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Mark Hartley Unleashes “Machete Maidens”

Mark Hartley Unleashes “Machete Maidens” (photo)

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“I had no interest in doing another documentary after ‘Not Quite Hollywood,'” says Australian director Mark Hartley. It’s kind of a weird statement, since I’m talking to Hartley specifically because he made another documentary, a thoroughly entertaining chronicle of American exploitation filmmaking in the Philippines called “Machete Maidens Unleashed” (“Not Quite Hollywood” focused on exploitation films from Hartley’s homeland). Packed with great interviews and movie clips, edited with panache and wit, and featuring some incredible anecdotes about Roger Corman’s B-movie factory of the 1970s, New World Pictures, “Machete Maidens” certainly doesn’t feel like the work of a disinterested filmmaker. So how’d we get here, chatting about his film the day after a gala screening at Fantastic Fest? I asked Hartley what changed his mind, whether he thinks there are feminist messages in Women in Prison movies, and the morality of enjoying stuntwork that could have cost someone their life.

What was the origin of the project?

The origin of the project was long before I became involved. It started out with another film which is credited on the end of “Machete Maidens” called “The Search for Weng Weng.” It was an idea by a guy from Queensland named Andrew Leavold who is obsessed with Weng Weng [a three foot tall dwarf Filipino action star of the 1970s]. He went over to the Philippines and shot a lot of interviews with people in his search for Weng Weng. And when he got back they discovered that due to the nature of the conditions under which they were shot, none of the interviews were usable.

So I got called in by the Australian Broadcasting Commission, who had initiated the project. I thought I should at least research the subject because I was flying to Brisbane to have a meeting with them. If I’m going to say no, I should be at least have some knowledge of the topic so I could say I was informed when I declined. But when I was doing the research, I realized it was a much more interesting story there.

The other thing is, after “Not Quite Hollywood,” Jamie Blanks, who was one of the editors of “Not Quite Hollywood” and did the score of “Machete Maidens” and who most people know as the director of “Urban Legend,” said to me, “You could make any documentary you want now. What would you like to do?” And I said, “Well, if I was going to make another documentary it would only be to meet my childhood film heroes, and the only way I could think to do that was to make a documentary on Roger Corman and the proteges of Corman. But we looked online and found that there was already a documentary being made about Corman. So we thought that was it.

But then months later when I did this research about Weng Weng, I realized this is the early period of New World Pictures. This is Corman going to the Philippines, Jack Hill, Joe Dante and Allan Arkush back in the cutting room selling these films, Jon Davison promoting them, all these guys I really loved. And I thought, “Maybe I can convince these people somehow that there’s a better story here.”

The representation of women in those Corman movies is interesting. Some of the people you interview think movies like “The Big Bird Cage” or “Black Mama, White Mama” are about female empowerment. And others completely disagree and say they were simply exploiting the actresses. Who do you side with?

I don’t think anyone’s right or wrong. And I certainly don’t think that I, as the filmmaker who’s documenting these other people’s stories, should tell people what’s right and what’s wrong. But it certainly makes for good drama if you’ve got different opinions.

I think the actresses really did think they were making liberating films over there. At that time, there were no roles for women. They had to go to the Philippines to get leading roles. These were films where they had their names above the title. That didn’t happen in Hollywood.

The stunts in these movies are just insane. And while that does make them more fun to watch, in the back of my mind, I’m always aware of the fact that if something looks dangerous, it probably was. People literally died for these movies.

It’s interesting. We have a section about stunts later in the film. Obviously we didn’t want to say at the front, “And they died.” You need to have people go “Whoa, that’s insane,” and then realize that it was insane for a very good reason: people were risking their lives and getting killed.

In a way, it does sort of make our film a bit of a downer from that point on. After that we’ve got “Apocalypse Now” and then you’ve got Weng Weng. By the time you get to Weng Weng, which should be the most insane, hilarious moment in the film, people aren’t enjoying it that much because they realize that there are some pretty heavy consequences. This stuff really is exploitation.

It was the same in “Not Quite Hollywood.” The stunts in the Australian films were insane too. People were doing it because there were no rules. And it’s the same in the Philippines. I think the Australian directors look like choir boys compared to what was going on there.

Corman himself is such an interesting figure. He’s so eloquent and classy in interviews, but his movies are so tawdry.

