SATANIC CHRISTIAN PART II

Christian Viel

CCF: Tell me a bit of what the “Recons” are all about.

CV: The RECON stories are about a group of Space Marines sent on recon missions all over the galaxy to investigate Ma’hars activity. The Ma’hars are a race of aliens that destroyed Earth and are trying to eradicate humanity. The RECON boys and girls are trying to prevent it from happening. They are popcorn movies in the style of the Cannon movies from the eighties on which I grew up on.

CCF: What are the Cannon movies? I don’t think I know what those are.

CV: They were cheap genre films, mostly action, produced by a pair of Israeli producers and usually starring guys like Chuck Norris or whoever was the hot martial artist flavor of the month or B-movie star of the moment. They existed for pure entertainment purposes and were a hoot to watch.

CF: Yeah, okay. I know what you are talking about. They did the “Delta Force” and “Missing in Action” films. I think they did “Breakin’” too and the action film Special K was in “Ninja III: The Domination.” … Back to “Recon” … The first won the 2005 London Film Festival. What were some of the movies you beat out?

CV: “Cube Zero,” “SlipStream” … “The Machinist” was playing there too. They won other prizes. It wasn’t really a sci-fi/action film so I guess it doesn’t count.

CCF: And you weren’t even there to pick up your award, right?

CV: Yup. I flew back a whole day before the award ceremony. Never thought I would win anything. We had the lowest budget there.

CCF: Can you give me any details on the super hero film?

CV: “Northguard” is based on a very entertaining comic book written by Mark Shainblum and it chronicles a rare Canadian super-hero story. The origin of the character and how he becomes a super-hero as well as the very realistic portrayal of what it is to be a super- hero is what appealed to me. I have acquired the film rights and I am working closely with Mark to bring it to fruition.

John Fallon striking a pose in the cemetery.

CCF: Sounds interesting… You a pretty big comic book reader?

CV: I love comics. Been reading them since I was a kid and never really stopped. Actually, if I could write decently and draw, I’d be making comics instead of films. There are no budget limitations in comics like there is in films. And much less people and red tape to deal with...

CCF: It seems like you are starting to get known in indie circles as a guy that can take a little and make a lot out of it. What are some of the budgets you’ve worked with?

CV: My lowest budget was ever for a feature length project was $10,000 CAD and my biggest was $600,000 CAD for “Samhain.” I never went higher than that. Not sure I want to either.

CCF: Most of them are somewhere under a 100 grand right? How exactly are you able to make $50,000-$60,000 look like a million bucks? What are your secrets?

CV: Most of my films were shot with around $50,000 CAD or roughly $30,000 USD.

CCF: That’s even more unbelievable.

CV: The secrets? Good locations that provide you with most of your set dressing are essential and a good starting point. Using the geography and camera angles judiciously also helps. Lots of time in post too... And you are only as good as the team you assemble and the way you treat them...

CCF: How quick are you making these movies? It seems like you really can knock one out fast?

CV: We tend to shoot quick, between 12-14 days, mainly because of lack of money. Salaries add up fast, even if we do not pay much. But the post-production can be lengthy. It usually takes me about ten to sixteen months to make a feature.

CCF: It seems like you are the kind of director that no matter what you are working on, you have to push it an extreme. The gore in “Evil Breed,” the violence in “Pain Killer” and you had said “Recon 2020” had everybody naked in it? Would you say that’s a fair assessment or has it just kind of worked out that way?

CV: Actually, it is in “Recon 2022” that a lot of people are naked. Not everybody is, but almost. (LOL) “Evil Breed” was like that because that’s what they hired me for: “Make the goriest film” I could do with what I had money wise. “Pain Killer” came out that way because we needed an edge since we have no stars and no money. Also, I wanted to push some taboos. I like to push taboos for some reason. As for the nudity in “Recon 2,” well it has always been a request from distributors. It seems that if you do a genre flick with no stars, you need boobs. We decided to be equal opportunity offenders on this one... It is kind of in reaction to that trend. Why only girls and not guys? The girls on set were pretty keen at the idea and the guy who ended up doing the full monty got a lot of support from the girls.

Christian Viel likes blowing things up.

CCF: Hey, you can’t go wrong with boobs and I myself am all about equal rights. If there are going to be naked chicks, go ahead and have naked guys… Just like women should be allowed to walk the streets topless since men can mow their lawn with no shirts on.... I’m a big taboo guy myself. Keep pushing. We need more directors like you. And essentially you are using the old Herschell Gordon Lewis approach. His thinking in the 60’s was I don’t have stars, I don’t have money and I want people to watch my films, so let me pull out a woman’s tongue or chop off her leg. You into his films any?

CV: Ironically, I met Mr. Lewis at a Fangoria convention a few years ago when we showed clips from “Evil Breed” the full Jenna Jameson gutting and he came backstage to see me afterwards and told me: “Son, you grossed me out!” He meant it as a compliment. But yeah, you are basically right. We have no money, hence no time and limited resources. We need to make the most of it and find an edge. Sometimes it works, sometimes it doesn’t. You have to be creative to make your mark.

CCF: That’s great. Yeah, if you can gross out a gross out master than you must be doing something right.... I read once Quentin Tarantino said sometimes he’ll think of something and he’s just, “no, that’s just too sick for me to write down. What the hell is wrong with me?” You ever get that? Or you just like nope, “the girl eats glass” and that’s that.

