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CREATORS UNITE 10 EDITOR’S LETTER We are delighted to present CREATORS UNITE #10: THE ESSENTIAL ISSUE, featuring exclusive interviews with Kelli Maroney, Lloyd Kaufman, Luigi Cozzi, and Kurando Mitsutake. Kelli Maroney, the highly respected actress that many of us have admired for decades, is without a doubt, an exceptional woman who is loved by all. We invite you to join us in getting to know her. Lloyd Kaufman, the creator of TROMA ENTERTAINMENT is the ultimate reference for filmmakers and independent creators. Lloyd’s influence cannot be ignored as the TROMA culture have permeated spirits in a profound and lasting way. We had the privilege of interviewing Lloyd, both in English and French (which he speaks without an accent). Check out our Masters at Work to learn more about Lloyd! Luigi Cozzi, known for his films Starcrash, Hercules, and Contamination, is one of those iconic artists, who continues to create essential work against all odds. We met him in Rome at the PROFONDO ROSSO store, which he co-founded with Dario Argento. We hope you enjoy this glimpse into his world. We also had the pleasure of interviewing Kurando Mitsutake, whose fascinating work restores a sense of prestige to cinematic art. Mitsutake's approach, both in substance and form, is a captivating blend of violence and aesthetics. His work is truly outstanding and transcendent. To mark the release of our 10th magazine (and 28th publication), we bring you this special "best of" issue, dedicated to four exceptional artists, featuring exclusive interviews with each of them. We hope you enjoy reading CREATORS UNITE #10 as much as we enjoyed creating it. THE ESSENTIAL ISSUE is available in digital and print formats (limited edition prints). You can find the e-book version on Issuu and hard cover books on Peecho. A soft-cover magazine in four parts (each dedicated to a specific star) is also available on Issuu and Peecho. DC Deever THE ESSENTIAL ISSUE
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CREATORS UNITE 10 TABLE OF CONTENTS
THE ESSENTIAL ISSUE Special Best Of Including Essential ITWS of Kelli Maroney, Lloyd Kaufman, Luigi Cozzi & Kurando Mitsutake PART 3: LUIGI COZZI • •
Editor’s Letter - P5 Table of Contents - P7
Masters at Work 3 - Luigi Cozzi - P8 • WEBTALK P8: Starter by Maria Cristina Mastrangeli. Interview with Luigi Cozzi by Maria Cristina Mastrangeli • SHOWROOM P35: Reviews by Cultmetalflix and Christopher Zisi • EXHIBITION HALL P47: The Gallery 106 - Creators Unite Gallery welcomes Horror Icons, an exhibition of Chantal Handley’s work Bonus Feature - P69 • MYTHMAKER: GEORGE A. ROMERO by Jason Figgis A short video essay for Creators Unite Magazine looking at George A. Romero's seminal classic horror film from 1968 - Night of the Living Dead. Written, presented and directed by Jason Figgis •
Special Thanks / Masthead - P66
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Cult Interview with Luigi Cozzi by Maria Cristina Mastrangeli
ThE WEb Talk Editor: Laura MacLeod | Translators: Biscuit C & Lorenza Florida | Artworks: Dale Mike B. | Photos Courtesy: ©Andrea Galeazzi. Interview with Luigi Cozzi by his actress Maria Cristina Mastrangeli on the occasion of the release of Little Wizards of Oz, his latest movie which has been acclaimed at festivals. Rome, Italy, September 2018 In this still summery day, the meeting is set up at the Profondo Rosso store in Rome. This store, that Luigi Cozzi founded with Dario Argento a long time ago, is located in a central area of Rome called Prati (“The meadow” in Italian, Ed), but the shop is far from ordinary. A den for fans of horror and fantasy films, you can find masks, props, DVDs and rare posters there as well as niche books. Many of these books are written by Luigi himself. In the basement there is even a tiny museum of horrors, though its smallness doesn’t make it any less terrifying... I am well placed to know; we had turned one of the dungeons into a lodge during the shooting of Little Wizards of Oz!
