When was rob zombie born

That's why I think Americans respect foreign films so much more. The whole vibe is so different. Scaring people is difficult and it's easier when you have an approach they're unfamiliar with. He's a great guy, and he really helped me out of a bind on this one. For the role he plays, I needed somebody really iconic. It's not a big role, but when that character appears, it needs to be very memorable, and Malcolm came in at the last minute and nailed it. And Meg is super-cool.

This is the second time we've worked together, and she's just a sweetheart. So now I did one in 'Guardians', too, to just keep that process rolling. With The Lords of Salem , I toyed with it for a long time, because I could have made it more tonally like [ 31 ] by the way the cameras moved, the way I lit it, the way I did things.

Then I thought its story seemed like it wanted to be like an Italian art movie: slow, the camera's not moving a lot, the takes are drawn out, it's more about the mood it's creating, not the story it's telling, where the whole movie feels like a dream.

That's what I always feel like when watching a [ Dario Argento ] film: "I don't even know if this makes sense, it seems like a weird dream I had. With '31', it seemed like time to go back to something more grounded in a gritty sort of in-your-face reality. So tonally and style-wise, they're totally different. I love The Shining And so is 'The Shining'. It's considered an actual classic and I don't think anyone would argue with that, but when it came out everyone trashed it!

All of his movies are like that though, they all had terrible reviews. It's weird. I always thought I played Michael Myers more like he was Frankenstein. Because you know, all those monsters always had a sympathetic edge to them. There was always some sort of misunderstanding going on, or they were thrown into a world that they didn't understand, and what they did was horrible but they just didn't get it. It's special to me because I was a teenager back then.

It's when I discovered music, TV, and film. It will always be my favorite, 'cause I love how people look and how things are more primitive. The one thing that makes it difficult about shooting period pieces is that it's more expensive.

You can't just go out and do anything. That's why with The Lords of Salem I gave it a '70s vibe but it wasn't in the '70s. If it was, I couldn't have shot it the way we did.

We would have to remove every wrong car, change out all the clocks and lamp posts to give it an authenticity, which we didn't have the money to do. Stand in the background; you know, your best days are over.

Do they ever get found? And that was really what inspired the movie. The franchise was already dead, and they hadn't made a film for so long. So I made one, walked away, they tried to get another one going again, so I came back and made another one.

And it's been five years since my last one [ Halloween II ], and they're still having trouble. You might not have liked what I did, but if anything, I brought the franchise back to life because it was just laying there. It pumped the life back into it, whether you liked it or not is a different argument. Even when I was doing this movie [ 31 ] - people just have a thing with clowns. I don't know why. I mean, I like them, I don't find them funny, but I find them interesting.

But I guess because of that makeup - you know, take some grease paint, it doesn't take a lot of effects, it doesn't take an elaborate costume. Put a little bit of makeup on your face and it totally transforms the person. In fact that's why, with Richard Brake 's character, I kept his makeup so simple. Because even I was amazed at how little makeup you could put on somebody and totally lose their features, and I didn't want to lose his features, because they're pretty striking.

But if I put this crazy Bozo makeup on him, it'd be like, well now I can't even tell what his face is doing. And even a movie like It , the original one, who the fuck could tell that's Tim Curry? It's amazing how much it can transform someone's face. I would write my usual way, but when going through it again, you realize you have too many characters, or there are too many situations going on. That's when you cut, cut, cut and make the script more precise. Knowing from my past experience how shooting days were going to go, I could find what the script could be.

While we were shooting, I kept on thinking how crazy everything was. There's a lot of action in the film. Like, how am I going to do a double chainsaw fight sequence in one day? It's so easy to write it down, but when it comes to actually doing it, you realize how much struggle it is. The fight scenes were easily the most time-consuming thing on this movie. They didn't have time to be consumed. I love the Universal stuff 'cause a lot of it is 69, 70 minutes. Get to the point, boom, body out of the grave, let's build a monster!

After 90 minutes, I get a little squirrely in the feet. Especially if you're seeing simple things, like I don't want a two and a half hour superhero movie. Cut out an hour of that. I guess some people feel like they get their money's worth if it's longer, and it seems more epic, but I never felt like more is more in that sense.

I like things to be concise. I was on a plane the other day and was watching The Thrill Killers , which was a completely cheap, nothing movie. Like why was I more entertained by this more than a blockbuster movie? One day of catering on The Dark Knight cost more than this movie. I've always liked really simple premises, like The Sadist It was twenty days, and twenty days to make a movie is psychotic because you've got to nail it.

