Movie Director Steve Balderson on End Screen Credits, Erotic Sex Scenes and Women in Prison
Acclaimed director Steve Balderson has proven time and time again that great films can be made outside of the Hollywood system, which is refreshing for appreciative movie fanatics. I had the pleasure of getting a behind-the-scenes account on what makes audiences receive two of his most recent movies so well. In this interview, Balderson gets us to understand why the explicit âWatch Outâ is not your typical narrative film and how âStuckâ pays homage to female inmates, with a modern twist.
Madlab Post: Why does "Watch Out" and "Stuck" open with end credits before the movie starts?
Steve Balderson: I always liked that about classic Hollywood films. They would always have all the credits at the beginning, and simply end with a âThe Endâ title card. I do that in all of my films now, but what really gave me the idea was my documentary âUnderbelly.â It was the last of my films to have the complete end credits at the ending. I was screening it at the Boston Underground Film Festival, and planned to do a Q&A afterwards. The end credits were about 5 minutes long, and by the time they were over, half the audience had left because they didnât know we were doing a Q&A.
In âWatch Outâ and âStuck!â by the time the movie ends, the lights come up right away, we immediately walk to the front of the room, and the audience stays put. I also like the feeling it creates for the audience to be catapulted back into reality, while they continue to think about the film. So the film lingers inside them.
MP: Watching a father beat his daughter with an umbrella in "Watch Out" quickly let me know that this movie is not for the squeamish or faint at heart. Were you strictly going after Joseph Suglia's readers when making this movie? If so, why? If not, what portion of moviegoing audiences would enjoy "Watch Out"?
SB: My challenge with âWatch Outâ was to create a cinematic interpretation of the novel, by still being true to the novel, yet bringing a cinematic air to it. Thatâs an incredibly difficult challenge for anyone to do, with any book. I canât say I was thinking about Dr. Joseph Sugliaâs audience at all⌠I think I was focused more on capturing aspects of the novel that were distinctive. Also, the whole project was an experiment in a way.
In film studies they tell you to never do a narrative like that, with his constant inner monologue. I wanted to see if I could break that ruleâand I think I did. For some reason, and maybe itâs just that particular story, the film wouldnât have worked without it. I was surprised at the critical acclaim the film received, and surprised that audiences seemed to love it so much. When we were nominated for Best International Film at Raindance, I was literally shocked.
MP: What other films would you compare "Watch Out" to when addressing general movie fanatics who are not familiar with Suglia's work or your work but wanted to see it?
SB: Iâm not sure. Thatâs a tough one. Because I really think itâs one of a kind. Itâs such a bizarre story. Iâd say that if a person watched âAmerican Psychoâ and thought it was tame, or thought it didnât go as far as the original book, those people would love âWatch Out.â But, I think that if someoneâs expecting a traditional narrative, of, say, âThe Social Network,â they are likely not going to like it.
MP: Why does the prison guard in "Stuck" wear platform heels?
SB: The stylistic elements of âStuck!â were important for me to create that feeling of films like âFaster Pussycat, Kill Killâ â with tall amazon goddesses and high heels on the inmates, and lots of make-up. And yet, on the flipside, I wanted to remain true to the original women in prison films from the 50s like âCaged!â And âI Want To Live!â which were made decades before people started making exploitation women in prison films (like âCaged Heatâ etc).
MP: Daisy appears to have done a 180, becoming an arrogant wench following her first brush with death. Was this an intentional part of the storyline to show how the guilty corrupt the innocent?
SB: Thatâs just how it was written, and I always thought if I were going to be hanged for a crime I didnât commit, and then I somehow managed to live, I would be a changed person afterward. Knowing youâre still going to be hanged to death would be awful.
MP: Is the Warden in "Stuck" a sadist? Also, why are her scenes silent?
SB: I think the Warden is just like anyone in power who abuses that power. I think she revels in the idea of putting other people down to feel better about herself. She never speaks because sheâs so powerful she doesnât need to. It was written that way, and I liked the feeling of it, when we just had that deep bass drone sound and no other noise.