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CREATORS UNITE 10 WEBTALK Being an actress who interviews her director, puts me at once in an unusual position. Moreover, even after three films with him, I still feel that Luigi is a discreet and secret being. I wondered how to get him to talk about himself. And I ended up using an exercise that I usually use with young actresses and actors- it so happens that in another part of my life I direct plays! So, I put three identically folded little notes in front of our director. Maria Cristina Mastrangeli: On each note you’ll find a question. There is no particular order. You pick a note, you open it, you answer the question and then you go to the next. You can take all the time you need. Luigi Cozzi: Should I start? Maria Cristina Mastrangeli: Whenever you want. Luigi Cozzi: Who am I? He's taken aback. Luigi Cozzi: Who am I, me? Well, I'm Luigi Cozzi, a sci-fi enthusiast who's been trying to make science fiction movies for many years. It's pretty hard. I directed many films, I wrote many others… I worked for a long time with Dario Argento, then I made my own films as a director and screenwriter. Some have worked very well around the world, so I still have fans everywhere! In addition to that, for a number of years, I have run with Dario Argento this store, Profondo Rosso, dedicated to genre movies
(Horror, Science Fiction and Fantasy films, Ed).
We sell DVDs, masks, puppets and figurines, all dedicated exclusively to this kind of cinema. And at the same time, I try to continue my work as a filmmaker.
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CREATORS UNITE 10 WEBTALK Recently, I have made two films in which you also have played (Blood on Méliès Moon -2016- and Little Wizards of Oz -2018, Ed)! They are giving me a lot of satisfaction, so I hope to go on. He looks at me, I don't budge. Luigi Cozzi: Is it OK? Well let’s move on to the second question… Who am I!?! Same question! He bursts out laughing. Luigi Cozzi: Do I have to answer again?... Who am I? First of all, I'm a writer. I've always written. Then I am a genre movies historian; I have published a lot of books on this specific topic. As a writer I became a screenwriter and from writing screenplays I moved on to directing movies. I have navigated in various fields of the cinema, but now I am recognized as an author. Luigi has an ironic expression, but tinged with a certain satisfaction, like a child who has managed his first bike ride. Luigi Cozzi: I’ve been promoted, if you want! Before I was only considered as a maker of genre movies. Here we are interrupted loudly: "Can we come in? " Luigi Cozzi: Hi, Vince, come in... Being in Profondo Rosso store with Luigi also means laying yourself open to amazing encounters… The three questions game is interrupted by a gentleman who is vigorous despite his 70 years. With a keen eye and a spring in his step, Vince Tempera, the Italian Maestro of so many motion picture soundtracks is coming into the store. Even without knowing his name, you surely have heard at least one of his compositions. THE ESSENTIAL ISSUE
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CREATORS UNITE 10 WEBTALK The theme of his album Sette Note in Nero, for example, was included in the film score of Quentin Tarantino's Kill Bill. Vince’s reason for visiting his friend Luigi is the search for the mailing address of the company that finalizes copyright requests for the utilization of Little Wizards of Oz, for which he composed the music. The two associates talk about the next screenings of "our" film; One in Chicago, the other in Sitges (International Fantastic Film Festival of Catalunya, Ed) October 13th in the Brigadoon section. Luigi Cozzi (half joking): Sitges, near Barcelona, is the Cannes of Fantastic Cinema! There follows a chat about the ways new generations comprehend Cinema… they do not necessarily appreciate the fact young people don’t go to the movies... but they are happy that genre movies still sell on DVDs; they are collectibles. Then, Vince mentions Romics, the greatest comics and cosplay event in Rome for which he is the artistic and musical director... Maria Cristina Mastrangeli: Ah, I said, my uncle Vincenzo Silvestri runs the comic books section! And here we go again… reminiscing about famous manga titles, where Vince was credited... Vince Tempera: Captain Harlock ! I make a living from this! Vince Tempera composed the score of the Italian version of Space Pirate
Captain Harlock for Universal in 1979, Ed.