There was a lot of pressure on everybody to get as much as we can on the first take and everything had to be awesome so we don't fall behind schedule. So I knew I needed to bring in enough actors that I had worked with; I couldn't have many actors I've never worked with and expect it not to be a catastrophe. So there were a lot of familiar faces and people who came into the fold. I have a large group of actors I can pull from now, which is nice because, for instance, when we were casting Father Murder, I knew I needed someone instantly recognizable who could carry the dialogue.

I did some auditions and found some great people, but they weren't people you would recognize by face, and they needed to be someone you'd embrace once they come on screen. So that's when I thought, "Let's just call Malcolm [ Malcolm McDowell ] and see if he's available for two days to come down and shoot.

But the shooting was really psychotic, and there's one scene in '31' in particular where there's a two different fights happening simultaneously with chainsaws which was very complicated to shoot.

We had one day to shoot it, and I've talked to people who worked on movies where comparable scenes had weeks to shoot something like that, like sword fights that took six weeks to shoot.

We had eight fucking hours, and that's including special effects and stunt doubles and doing it all carefully and safely. It wasn't the smartest idea on my part. The limited schedule is why I had to make some of the characters more cerebral in stalking and killing.

We had to thinking about what was possible to make happen and anything where we could go, "Who gives a shit? When you have an hour and a half to shoot all these characters battling away, it's insanity but I will get it done. Strangely enough, we didn't suffer from time constraints; we just became really good at shooting fast. Once you don't have time to fuck around, you don't have time to second guess yourself, and if there is a problem, you have to solve it instantly.

We actually didn't have a ton of deleted scenes on '31' because so much was cut in the planning stage. When I can't afford to lose two days on a twenty day schedule, I'm not going to spend time shooting stuff I'll never use. The script was purposefully really tight, whereas with previous films, there's been entire subplots cut out. Now these films are so famous, but at the time, when you'd go see these movies, you were seeing them in these shit theaters in the middle of nowhere.

I never like to use the term "grindhouse," but I was lucky enough to live in New York City in the early '80s and go to 42nd Street to see movies like Cannibal Holocaust or Cannibal Ferox And it was a crazy thing. I mean, you felt like you were going to get killed just being in the theater. They were filled with junkies and prostitutes - it wasn't really like going to the movies, because it was 42nd Street. It was dangerous and weird and you always saw people get into fights and get stabbed.

It was crazy! The movies and the surroundings became one and the same, almost. And most people didn't know about these movies. While still on tour for Astro Creep, he worked with cartoonist Mike Judge on the movie Beavis and Butt-Head Do America, a film version of the popular television series of the same name that prominently featured the band.

Resentment began to build among White Zombie members, and the tension and burnout from being together for over 10 years eventually split the group. Zombie and drummer John Tempesta left to form their own act, with Zombie now in total control. Although the sound changed slightly, he kept his loud, horror-rock theatrical edge, much to the delight of his fans.

So going solo was tough to do but it worked out great. I have no complaints. In Zombie released his first solo album, Hellbilly Deluxe: 13 Tales of Cadaverous Cavorting Inside the Spookshow International, which immediately went into the Billboard top five and eventually sold over three million copies.

With his theatrical rants and extravagant stage show, Rob Zombie was just as successful solo as he'd been with his band. To promote Hellbilly, Zombie joined the multiact metal tour Ozzfest in The studio, however, claimed the violent, sadistic film would require an NC rating, which they refused to accept.

Zombie was skeptical. They saw the dailies Undeterred, Zombie went back to the studio in to record his new album Sinister Urge named for a Ed Wood crime flick. He took his show on the road, embarking on the Merry Mayhem tour with the legendary Ozzy Osbourne. In Lions Gate Entertainment agreed to release Night of Corpses, fulfilling Zombie's dream and scoring major points with his fans, although it was panned by the critics.

Zombie began to work on the sequel in In Zombie also released a greatest hits collection and launched his own comic book line, Rob Zombie's Spook Show International. Although some have accused him of building on his exaggerated image, Zombie argues that he's simply being true to himself. Onstage it's kind of a hyped up version of myself because I'm trying to reach the guy on the lawn but I am trying to keep it real because it's hard to live some lie.

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