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sj Basen SUBLEL Suma ba van MAKE;UDIARTI GAESNCHSON ~~ 4 THE BASEMENT SUBLET “HORROR “MAGAZINE October 2020, Issue #12 CONTENTS Front cover -Jake Jackson! Makeup af sttphoroarapher Many Dani, esting Oven Laviessas theres Crestute om Exposure &kstan Yecanos as Lisa fll erevel frm Fe Am is page 02 Jad& Jackson: Poster #1, Mutant makoup applied te actress Abigell Musick page 02- Jake Jackson: Makeup Artist aninterview by Andrew J. Ravsch page 14-1 Am Lisa preview of Jake Jacksons Special Evfects work page 14- You Are invited, praview ofthe lke Jackson avectd fm short [page 17 - Seymour: Famed Syndication Horror Hos: ror the 19705 page 20- William Reynold Brown: Master ll stator 2K Film Restoration & Research Updates: page 25-Lelf Jonker: Darkness The Final Cut -Ex¢erpt from setter’ Online Updates Darkness: Released versions Lei dre describes the iferentfeleased versions [page 29 Ben Urish ressaiching Wichita Films with Di-ectors& Cast Membars page 2 age 31 King Kung Fu: Vidvies Fin Companies restoration update pigs 33- The Shortest Straw Midiest Fin Companieé restoration updtte: Aitional material 7 pe 3¢ The Brain That Wouldnt Die Rein he cenes phos 2 one 35. WI. Pockets Budget Fim Fest A Sue! slery oa Bialgt Show Zs Page 43. Andrew J. Rausch - Featured cortri3uring waiter forth s issue ge 45: Mike Murphy. MptysMorsioy Movies age 45 Green Hel from the Void Updstd intrmation rom Me tage 47- lade aceon Poster #2,014 nan atsinapnied martes Caren Atel ‘Sat: Editor/Artwork/Layouts Joe Sanderson Contributing Writers Anew J. Rausch & Ben Urigh Contributing Editors - Andrew J Reusch & ake Jackson CofEditor -DaveTonlicar special thanks - Anotew J, Wausch Jake Jackson, Mandy Nig Musick, Carmen Anellé, Owen Lass The castcrew of Exposure Kristen Veganos the casticrew.of lam Lisa, the casticrew.ot ‘You're invited, Parrick ea, Lynn Lowy, Leif Jonker, Hen Ursh Dave Toplixar ‘AN INTERVIEW BY ANDREW J. RAUSCH le se Osage City, Kansas, native Jake Juckson is making aa nnanie for imselt in special eects makeup. In addition to doing makeup and prosthetic work, the 39-year-old self-proclaimed “monster maker” also dabbles in sereen-writing, directing, and producing, Hee hus worked on 1 handful of projects of various shapes and sizes. ‘Jackson's first “real” lilm experienee eame on the set of the shot-in-Kansas Troma release Zom- biegedddon, nn which he was a zombie extra and also shot behind-che-scenes foatage. Following thi Jackson did some work on stall flrs here and there In various eapacities, In 2014, tne Dick Smith trained Jackson worked as a special elfeets makeup artist on the horror film Erasure. Afler that, he worked in a similar eapacity on Steve Ralderson's 9015 filin FTell Town, ‘Jackson later re-teamed with Erasure director Austin Snell on the 2018 Showtime film Exposure, working as sereenwriter, producer, and spesiel inakeup elfects artist you? What fms led you down the path towards wanting to work in film yourself? Jackson: | grew ap in a Osage City, Kansas, where we had two video stores. One of the things to do was to go there and rent VHS tapes. When I got te be about 12 (or 12, I decided to defy my parents by ‘going, and renting harrorfilms. [eas sort of semi-forsidden to watch them. One time 1 was hanging out with a couple of my Ducldies in the sixth grade, and we rented ‘vo films. One of them was Terror’ Vision, which was really more of & horrific spoof. Then we also rented Fright Night, dirceted by Tom Holland, At the lime, (hael never seen either one of them, We ended up all sleeping at my friend's house. We watched Terror Vision first and found ourselves disappointed because ‘ve thought it would be terrifying instead ofa comical take on the sci-fi genre. We enjoyed it, but ve wanted something that ‘would seare the erap out of us, ‘The nest day, we sill had this other tape, Fright Night. So in the broad daylight of morning, we decided to water that. And at 11 years old, back in 1989 oF 1990, we were terrified out of our minds. It had a great sexiness to it; it had a greut fear factor toi; it had great acting, Roddy MeDowell as Peter Vincent is till one of my favorite performances! And Chris Sarandon’s Jerry Dandriége was one of the kst really great ‘vampire characters that captured the sexiness as well asthe demonic nature of the creature. So I became obsessed vith Fright Night and ended up renting it every freaking weesend for a year. Finally, the video store was Like, “Just take it!” [Laughs.] had basicaly rented it so much that Lhad paid for it. And back then, VHS tapes were like S85 fr viceo stores to buy. | was so obsecsed that in the sixth grade, one of the fitst things I ever wrote was a novelization of Fright Night. It was 20 or 3o pages, all handwritten—just besically a synoasis. While doing that, it struck me that | could write my own stories that I wanted te tell. So I started writing my own scuff, not knowing, anything about the process of writing, These would be things lie, “a couple of friends go out, and there's something in the woeds...” But Fright Night kicked off my love of <ilm. my love of writing, my love of prosthetics and erentare effects—that movie is stacked to the gills with them, The only other film that really seared me out of my NS mind was John