Vince and Luigi talk to each other. For a period of time, they forget me. The tables have turned, I am in the position of the director who spies on his actors! I'm enjoying this! THE ESSENTIAL ISSUE
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CREATORS UNITE 10 WEBTALK Vince Tempera and Luigi Cozzi: We were very early Sci-Fi enthusiasts. Vince Tempera: For example, the books of the Urania series (Urania is
one of the most vivid collections of books exclusively dedicated to sciencefiction. The company was founded in 1952, Ed), the new ones they publish,
they simply fall from my hands, so before I start one, I look if the author was born before 1950, otherwise I don’t read it! If the writer is an apprentice of Asimov, this is the best. Luigi Cozzi: I don't like contemporary science fiction novels either. Vince Tempera: The weather is so hot!... I can’t stop thinking about this English movie The Day the Earth Caught Fire where we see the Thames has evaporated! (Directed in 1961 by Val Guest, The Day the Earth Caught
Fire is a disaster movie talking about the nuclear dangers during the cold war, Ed). Will we end up like this? Luigi Cozzi: The English are great storytellers! While evoking the mythical missing movie theaters in Rome, Vince leaves to catch his train to Milan, where he lives. I go back to Luigi’s world... Luigi Cozzi: I was on the second “who I am”... What was it I was saying, again? Oh yes, my author status! After so many years, the people in the industry have finally noticed!... And the third question? Will it be the same?! Now jaded, Luigi opens the third paper… but bursts out laughing anyway. He still has this expression of the child who likes to play to 'scare themselves', knowing full well that it is mom or dad who is hidden behind the curtain.
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CREATORS UNITE 10 WEBTALK Luigi Cozzi: Oh yes! I am an independent author who seeks to do different things every time. I have this "genre director" label, but in reality, I experienced all genres: sci-fi, fantasy, romance, comedy... I don't like to repeat myself, I like challenges. This last film Little Wizards of Oz, for example, I accepted it precisely because it represented a challenge I wanted to take up. That is me!... more or less! In the meantime, Andrea Galeazzi has arrived to take a picture of us while we are doing the interview. A writer, composer and photographer, Andrea is a faithful friend with multiple talents. The three papers game is over. Before the last questions, we pause so Andrea can take additional pictures more easily. And here, in this magical place, other connections appear. Luigi Cozzi to Andrea Galeazzi: Haven't we met before? Andrea Galeazzi: That's possible. I also worked with Dario Argento. Luigi Cozzi: Oh yes, on what? Andrea Galeazzi: That’s the story of a failure! At the beginning of the 90s, RAI (Italy's state-owned television channel, Ed.) was expected to produce a series with six independent episodes. Argento would have been the curator of the series on the model of CBS’s Hitchcock Presents. I had been contacted to write the screenplay and I had started working with Dario. Finally, the project was considered too expensive. We never made it. But I was recommended to write with Dario Argento, for another series produced for Mediaset. Luigi Cozzi: Ah, yes, the producer was Giuseppe Colombo, he argued with Dario from the first brain storming! They both laugh. THE ESSENTIAL ISSUE
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CREATORS UNITE 10 WEBTALK Andrea Galeazzi: Well, yes, end of story! We have enough pictures. Andrea is storing his equipment. I'm picking up the interview with Luigi again. Maria Cristina Mastrangeli: Can you tell us more about the inception of The Little Wizards of Oz project? Luigi Cozzi: The idea didn't come from me. Fabio Crisante (The author of the subject, Ed) works at Cinecittà. He has a child in the primary class (fourth grade, Ed) and in accordance with the teacher during the crafts days he wanted to make the children understand what cinema was, not only the final result on the screen, but what also making movies means. He invited people from various trade associations to talk to their class about it: screenwriters, makeup artists, costume designers... During his conversations with children and teachers, this crazy idea to involve them in the making of a film took shape in his mind. But he was facing enormous hardships and was about to give up. At that time, he attended a screening of Blood on Méliès Moon and was astonished to see I had been able to do such a job with no budget! He came to me: "Would you have the courage to make a film inside the school, with the kids?" I thought about it a short time, then, I accepted the challenge. I wanted to prove that it was achievable. The idea of composing a variation around The Wizard of Oz was there. I started by guiding very strictly the writing of the idea; when you make a film at almost zero cost, you have to use a whole bunch of tricks. This must begin with the script... Then, I wrote the screenplay myself. In the end, there is a nice mix between fiction and documentary.