CV: Yeah, it happens a lot. But I still try to do it. Whatever we come up with, some sicko will have done ten times worse in reality anyways. We need to try and do different things. Even if they are shocking or ridiculous. Filmmakers seem to be stuck in a circle of doing the same things over and over because it worked in the past with nobody taking any more risks creatively. We need to take those risks, even if we get laughed at or cause controversy. The technology allows us indies to shoot cheaper. The risks are less. Let’s do it! And for the record, the girl eating glass was John Fallon’s idea, not mine...

CCF: For some reason the whole making a girl eat glass keeps making me think of the “piss your pants” scene in “The Last House on the Left.” You a fan of any early Wes Craven stuff or any of the horror. Shock films or survival films of the 70’s?

CV: I do like what they did in the 70’s. Craven and others. They add exactly what indie have now: limited money and resources. They pushed their limits then. We need to do it back again. By the way, we did a “piss your pants” scene in “Evil Breed.” The Steve character was pissing his pants watching Jenna get gutted. I guess they cut it out.

CCF: Yeah, I don’t remember that scene... You said you don’t really want to work with any American stars because they seemed to not care about the finished product, you care to elaborate on that any more?

CV: I can only talk about people I worked with and they were Americans but I think it applies to any stars, regardless of nationality. For the most part, they do not seem to care really about the project they are into. They are for the most part professional but you always get the feeling that they are there for the paycheck more than anything else. It is ultimately all about the money. I think the money should go on the screen, not in the pockets of an actor who doesn’t care. But ultimately it is a business and you need to put butts in seats. But I’ll try to buck the trend for as long as I can... Because it is not worth the grief and the amounts spent ultimately. People who want to do the film bring so much more to it than a star. A star will only, hopefully, bring some money back. But a lack of passion on a low budget movie kills everything.

CCF: Well said. I have never understood the thinking of having to have a star. What about Christian Bale? You got to trust a guy with a name like that. And just think of the marketing... “The Satanic Christians present... A film starring Christian Bale, written and directed by Christian Veil.” You with me?

CV: I do not know Mr. Bale but I do respect him as an actor. He does seem to be the exception to the rule. But he’s way out of my budgets in terms of salaries...

CCF: No budget restrictions, who are some actors and actresses you think you would want to work with? Purely dream team scenario.

CV: Bruce Campbell is the first that comes to mind. Just love the guy. He’s not technically a star but he’s a great physical actor. Liv Tyler has the kind of haunting beauty and sensibility that could be interesting to explore in wilder settings than what she has done so far. Marc Dacascos is somebody I would have liked to work with as well. Jet Li seems like fun times as well.

CCF: I’m a big Bruce Cambell fan too. Jet Li... I never really got into his films too much until I saw “Unleashed.” That was a pretty cool movie... Not real familiar with Marc Dacascos. I know he was in “Double Dragon” as Jimmy Lee.... You a pretty big martial arts fan? I’m a huge Bruce Lee and early Jackie Chan kind of guy.

CV: Early Jackie Chan is cool. Marc Dacascos did some pretty nifty indie films with Steve Wang and he is an accomplished martial artist with the looks to boot. Unfortunately, he hasn't managed to translate it into something bigger.

CCF: Did you see “Ong Bak”? Tony Jaa is insanely good. He’s almost a perfect mix of Lee and Chan - part serious fighter and part kick ass stunt man.

CV: Tony Jaa is good. But their stuff is insane. People get hurt. Nobody should get hurt for a film.

CCF: Any possible martial arts films in your future?

CV: I like to use a lot of martial arts fighting in my films but I would not do an exclusively martial arts based film on its own... That really does not interest me.

CCF: You were just here in Vegas at the Indie Meet. How did that go?

CV: Really well. I had a blast. You seem to have a very lively film community down there. ..

CCF: I’m just learning about it myself. I had no idea we had anybody like Mike Conway making movies here. He’s a great guy, isn’t he? You actually stayed at his house while you were in town?

CV: Mike is awesome! We indeed stayed at his place for the duration of the meet then we moved to the Luxor for the vacation part of our trip.

CCF: Ah, I’ve been told the Luxor sucks... How was the vacation? See any shows? Win any money? Any good Vegas tales to share?

CV: Luxor was cool. At least for us. We had a great time. Hooked up again with Mike, his wife and another filmmaker, Greg Parker. Didn’t see any shows. Just wanted to relax. Which we did a lot by the Luxor’s nifty pool. I am not much of a gambler. I do that enough with my films, but we did win something like $20.

Not sure why Christian sent me this photo of John Fallon sleeping on the street after a night of partying before heading to the office to write a review...
Wait, it is also from “Pain Killer.”

CCF: What did you think of Mike Conway’s movie “The Awakening”?

CV: I thought he did an amazing job with the money he had. There are a few problems, of course but overall the film is really well done, entertaining and fun. Editing could have been tighter in places and performances were uneven at times and a little more money on production design would have gone a long way but overall, it’s a nifty guilty pleasure.

CCF: I told him he needed boobs, don’t you think?

CV: I guess so. At least from a commercial standpoint. But Mike is a true artist. He makes a film because he wants to do the film. I think the commercial appeal of the film doesn’t really concern him at the producing stage. At least, it’s the vibe I got from him.

CCF: Yeah, he does his own thing and I guess that’s what everybody should. That’s the philosophy I use with my website… Any chance you and Mike might get together on a project?

CV: Well, we are actually talking about teaming up for shooting a portion of “Recon 3” in Vegas with Mike’s company co-producing that section with Movie Seals.

CCF: Cool, can I come to the set?

CV: Sure. You’re welcome to.

CCF: Well, I think I am all out of questions. Anything else you want to add?

CV: Not at the moment. But thank you for the opportunity.

CCF: No, thank you Christian. I hope to see some of your other work besides “Evil Breed” fairly soon.

- CCF, June 2006