Carpenter's Tlalloween. That was another film I first saw during the day a: my grand mother's house, and it seared the erap aut of me. As Tve grown as « filmmaker myself—a storvieller doing efforis and storytelling—Tam definitely in luenced by Carpenter's aesthetic. The Bos style of korrar film-making was a hege influence, but those: two films—Feight Night and Falloween—were definitely the big ones tor me. Rausch: You and Ime! on the set of Zombieged- don in 2002. You had already done at least one short Dy hat point. What all had you done Ue? 1: ad first gotten that storytelling bug from vatching those movies, so then over time I real:zed that if [could get my hands on a camcorder, I could ‘get my buddies together and we could make movies. I ‘could writs my own seripts and make movies. So in ‘high school I think I directed mayhe four or five little shorts. Thay were tervible and anly ane orwn of ‘them survived to this day, but they really made me think about how to look at things visually end to translate words to visua's, So when I got out of high school, | really wanted to be a filmmaker. | did a few more shorts, one of which was “or a te.evision station, sehich was ultimate'y hove I got involved with Zom~ Diegeddon. Iwas working with a mutual friend of ours, and he said, “Hey, they're shooting this movie in Parsons, Kansas, Do you want o come dovin and maybe shoot second unit?" At this point I had oniy dabbled with special effects and stuf like that, so this was also an ‘epportunity to go and see a movie where effects were involved. 1 had probably done a dozen or so short films by that point, but this was my first opportunity to workon a production that had more personnel than just me, myself, and J Rausch: liven though I was a proditcer on Zombiegeddon, we can both agree that it was a messy shoot ‘Good or bad, whst did that experience teach you in regards te doing makeup or making your own flras? Jackson: Hvery once it a while I'll talk toa class or a theater group and will tax about the origins of how | got into film, I always tel! them that in 2002 1 worked on this film Zombiegeddon that Troma Films tended up releasing. T tell y them that, even thoagh that wasa terrible experi- cence, the takeaway’ for me was that this was not how 1 ever vant to work on a film or makea fm. Taere ‘were some great friend- ships that were formed from that, but it tanght me to do things the right way Make sure you have standards and are profes sional, and that you act, fané treat others in that same regard. So that was any fast taate of *veal-life experience film seliool” in both the best and worst aossible, | got to work on a film that ultimately beceme a ‘Troma film, and | got te work with Lloyd Kaufman, One of the things I éistinetly remember him telling me was, “This may not bea tue ‘Troma film, but it feels like a rue Troma film.” It was complete and utter chaos. Tkere ‘were no logistics considered. ‘There were instances ‘where certain high-level personel who needed to be there vould just not be there, People were just Drought in and out constantly. The script was completely thrown out the door, which wasn't too bad since a lot ofthe seript wasn't the greatest. Laughs.) But it was a great leaming experience. I definitely took that to heart moving forward. On the produe~ tions I've worked on since, Ive had the good luck to work with established Kansas filmmakers who have done mu‘tiple projects. Paople I respect and admire. Working on Zombiegeddon made me > askmyself, what do 1 want to make? What do 1 want to be a part of? And if] geta feeling it's veering down the Zombiegeddon -oad, I veer away from it and say, “Maybe this ‘srt for me.” Rausch: I aow you had worked on other things, but it seemed like things really started taking off far you ‘when you worked on Exposure. Wha: were some oF the things you worked on between Zombiegeddon and Exposure. Jackson: After Zombiegeddon, T went back to working at the television station, Twent to college and gol an associate’ degiee, Twenl to Une Art Tastitule of Chicago fora year aid ultinately decided the ‘lege setting was not for me. T decided 7a:de some ontine education: and wounc! up getting a master’s degree. During that time, Twas still rving to get stuff made, Not much came out, Tid do one short film in 2010, but there had heen a hig span of fin where Thadn't worked on alot of stuff. Thad gotten married and had ekildeen, Finally Trealized 5 was very difficult to do a peo- ‘ction asa divector ar producer because you needed to aave personnel, so I wanted to find a creative outlet that was stil in that field but would ‘be mare individualized; something T eanld sit down and praetice. I had always dabbled with effects stuff on my short films, s0 T thought, “Here's an ‘opportunity. Let me look around and see what there is. ‘There has to bea correspondence course.” “Then I remembered reading that Dick Smith had a ‘correspondence course where he would send you the material, you would do the mckeup and then £ sendin pictures, and be graded by either him—he ‘was still alive ar the time-—or ore af his prateges. was like, “Okay, what the heck?" So 1 ended up doing that, and T heeame ahsessed with perfection in terms of tying to do work atthe level af guys like Dick Smith and Rick Baker. Iwill probably i a aS