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CREATORS UNITE 10 WEBTALK I respected the contributions of the children and intertwined their parts with the parts where the actors play teachers... like your character (Maria Cristina Mastrangeli plays the bad English teacher Mrs. Pugliesi, Ed). The film lasts 1h40 and is solid. I'm happy with the result! Maria Cristina Mastrangeli: The legend is that it is very difficult to work on films with animals and children. I watched the children in the scenes where I play the bad teacher Mrs. Pugliesi; they were very focused! You spent a lot of time with them! Luigi Cozzi: After we shot the movie, I spent three days in the most complete silence. My ears absolutely needed to get used to silence! Recalling that, he bursts out laughing. Luigi Cozzi: They were unrestrained! In my time, at their age, we were timorous. But they also have a contagious sympathy. The problems did not come from the children themselves, but from the constraints of the school; we were not allowed to interfere with their educational program, nor to make them work too much, I had only two hours a day in the school with them. It was only thanks to my experience in the film industry that I was able, in just ten days, to shoot everything I needed. I prepare sketches of the scene, from the camera’s point of view, so I can see what I have to shoot for each position of the camera. And I shoot all the scenes from that point of view one after another, even if they are different scenes. This method saves a lot of time, because the preparation of the camera and lights is what takes the most time on a set. I like to have a lot of different shots, it's my way of shooting. I make movies for the big screen not for the TV set!
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CREATORS UNITE 10 WEBTALK That way we create the illusion that it is a big budget movie. Maria Cristina Mastrangeli: These sketches are like a storyboard? Luigi Cozzi: Yes, exactly. Maria Cristina Mastrangeli: And what happens to them? Luigi Cozzi: They are visual notes for my personal use, I tear them to pieces after each shooting day. Maria Cristina Mastrangeli (laughing): There are going to be fans who will dig through your garbage like in Hollywood! Luigi Cozzi: In any case, I don't think anyone other than me would be able to understand them. I draw like an amateur! I always use those sketches when I have complicated scenes to shoot. I also used them on movies for which I had a substantial budget. Even in Starcrash (released in 1979 under director’s name Lewis Coates, Ed). For this film, I had at my disposal 2 billion ITL (Italian Lire, Ed), a large amount at the time, but in fact, this film would have needed 5-6 billion ITL. So, I used my sketches and my visual tricks. For example, we have is this battle scene with lightsabers in a space station. I wanted to shoot it in slow motion and show explosions on the actors’ bodies. We needed an hour of preparation only for the protection of the actor. And this for every explosion! So, in eight hours I would have had only seven shots! In three days, within the time allowed on this set, I would have had only twenty-one shots. This would not do for a battle! So, I shot this scene with three different cameras positioned in such a way that it gave the impression we filmed different people and explosions, when in fact we filmed the same explosion.
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CREATORS UNITE 10 WEBTALK I had more than a hundred shots to edit. Thanks to my sketches, every actor has been killed three times! Maria Cristina Mastrangeli: Your latest movies were shot on digital. Does digital technology change the way you direct movies? Luigi Cozzi: It's a big advantage. I’ve always liked to use technical advances, even emerging ones. In the 70s, I worked a lot for television networks. At the time, we used the "Chroma key" a lot, an effect that I used to use with films, but with very long production times. While there, at the television network, we just had to push a button. I was enthusiastic about it! (Chroma key compositing is a visual effects/post-production
technique for layering two images or video streams together based on color hues, Ed). For the movie The Adventures of Hercules, in 1982, the
moon collides with the Earth in the final scene… Hercules becomes a giant and stops the two celestial globes, avoiding the crash. It was a very difficult scene to shoot on film. I thought I should shoot it on video. At the time in Los Angeles, there was only one lab that transcribed video onto film without "The Lines"! So, we first sent the lab the scenes on film to transfer them to video, then shot the video using the "Chroma Key", then sent it back to Los Angeles to transfer it to film in order to edit it with the rest. At that time, mixing film and video was regarded as blasphemy. But no one during the film's distribution, even abroad, has ever noticed it! Maria Cristina Mastrangeli: Luigi, you were born in 1947... Luigi Cozzi: It's been a long time! Maria Cristina Mastrangeli: What is your first memory of cinema?
