Interview with Amicus Co-owner Robert Katz

This is the first of a two-part feature interview with the new owners of Amicus Entertainment. We'll post the next part in a couple of weeks, which is with the other owner of Amicus - Julie G. Moldo.

We had the incredible pleasure to get a chance to interview new Amicus co-owner and producer Robert Katz. Robert has always been a very big Amicus and horror movie fan, so when he got the chance to take stock in the legendary studio, of course he jumped. For those of you not familiar with Mr. Katz' past work, let us catch you up. His qualifications for picking great projects and films to work on include Selena, Gods and Generals, Rough Riders, Gettysburg, and many others. His foray into the horror genre has only shown that he has made the same kind of quality decisions for Amicus projects as well, which include Stuck and the upcoming From A Buick 8. Read on to see for yourself what Mr. Katz has to say about the revitalization of Amicus and where he plans on taking it.

Amicus Productions (AP): First, I just want to thank you for taking time and doing this interview. I know you’re a busy man and I completely appreciate you sharing your thoughts with our readers.

You’ve been the producer or executive-producer of quite an eclectic list of films – everything from horror to history. What draws you to a certain kind of film?

Robert Katz (RK): Basically, it’s all about storytelling…and having an interesting story to tell.

AP: You seem to have an interest in the Civil War in particular – any specific reason for this?

RK: I guess I’m a history buff. I also have done others, such as ROUGHRIDERS, AVENGING ANGELS (the story of the Mormons settling Salt Lake), etc.

AP: Are you still involved in the sequel to “Dances With Wolves”? If so, who is going to be directing and starring in that?

RK: Yes, Simon Wincer will direct. Can’t talk about the star yet.

AP: What films inspired you to become involved in the movie business?

RK: Lawrence of Arabia, Paths of Glory, Serpico, Rosemary’s Baby, The Exorcist. There are others that influenced me, as well.

AP: What other factors inspired you to become involved in the movie business?

RK: It’s a great way to earn a living!

AP: What drew you to wanting to be involved in an iconic name brand like Amicus? Were you a fan of the original films when they were released?

RK: Absolutely. They were great fun. And I always felt that, as an iconic brand, it was time to bring back the kind of films that Amicus was known for.

AP: Originally, the horror film “Clown” was said to be the first release coming out under Amicus Entertainment. What happened to that film? Is it still in production? What led to “Stuck” becoming the first release instead?

RK: “Clown” is still on the schedule, although I can’t say when. “Stuck” just sneaked up on us—it was too good to pass up. We are also in post on “It’s Alive 2008,” the remake of Larry Cohen’s famous film.

AP: What led to your choice of Stuart Gordon as director of the film? How about the choice of actors for the roles?

RK: Stuart was the one who brought it to us. As it happened, Stephen and Mena were our first choices. We called them, they read it and said YES. Our lucky day.

AP: “Stuck” really does seem to fit in quite well with the back catalogue of other Amicus horror / thrillers. Even the style of filming seems to have that strange “Amicus” feel to it. Is it your intent to carry on the legacy of the original Amicus Productions?

RK: This is the kind of film that we want to make. There will be more in the same style and of the same substance. No slasher films here.

AP: It’s been stated that you plan on remaking some of the classic Amicus films, such as “The House That Dripped Blood”, and possibly others. A lot of the fans of the original films have voiced their opposition to the idea. How do you feel about that? How would you address them and their concerns?

RK: I agree with them. I don’t think it would work in today’s environment. However, the titles do represent something, and we may find a way to integrate the titles with newer stories. We’re going through that process and may have some interesting announcements in the near future.

AP: How is “From A Buick 8” coming along? Why did you choose it as your next project? How did you get Tobe Hooper involved in the project? When is it’s planned release date?

RK: We are in script stage now. We took it to Tobe, and he loved the idea. The screenplay is being written by Richard Chizmar and Jonathan Schaech. Terrific writers.

AP: What other projects do you have lined up for Amicus?

RK: We are in discussions on several, including one with the boys who did “Napoleon Dynamite.” Hopefully, we’ll have something to announce soon.

AP: Anything you would like to share in closing?

RK: Yes, I haven’t had this much fun in years.

Interview with EC Comics Editor / Artist / Writer Al Feldstein

Al Feldstein has led quite an extroardinary life and been involved in some of the most groundbreaking and historically important publications in the world. He is renowned for being the editor, writer, and artist for what is probably considered to be the most important horror and suspense comic book series ever - EC Comics. Those comics (and many of Feldstein's own stories) have spawned four major films and a long-running TV series, which is no small feat to shrug off.

He also was the editor of MAD Magazine for 28 years. During his tenure as editor, the magazine reached it's height of popularity and circulation, becoming one of the nation's leading satirical publications. He was responsible for hiring the artists and writers that made the magazine the success it's known for.

Mr. Feldstein was kind enough to do an interview with us and share some of his thoughts on the two classic Amicus films that were based on the EC Comics publications. He also shared some personal views about what it was like to deal with censorship and other issues over the years.

Amicus Productions (AP): First off, thanks for taking time to do this interview. You were very instrumental in the success of both the EC Comics and MAD magazine. Both have been known to cause some controversy over the years. Both are known to be very subversive and have an inner meaning and message to them. Why did you get involved in something that had a message or meaning to it versus just some kind of “safe” humorous cartoon work or writing?

