: Inferno Road ep.3. Anime News Network gave Urostukidoji an "A-", calling it out for "the story itself...a stellar piece of work. Let's just say things are not as they seem to be, and leave it at that. Few anime titles can surprise me, and fewer still can leave me shuddering with an unadulterated feeling of pathos, and...Urotsukidoji did exactly that."
In their review of Urotsukidoji IV: Inferno Road, CertifyReview called out the entire series as "quite possibly one of the most misunderstood and unjustly maligned anime titles ever... traditionally shunned by those who haven`t seen it because of its reputation for singlehandedly inventing the erotic horror hentai that prominently features tentacle monsters. While [it] may put the emphasis on sex sometimes, it is really one of the most imaginative and terrifying series out there." (Little-known fact: Do you know there's actually a band called "Urotsukidoji IV"?)
Masquerade's episode 3 and episode 4 are also now available for streaming. AnimeOnDVD summarized Masquerade as "a beautiful story that happens to have sex in it." "The animation is just superb," adds Anime News Network. "Clean lines and smooth animation coupled with truly excellent design and layout make this show a pleasure to watch simply on aesthetic levels."
Meanwhile, AnimeOnDVD calls Nurse Me "a high quality title in terms of animation and presentation...For good hardcore material, this is definitely one to check out for a variety of reasons." The series' third episode is now out on VOD.
Stream these episodes now, or any time you wish, via GreenCine's extremely diverse Video-on-Demand service.
Featured Hentai on Demand from Anime 18
|More Hentai Titles from Anime 18:|
Nurse Me ep.3