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CREATORS UNITE 10 WEBTALK Luigi Cozzi: I think it was in 1953 or 1954. I have flashes, I see myself tagging along behind my parents while they are going to the movies to see: The Naked Jungle (by Byron Askin, Paramount, 1954, Ed), Prince Valiant (by Henry Hathaway, Century Fox, 1954, Ed), Totò il medico dei pazzi (by Mario Mattoli from Eduardo Scarpetta,1954, Ed). Maria Cristina Mastrangeli: And the first time you understood you had a passion for fantasy films? Luigi Cozzi: Pretty much at the same time, when Disney released 20.000 Leagues Under the Sea which excited me. I was six or seven years old. I didn't know Jules Verne. After I saw the movie, I immediately got his novels. After reading them all, I wanted more! So, I started to devour science fiction books. Maria Cristina Mastrangeli: How did you become a director? Luigi Cozzi: It was for Il tunnel sotto il mondo in 1968. I wanted to direct; I was 22 years old when I started. I looked for buddies to embark on this venture with me… Alfredo Castelli, who is now known for his comics characters such as Martin Mystère (Martin Mystery, Ed) also wanted to try to make movies. We put some money aside. Alfredo earned his money by selling subjects for the newspaper comic strip Diabolik, and I was working as an editing assistant. We were buying film and we were shooting… Like I'm doing again now… With a few friends and total freedom! Maria Cristina Mastrangeli: If you had to choose three important dates in your professional life, what would they be?
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CREATORS UNITE 10 WEBTALK He seems puzzled about the number of dates. Is there some magical significance? Luigi Cozzi: 1977, Starcrash, my first spectacular movie. I've always wanted to shoot a sci-fi movie like that. But they laughed at me, telling me that no one would ever watch a movie like that in theaters. It was possible only after the success of Star Wars... Two more dates? No, every day counts! Interview by Maria Cristina Mastrangeli
About Maria Cristina Mastrangeli @Octogonelab Maria Cristina Mastrangeli, actress and theater director, lives and works between Paris and Rome. In the fantastic-horror field she's has a lot of fun working on Little Wizards of Oz (Sitges Fantastic International Festival, 2018), Blood on Méliès Moon (world première in 2016 at BIFFF in Brussels) and Paganini Horror (1989), all by Italian Director Luigi Cozzi (aka Lewis Coates).
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CONTAMINATION
It's not a Zombie or even a Cannibal film, so what gives?
Contamination (1980) 1h 35min. Writers: Luigi Cozzi as Lewis Coates (story & screenplay) & Erich Tomek (screenplay). Stars: Ian McCulloch, Louise Marleau, Marino Masé, Gisela Hahn...
Review by Cultmetalflix
Ponder if you will upon Italian Cult cinema specifically from the late seventies/early eighties. I'd lay coin on the fact that a handful of names immediately come to mind; Argento, Fulci, Bava, perhaps D'Amato or even at a stretch Deodato (is he even Italian?). Those who dwell in the arena might even be able to name a few more and definitely a handful of specific films residing in genres other than the blatantly obvious ones (Zombies, Cannibal and, naturally, Giallo). Odds are however one film which probably won't be mentioned is one which wasn't in any of the above- mentioned genres, a film which goes by many titles, (one released through CANNON in the States to capitalize upon the popularity of another film simply entitled Alien), though is better known simply as Contamination. Deep within the 1984 Thatcher "Nasties" list the film has enjoyed many years of notoriety and has even found several re-releases since (garnering a slew of often rather confusing monikers) with several scenes hacked to meet BBFC and regional censorship approval, ironically it was recently released uncut in Britain with a 15 certificate.