Al Feldstein (AF): First of all, I must take great exception to your branding E.C. Comics and MAD Magazine as “subversive”!

If attempting to educate our readers to the presence of racial and religious intolerances in our country...if alerting them to the dishonesty of some law enforcement officers and politicians...and if demonstrating to them the insanity, absurdity and mendacity of most of Madison Avenue advertising claims...and if attempting to encourage our readers to think for themselves is subversive...then I am guilty.

As to your question...

I grew up during the Great Depression. I saw my Father's business collapse, watched the near-destruction of my Parents' marriage and witnessed the loss of our home.

And living through all that made me a socially conscious individual and a devout Liberal.

So I naturally tended toward that kind of material.

AP: What was it like dealing with censors and having someone tell you that comic books and art were the cause of childhood problems and deviant behaviors?

AF: It was disgusting! It was a time of abject fear and suppression...and it amazed me and frightened me that such reactions could actually become reality.

It was in the midst of The Cold War...with our country and Russia arming to the teeth with nuclear weapons. Young people were being told to “duck and cover” under their desks in case of an atomic or nuclear attack.

Is it any wonder that they were questioning the wisdom of their elders and reacting to their possible fate.

AP: Did you know at the time you were working with EC and MAD that they were special and would be groundbreaking? Did you have that “feeling” that it was something different?

AF: We were aware of the growing movement toward social and cultural reform taking place in those days, and eagerly joined it in delivering the message.

AP: When you were editing, writing, and doing art for the EC horror comics, were you purposely trying to push the envelope of acceptability at that time or were you just doing what you wanted to do? What about with MAD?

AF: I never deliberately attempted to “push the envelope of acceptability”...and was only doing what I felt right.

AP: How did you feel when you were approached about Amicus Productions doing a film based on the different horror comic series you worked on and wrote for? What was your initial reaction?

AF: I was not personally involved in Amicus Production's approach to Bill Gaines about doing a film of my stories.

AP: Were you familiar with director Freddie Francis’ other film work, such as the Hammer movies? Did you feel he would be a good fit to bring the comics to life?

AF: Since I was not involved in the initial negotiations, the question is moot.

AP: Were you excited about them picking one of your stories to adapt for the “Tales from The Crypt” film?

AF: Actually, ALL of the stories adapted for the film were mine! And when negotiations were completed and I learned of the deal from Bill, yes...I was excited!

AP: How do you feel about the adaptation of your story? Do you feel it was translated well to film?

AF: For the most part, I was pleased with the adaptations of my stories and that their translation to film were well done.

AP: How did you feel about the way they changed the “character” of the Crypt Keeper in the film?

AF: I hated it! My CryptKeeper was a gnarled, weird old man...not a “Monk” or “Friar” or whatever he was depicted as in the film.

AP: How do you feel about the overall outcome of “Crypt”? Do you like it?

AF: It was okay...considering the times and the censorship pressures prevalent.

AP: What is your favorite section of the film?

AF: I had none.

AP: How did you react when you were approached about Amicus doing the sequel and calling it “The Vault of Horror? Obviously, that meant that the first one was deemed a success and they felt they had something they could build upon.

AF: I was again delighted when Bill Gaines apprised me of the deal for the “Vault” movie.

AP: Did you get any input into the stories that were chosen for “Vault”?

AF: None! I was not consulted...nor, do I believe, that Bill Gaines would have permitted the Amicus people to consult with me.

AP: Were you familiar with Roy Ward Baker’s previous film work, such as the Hammer movies? How did you feel about the choice of him as director?

AF: No comment.

AP: Did you have any direct dealings with the writing of the scripts or the way they handled the stories for the two films?

AF: None...as answered above.

AP: Did you visit the sets of the films? If you did, how was the experience?

AF: Hey, I was living and working in New York...and I wasn't invited.

AP: How do you feel about the overall outcome of “Vault”? Do you like it?

AF: Again, I was disappointed with some of the self-censorship restrictions imposed by the film-makers.

AP: How long has it been since you’ve seen either film?

AF: I have no idea.
AP: The art you do now is very different from what you were doing with EC. Was there any reason for the change in styles or subject matter? Was it a personal challenge to see where you could push yourself artistically?

AF: My lifetime careers have been varied. I was a comic book artist, writer and Editor...then I was the Editor of MAD Magazine...and then, after I retired, I went back to my first love: Fine Art...painting.

AP: How do you look on the days of EC now? Would you have changed anything you did if you could?

AF: There are too many to list here.

AP: What are your thoughts on the state of the world now in contrast to the world at that time? I know that’s kind of an open-ended question and a little broad, so basically just share with us some differences in the cultures of the different time periods – now and then.

AF: C'mon. Gi'me a break! To answer your question fully and completely would take far more time than I have allotted to your interview.

AP: Again, thanks for doing this interview and it is an honor to be able to take some of your time. Anything you would like to say in closing?

AF: I hope that what I have written in answer to your questions satisfies you.

To find out more about and see Mr. Feldstein's other artwork, go to www.alfeldstein.com.