MP: What made you decide to do a cameo in "Stuck"?
SB: Iâve done cameos in all my films up until my most recent film, âThe Casserole Club.â I thought it would be fun. Hitchcock was my favorite director, and he did it, so I thought I should, too. But then, I changed my mind. I thought, oh, I donât need to appear in every movie. Hahaha.
MP: Why do some of the same actors from the "Watch Out" cast also appear in "Stuck"?
SB: They were so incredible to work with, I knew I wanted to have them in another movie. When you find a person who is as brilliant on screen as they are humble, and easy to work with, youâre incredibly lucky. So when I meet those kinds of performers, I try to find roles for them in future projects on purpose.
MP: Dutch has to be one of the sexiest fictional inmates of 2009. Could this character fit in a "Phone Sex 2"?
SB: I agree! Pleasant Gehmanâs performance as âDutchâ in âStuck!â is riveting. People went nuts over the âsex sceneâ where all we see is their hands, mouths, and they stay totally dressed. After it premiered at the American Cinemathequeâs Egyptian Theatre in Hollywood, several people commented to me that they thought it was the most erotic sex scene theyâve ever seen. Even though it wasnât even a sex scene!
MP: Stuck appears to have more intimacy than blatant sex despite it's gang rape and masturbation scenes. Was this intentional and why does "Watch Out" lack the same amount of subtlety regarding sexual activities in its scenes?
SB: Totally intentional. I see all of my films differently, different stories. âWatch Outâ is meant to be in-your-face and outrageous. âStuck!â isnât. When we were filming the sex scenes in my newest, âThe Casserole Club,â the actors were concerned because they all watched âWatch Out.â Kevin Richardson (from the Backstreet Boys) plays the lead (in his debut dramatic role), and I remember âWatch Outâ was the first film of mine he saw. I was so thankful he still wanted to work with me! Hahaha! I told him, âDonât worry. Just because that film was explicit, doesnât mean this one will.â In fact, it would be overkill if I kept doing explicit stuff again and again.
MP: How do you select the films that you decide to work on? What is your criteria for deciding whether you will or won't do a project?
SB: I really boils down to whether or not itâs something I can really dive into and explore, something that is challenging, or exciting, or just something Iâm interested in. Making a movie takes about a year and a half (from the moment of developing the script to the end result of watching it in a theatre). I try and make sure that the subject is interesting enough that it remains interesting throughout the whole process. I see my movies as my children, and to do one haphazardly and to not care about it that deeply would be irresponsible.
If you still haven't seen "Watch Out" starring Matt Riddlehoover,
or
"Stuck" featuring Karen Black,
....I'd suggest you check out these movies ASAP and be on the lookout for "Casserole Club" from Steve Balderson!
Question for Readers:
What are the most bizarre movies that YOU have seen?
Also, what are your favorite film noir movies featuring women in leading roles?
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Reader Comments (1)
I am *so* going to check out Joseph Sulia's book. In fact, it's next on my list after I finish The Samaritan by Fred Venurini (have you read this? If not, pick it up! It's very Palahniuk-esque). I _was_ going to read "A Strange Manuscript Found In A Copper Cylinder" next, but to heck with that! I go though roughly 2 books a month and can't wait to read Watch Out because of the positive reviews I've seen.
As for credits appearing at the beginning of films, I quite like it when there's nothing more than a title (if even that) before the movie. I like being instantly transported into a story (think Star Wars), then if I feel like it I'll sit through the credits, especially if I've heard that there's a cool extra scene at the end of the credits. There's only so many "best boy" and "key grip" I can sit through before I don't really care. I know, pitiful...
I really love your interviews! This is one reason why I keep coming back to this blog. Insightful questions pointed at people in the biz. Fantastic stuff! I'm going to do my best to point people to this site. You absolutely rock, and deserve as much exposure as you can get!