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CREATORS UNITE 10 SHOWROOM As an eager youth I can remember procuring it in its original form within a clamshell case (Yes, I should have kept it) with the art showcasing an unfortunate looking fellow in a Hazmat suit drenched in blood with a pained look upon his face. It's been thirty years since I've last laid eyes upon the film, obviously there are a slew of scenes which have 'stuck', but the rest is a blur. I believe it's time for a revisit. Before I begin, let's tease the film with a few relevant details. The uncut version, named simply Contamination runs ninety-five minutes and is touted as being directed by none other than Lewis Coates, but it should come as no surprise that have director's given name is Luigi Cozzi which obviously doesn't sound quite so American. Much like a slew of other cult efforts, released around the same time, Contamination commences with various views of the harbor, in this case a rather familiar scene and a handful of queries, such as "Why isn't anybody aboard this drifting freighter?" And "doesn't this remind you of another feature with a mysterious abandoned vessel and an even more curious smell?". Obviously, these aren't quotes pulled from the film, but rather hypothetical comments I'm sure have been uttered before, on a frequent basis, since the movie’s release. The film continues. Several brave individuals have decided to don Hazmat attire (though have no eye coverings, which is rather odd) to board the aforementioned vehicle. Cue audio by the legendary Goblin and the atmosphere and tension abruptly skyrockets. Following a few minutes of silly, unnecessary dialogue, and exploration at a snail’s pace a corpse falls out from a cupboard. THE ESSENTIAL ISSUE
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CREATORS UNITE 10 SHOWROOM Naturally, the suited-up sleuths are shocked. And, much like me, one is especially curious as to why their new companions insides aren't anymore his insides, but rather his 'outsides'. The intrigue grows, tableaus of grisliness mount up and the utilization of the soundtrack proves why Goblin are known as masters of their craft though funk and elevator music also provide tangible mood. Our intrepid explorers soon happen upon the crafts freight. It isn't coffee, though is packaged as such. An open container provides further details as to the vessel’s actual contents. But the question remains; are they oversized mangoes, avocados, pumpkins or "green eggs"? With all the evidence on display I know I wouldn't investigate further; these things are glowing and warm to the touch for Christ's sake! But don't you know it, these fools rush in. Perhaps they're understandably curious to what manner of creature might appear if one cracks open. Well, one does (complimented by a haunting siren). And... let's just say it doesn't end at all well. Cue the films excruciatingly slow-motion 'money shot'. Fast forward a few hours/days (?) and we learn that the survivor, a certain NYPD Lt Tony Aris (Marino Masè) is cleared from quarantine deep with the bowels of a structure seemingly plucked from the set of the original Battlestar Galactica complete with oversized knobs, buttons, glowing buttons, and a cardboard cutout lab assistant, but no robotic canine. Sans a blow-by-blow narrative (which would take longer to read than the actual movie runs) I'll cease my ramblings (you should have an idea of how the film plays out by now) to concentrate, instead, upon the review itself, and what's makes the film such a joy to watch.
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CREATORS UNITE 10 SHOWROOM The films initial pace sets the scene, the story unfolds and explains itself. Seriously, a kindergarten attendee could understand all if its many "intricacies". Eggs from space with the capacity to kill those curious enough to antagonize them. Ian McCullough, known for Zombie (aka Zombi 2 and Zombie Flesh Eaters directed by Lucio Fulci, Ed) and Doctor Butcher MD (aka Zombi Holocaust directed by Marino Girolami, Ed), portrays a vilified astronaut with an obvious disdain for those who helped turn his past achievements into naught but comical ramblings from a seemingly deranged mind. His introductory theatrics and cheeky smirk are enough to more than whet the appetite for those who enjoy their cinematic fodder blazingly over the top. Obvious points go out to those responsible for casting him so soon after the success of the gut munching Fulci classic (however, it wasn't until much later that the film found success anywhere other than in Europe). Nostalgia is another element which makes the film so easy to appreciate. Clunky, oversized gadgets sporting obnoxiously large controls, boxy vehicles, sexual tension, the hairstyles and... I'll stop right there. Among the films other stellar ingredients, there are especially three which stand tall above all else. The soundtrack courtesy of Goblin is quite simply an amazing accompaniment. Who would have ever though a Synth adornment would hurdle Classicals standing as the ideal audio companion to heighten the senses? Another element is Luigi Cozzi’s style: his utilization of various close-ups works wonderfully to bring the viewer that much closer to the action.