I have to say from the outset that Roger was incredibly generous. This is a documentary that he’s got nothing to do with. He doesn’t make a cent from it. And ultimately it’s capitalizing on the films he made over there. So it was just amazing that he said yes to an interview. It did take a lot of persuading, a lot of me getting up at 2 o’clock in the morning in Australia and constantly phoning New Horizons. And in the end I think they just felt sorry for me cause I kept setting the alarm clock every hour to get up and give him another call.


That period at New World really intrigues me because everyone talks about it being very magical. I worked for someone very much like Roger who paid me no money and exploited me. And I would never go out of my way to say anything nice about that guy. But no one has a bad word about Roger. So obviously there was something very special about that time at New World. They all believed they were getting the break that no one else would give them. When Dante and Arkush make films now they have to answer to forty people. With Roger it was one person. They knew if they gave Roger what he wanted they could do whatever they wanted. And I think they had a creative freedom that they haven’t had since.

What’s the legacy of these films?

I really can’t talk about the legacy of these films. But hopefully the legacy of documenting these films is going to be the people who are inspired to know that against the odds, anyone can make a film. You don’t need big budgets. You just need a gung ho attitude, some luck and a willingness to do something that is different than all the other stuff out there.

OK, last question. There’s a whole section of your doc about this trio of films known as “The Blood Island Series.” Why on earth would anyone live in a place called “Blood Island?

[laughs] Well they don’t live there! They just go and visit.

Then why go and visit a place called “Blood Island?” To me, that’s a place I don’t want to go.

Yeah, I don’t think it’s actually called “Blood Island.” It’s just a nickname. Those are pretty interesting films.

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A-O Rewind

Celebrating Portlandia One Sketch at a Time

The final season of Portlandia approaches.

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Most people measure time in minutes, hours, days, years…At IFC, we measure it in sketches. And nothing takes us way (waaaaaay) back like Portlandia sketches. Yes, there’s a Portlandia milepost from every season that changed the way we think, behave, and pickle things. In honor of Portlandia’s 8th and final season, Subaru presents a few of our favorites.

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Put A Bird On It

Portlandia enters the pop-culture lexicon and inspires us to put birds on literally everything.

Colin the Chicken

Who’s your chicken, really? Behold the emerging locavore trend captured perfectly to the nth degree.

Dream Of The ’90s

This treatise on Portland made it clear that “the dream” was alive and well.

No You Go

We Americans spend most of our lives in cars. Fortunately, there’s a Portlandia sketch for every automotive situation.

A-O River!

We learned all our outdoor survival skills from Kath and Dave.

One More Episode

The true birth of binge watching, pre-Netflix. And what you’ll do once Season 8 premieres.

Catch up on Portlandia’s best moments before the 8th season premieres January 18th on IFC.

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WTF Films

Artfully Off

Celebrity All-Star by Sisters Weekend is available now on IFC's Comedy Crib.

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Sisters Weekend isn’t like other comedy groups. It’s filmmaking collaboration between besties Angelo Balassone, Michael Fails and Kat Tadesco, self-described lace-front addicts with great legs who write, direct, design and produce video sketches and cinematic shorts that are so surreally hilarious that they defy categorization. One such short film, Celebrity All-Star, is the newest addition to IFC’s Comedy Crib. Here’s what they had to say about it in a very personal email interview…

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IFC: How would you describe Celebrity All-Star to a fancy network executive you just met in an elevator?

Celebrity All-Star is a short film about an overworked reality TV coordinator struggling to save her one night off after the cast of C-List celebrities she wrangles gets locked out of their hotel rooms.

IFC: How would you describe Celebrity All-Star to a drunk friend of a friend you met in a bar?

Sisters Weekend: It’s this short we made for IFC where a talent coordinator named Karen babysits a bunch of weird c-list celebs who are stuck in a hotel bar. It’s everyone you hate from reality TV under one roof – and that roof leaks because it’s a 2-star hotel. There’s a magician, sexy cowboys, and a guy wearing a belt that sucks up his farts.

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IFC: What was the genesis of Celebrity All-Star?

Celebrity All-Star was born from our love of embarrassing celebrities. We love a good c-lister in need of a paycheck! We were really interested in the canned politeness people give off when forced to mingle with strangers. The backstory we created is that the cast of this reality show called “Celebrity All-Star” is in the middle of a mandatory round of “get to know each other” drinks in the hotel bar when the room keys stop working. Shows like Celebrity Ghost Hunters and of course The Surreal Life were of inspo, but we thought it
was funny to keep it really vague what kind of show they’re on, and just focus on everyone’s diva antics after the cameras stop rolling.

IFC: Every celebrity in Celebrity All-Star seems familiar. What real-life pop personalities did you look to for inspiration?