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CREATORS UNITE 10 SHOWROOM The last in this wicked trinity is what understandably placed this on the Nasties list and I'd also fathom brought most of this film its viewers. Who amongst us isn't intriguing by exploding chests, bacterial laden "eggs" and bouncing infected rats? Obviously, the film offers a great deal more; there's the sultry Gisela Hahn (a dead ringer for the Norwegian adult film star Vicky Vette) who has beauty in spades and the most hypnotic eyes. Plentiful aerial (most probably stock footage) shots of New York remind the viewer that the film is in fact partly based in The States. Surprisingly, Contamination was also shot ‘on location’ (and in Columbia, Italy, and Florida) rather than largely on an Italian soundstage, where many cult genre films were produced with hopes that the (larger budget) illusion would shine through. Other elements include a myriad of stereotypical thugs complete with assault rifles and comical dubbing. A vintage ‘Batman villain approach’ to explaining how the world is going to be taken over is priceless but the icing on the cake is the films main antagonist who strangely resembles a slime-laden Flash Gordon (an unused "extra" perhaps?) complete with a glowing old-timey bicycle lamp LED, a ravenous appetite, and a rather sluggish demeanor. No matter how you slice it, dice it, or view it after it's been placed in a blender on high for several seconds, Contamination has earned its place as a cult classic. Unlike a great many of its associates, this is easy to view, delivers throughout and even features chunky crimson effects which are largely believable if a little silly. Did I mention Ian McCullough? I seriously need a copy of this for my collection, it's everything I remember it being and more! Cultmetalflix @cultmetalflix THE ESSENTIAL ISSUE
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PAGANINI HORROR
Paganini Horror, Satanic Composer Shreds Euro-Babes... Who knew? Paganini Horror (1988) 1h 22min. Writers: Luigi Cozzi &Daria Nicolodi (screenplay), Raimondo Del Balzo (story) Stars: Daria Nicolodi, Jasmine Maimone, Pascal Persiano, Maria Cristina Mastrangeli, Luana Ravegnini...
Review by Christopher Zisi
The great 19th century composer/violinist Niccolo Paganini sold his soul to Satan and used his wife's intestines to craft his own violin strings. Happens, I know. What happens when Giallo takes a turn at this plot device? Yep, 1989's Paganini Horror, directed by the great Italian horror moviemaker Luigi Cozzi. Throw in Donald Pleasence as Satan, a sultry allgirl rock band, and even some more sultry Euro-Babes and we have a film destined to be as classic as Pagani's scores. Kate (Jasmine Maimone) is losing it. Her band has a bunch of #1s, but her sultry producer, Lavinia (Maria Cristina Mastrangeli) chews her out for not being able to create any new tunes. Elena (Michel Klippstein) and Rita (Luana Ravegnini) are her guitarist and drummer. Fawning Daniel (Pascal Persaino), an actor in the band's videos, is Mr. Helpful. He purchases a haunting piece of sheet music, written by Paganini. The seller? Satan, of course. Now the band, Daniel, Lavinia, and horror director Mark (Pietro Gennuardi) rent a haunted mansion to film the band's new video. Now, Kate and her band have their groove back. Uh oh, Paganini's devil-worshipping spirit is conjured up. THE ESSENTIAL ISSUE
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CREATORS UNITE 10 SHOWROOM The lovely Rita is first to go as she gets stabbed repeatedly by a violin with a blade. So sad... she was quite the babe. Babes will continue to die horribly, as this is Giallo. My favorite one is when a band member gets eaten by tree fungus... really! Now, Kate, Lavinia, and the owner of the mansion, a babe named Sylvia (Daria Nicolodi) must figure out how to stay alive, send Paganini back to Hell, and escape. Oh, yeah... the guys... useless... go figure. Babe damsels in much distress are chased and attacked by the otherworldly, and look great in the process. Kate comes up with a really stupid idea... but this is Giallo, so what do we expect? Will Satan or Paganini enjoy one of these Euro-babes as a bride? Just how useless are Euro-hunks? Wouldn't stomach lining make a better violin string than intestine? The Euro-babes are all sultry and their deaths are gory and imaginative (just ask Elena about her tree fungus problem). For some nice Giallo and an attractive all-girl band targeted by Satan, see Paganini Horror! Christopher Zisi @cjzisi
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CREATORS UNITE 10 EXHIBITION HALL
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CREATORS UNITE 10 EXHIBITION HALL If you are a horror fan, then, chances are you have seen Chantal Handley pastel artworks! This remarkable artist designed most innovative Creator/Artist at the AHCA 2019 loves the faces of horror movies, frozen in terrifying smiles, screams or stares, from the legendary Blonde of King Kong to the possessed Regan that haunts everyone who has seen the Exorcist… Enjoy this iconic exhibition!