Sisters Weekend: Anyone who is trying to plug their branded merch that no one asked for. We love low-rent celebrity. We did, however, directly reference Kylie Jenner’s turd-raison lip color for our fictional teen celebutante Gibby Kyle (played by Mary Houlihan).

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IFC: Celebrity seems disgusting yet desirable. What’s your POV? Do you crave it, hate it, or both?

Sisters Weekend: A lot of people chase fame. If you’re practical, you’ll likely switch to chasing success and if you’re smart, you’ll hopefully switch to chasing happiness. But also, “We need money. We need hits. Hits bring money, money bring power, power bring fame, fame change the game,” Young Thug.

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IFC: Who are your comedy idols?

Sisters Weekend: Mike grew up renting “Monty Python” tapes from the library and staying up late to watch 2000’s SNL, Kat was super into Andy Kaufman and “Kids In The Hall” in high school, and Angelo was heavily influenced by “Strangers With Candy” and Anna Faris in the Scary Movie franchise, so, our comedy heroes mesh from all over. But, also we idolize a lot of the people we work with in NY-  Lorelei Ramirez, Erin Markey, Mary Houlihan, who are all in the film, Amy Zimmer, Ana Fabrega, Patti Harrison, Sam Taggart. Geniuses! All of Em!

IFC: What’s your favorite moment from the film?

Sisters Weekend: I mean…seeing Mary Houlihan scream at an insane Pomeranian on an iPad is pretty great.

See Sisters Weekend right now on IFC’s Comedy Crib

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Reality? Check.

Baroness For Life

Baroness von Sketch Show is available for immediate consumption.

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Baroness von Sketch Show is snowballing as people have taken note of its subtle and not-so-subtle skewering of everyday life. The New York Times, W Magazine, and Vogue have heaped on the praise, but IFC had a few more probing questions…

IFC: To varying degrees, your sketches are simply scripted examples of things that actually happen. What makes real life so messed up?

Aurora: Hubris, Ego and Selfish Desires and lack of empathy.

Carolyn: That we’re trapped together in the 3rd Dimension.

Jenn: 1. Other people 2. Other people’s problems 3. Probably something I did.

IFC: A lot of people I know have watched this show and realized, “Dear god, that’s me.” or “Dear god, that’s true.” Why do people have their blinders on?

Aurora: Because most people when you’re in the middle of a situation, you don’t have the perspective to step back and see yourself because you’re caught up in the moment. That’s the job of comedians is to step back and have a self-awareness about these things, not only saying “You’re doing this,” but also, “You’re not the only one doing this.” It’s a delicate balance of making people feel uncomfortable and comforting them at the same time.

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IFC: Unlike a lot of popular sketch comedy, your sketches often focus more on group dynamics vs iconic individual characters. Why do you think that is and why is it important?

Meredith: We consider the show to be more based around human dynamics, not so much characters. If anything we’re more attracted to the energy created by people interacting.

Jenn: So much of life is spent trying to work it out with other people, whether it’s at work, at home, trying to commute to work, or even on Facebook it’s pretty hard to escape the group.

IFC: Are there any comedians out there that you feel are just nailing it?

Aurora: I love Key and Peele. I know that their show is done and I’m in denial about it, but they are amazing because there were many times that I would imagine that Keegan Michael Key was in the scene while writing. If I could picture him saying it, I knew it would work. I also kind of have a crush on Jordan Peele and his performance in Big Mouth. Maya Rudolph also just makes everything amazing. Her puberty demon on Big Mouth is flawless. She did an ad for 7th generation tampons that my son, my husband and myself were singing around the house for weeks. If I could even get anything close to her career, I would be happy. I’m also back in love with Rick and Morty. I don’t know if I have a crush on Justin Roiland, I just really love Rick (maybe even more than Morty). I don’t have a crush on Jerry, the dad, but I have a crush on Chris Parnell because he’s so good at being Jerry.

Jenn: I LOVE ISSA RAE!

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IFC: If you could go back in time and cast yourselves in any sitcom, which would it be and how would it change?

Carolyn: I’d go back in time and cast us in The Partridge Family.  We’d make an excellent family band. We’d have a laugh, break into song and wear ruffled blouses with velvet jackets.  And of course travel to all our gigs on a Mondrian bus. I feel really confident about this choice.

Meredith: Electric Mayhem from The Muppet Show. It wouldn’t change, they were simply perfect, except… maybe a few more vaginas in the band.

Binge the entire first and second seasons of Baroness von Sketch Show now on IFC.com and the IFC app.

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