Horror Icons Exhibition Creators Unite Gallery welcomes Horror Icons, an exhibition of Chantal Handley’s work available exclusively in Creators Unite Magazine. Photos Courtesy ©︎ Chantal Handley
P 50 - Fay Wray ©︎ Chantal Handley P 51 - Janet Leigh ©︎ Chantal Handley P 52 - Shelley Duvall ©︎ Chantal Handley P 53 - Vampirella ©︎ Chantal Handley P 54 - Sissy Spacek ©︎ Chantal Handley P 55 - Elle Fanning ©︎ Chantal Handley
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P 56 - Marilyn Burns ©︎ Chantal Handley P 57 - Linda Blair ©︎ Chantal Handley P 58 - A Witch ©︎ Chantal Handley P 59 - Toxie ©︎ Chantal Handley P 60 - Margot Robbie ©︎ Chantal Handley P 61 - Leather Face ©︎ Chantal Handley P 62 - Asami ©︎ Chantal Handley P 63 - Karen Cooper ©︎ Chantal Handley P 64 - Caroline Munro ©︎ Chantal Handley
About Chantal Handley Born and raised in England, Chantal Laura Handley is an Australian artist who creates horror and pop culture portraits using traditional pastels from her studio in Australia. Visit her website and her shop and follow her on X.
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CREATORS UNITE 10 MASTHEAD
CREATORS UNITE MAGAZINE Darlene C. Deever Editor-in-Chief & Publisher Roy Bheer Executive Editor Emilie Flory Creative Director Eleanor Fawcett Consultant Editor Lorenza Florida, Biscuit C. Translators
Cover and End Cover Kelli ©︎ Harmonie Le Clair. 2023 The Essential Issue ©︎ Dale Mike B. 2024 Contributing Artists Greg Palko, Chantal Handley, Franchesco, Jumpei Tainaka, Harmonie Le Clair, Dale Mike B., Penelope Cox, Sayuri, Roda, Ruede Bloch, Jiéxī, Kopy Kat, Mark Berry, Dub Meter & AStyanaX. Contributing Writers Christopher Zisi, Laura MacLeod, Matthew Kirshenblatt, Todd Rigney, David Dubrow, Richard M. Martin, Tony Newton, Maria Cristina Mastrangeli, Tony Gpuk, Christopher Bourez, Sooz Webb & Jason Figgis. Photos Courtesy Masters at Work 2: Troma Entertainment, ©︎GirlsandCorpses.com All rights reserved, Mark Berry ©︎GirlsandCorpses.com All rights reserved Masters at Work 3: Andrea Galeazzi Masters at Work 4: ©︎ FukuzoProductions, ©︎ Kurando Mitsutake, ©︎ MAXAM, Inc., ©︎ Torin
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CREATORS UNITE 10 MASTHEAD Special thanks to Robert Rhine, “deaditor” in chief of Girls and Corpses, to Miss Mosh, and Mark Berry, to Cathy MacKay, Hayden McComas, John Ferri and Thom Demicco. ARTWORKS COVER by Harmonie Le Clair | END COVER by Dale Mike B. Kelli’s cover, Lloyd’s cover, Luigi’s cover and Kurando’s cover by Dale Mike B. Kelli’s Webtalk & Showroom posters by Dale Mike B. and Penelope Cox Supertreat poster by Penelope Cox Kelli’s Presentation poster by Franchesco Lloyd’s Webtalk poster by Dale Mike B. Passion Story poster by Penelope Cox Guilty Pleasure poster by Sayuri Troma’s Polaroid Posters by Ruede Bloch & Kopy Kat Luigi’s Webtalk and Showroom posters by Dale Mike B. Luigi’s movies posters by Dale Mike B. Exhibition Hall poster by Dale Mike B. Kurando’s Webtalk and Showroom posters by Sayuri and Dale Mike B. Karate Kill poster by Roda Gun Woman poster by Dale Mike B. Lion Girl and Maniac Driver posters by Kopy Kat Tech Secrets poster by Sayuri Arsenal poster by Jiéxī George A. Romero’s poster by Roda Bonus Feature & VHS posters by Penelope Cox
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