Ted V. Mikels Interview
Interviewed on the 14th August, 2009
   
     
Ted V. Mikels is a director, writer, producer, actor and an extraordinary man that takes on filmmaking with a passion and zest
that sometimes is truly unequaled in the world of independent films. The director of The Corpse Grinders, The Astro Zombies,
Girl in Gold Boots, and The Doll Squad and many others gave Shu a chance to interview him about his career in films. Find out
here what Ted V. Mikels has to say.
     
When did your fascination with castles, weaponry, and your interest
in a sort of Medieval lifestyle first come about?

My first fascination was evident when I was putting together castles with
card-board, and making " knight's armor" with card-board wrapped
around my shins, thighs, chest, and a cardboard mask. The buildup to my
castle life near Hollywood was the fulfillment of those dreams many
many years later. In the castle, I had collected hundreds of swords,
medieval weapons, shields, etc.


In your opinion, what was the finest film you ever made?

As any artist will attest about his work, there is NEVER any satisfaction
about the finished piece of art, whether it be a painting or a movie. I'd
like to think my best film is yet to come. They all involve a tremendous
input of blood, sweat and tears, so you always hope the next movie will
be the best.


In Blood Orgy of the She-Devils, The Corpse Grinders, The Corpse
Grinders 2, The Doll Squad....you have some very beautiful women
acting in your films but never shown nude in any scenes. Do you find
that having beautiful women cheapens your films or the integrity of
the film? Why is there, generally, not much nudity in your films? Is it
out of respect for women?

It certainly is out of respect for women. In addition, for some reason nudity seems to actually cheapen your movie. The people
who are offended claim you would only use nudity because there is not much else to draw attraction. I'd like to think my movies
did not require nudity.
In regards to doing this interview, you had told me that you were packing up your studios equipment because you no
longer needed it because everything was being shot on digital film. Will you ever make a film on film again, or are all your
films going to be strictly shot on digital film?

In this past two months, I gave away for FREE, tens of thousands of dollars in 35mm movie production and editing equipment,
moviolas, sync blocks, editing tables, splicers, 35mm recorders, 35mm dubbers, nobody was buying anything at any price, and a
lot of it went straight into the dumpster. SAD to have done away with it when all of it was such a huge part of my life. I also
dumpsterized an enormous amount of linear equipment, decks, recorders, etc. Nobody wanted it either, even for free, so after
three months of dealing with it, putting it in the dumpster was the only way left to go. I also cut up and destroyed hundreds of
set flats, wall sets, etc. It took 23 truckloads to get it all off to the city dump, couldn't give it away. I also threw out over one
hundred thousand feet of film on reels, 35mm mag stripe,etc. No, I can't imagine trying to shoot 35mm anymore when it costs
about $1.50 PER SECOND in film, developing, etc., and that's a hundred times more expensive than digital. Is there any logic to
shooting film with that knowledge in mind? Who would provide the financing?


Will you miss making films on actual film?

I will miss the hundreds of hours I spent in the editing room, on the moviolas, editing picture, dialogue, sound effects and
music, but digitally, I can do it all sitting at my computer. What a difference.


What was your favorite film to make?

I loved making all of my films. I have made many that are not even known, as fans seem to navigate to the genre they prefer. I
just live to make films ( movies) I love shooting, being a cinematographer as well as writer- producer-director, doing lighting,
etc.
As a famous filmmaker, what is the greatest compliment a fan ever
gave you at the many fests and conventions that you have been to
over the years?

A fantastic compliment , one of many I have been given over the years,
was from a 35 year old news reporter living in New York, and attending
one of the shows where I was a guest. She pointed out, at my table,
what she said was her most favorite movie OF ALL TIME. IT WAS "GIRL
IN GOLD BOOTS" (Yahoo says it's their 14th biggest seller in the nation.
Maybe one day, I'll get a royalty).


Of all the beautiful women and actresses you have worked with,
which actress was your favorite? Tura Satana said in an interview
once that you saw her dancing in a club and you went home and
wrote a film just for her and inspired from seeing her dance in a
club. Can you tell me a bit about the thought process for developing
that movie and what so influenced you, in regards to Satana?

When I first wrote the story in 1960, (THE ASTRO ZOMBIES) I had
written in a "DRAGON LADY", as part of the story I had wanted to make
as true science fiction. Then I met Wayne Rodgers, and he wanted me
to make it " campy" instead. So, I re-wrote it, and came up with "THE
ASTRO ZOMBIES" as you know it to be. I had met Tura, and felt I could
make her into the dragon lady, in a totally different part from her
persona as a tough fighter. We spent a lot of time developing the
character, and she was perfect, a true villainess.
What made you decide to move out of the legendary castle that you lived in while in Las Vegas?

I left the castle with a promise by stock brokers that they would get financing for a studio and financing for my movies if I
would move to Las Vegas. I trusted that would happen, and came to Las Vegas anticipating a new world of filming activity. It
never happened. I opened my studio myself in 1992, and last week finished closing it after the seventeen years of keeping it in
filming mode.


About how long does it take you to write a script and story for one of your films?

I studied all of the mysteries about witchcraft, attended seances, etc. for two years, made tons of notes, then wrote the
screenplay for "BLOOD ORGY OF THE SHE-DEVILS" in ten days. Other times I take many months, even years to develop what I
think will be an entertaining movie. It usually takes so long to put together any financing, you make many versions of a
screenplay you may be writing before actually making the movie.


Do you still use the board with the various note cards and your ideas on them brainstorm ideas and think of creative films?

Yes, I still write out 4 x 5 inch cards, tack them onto a large backing,, then arrange and re-arrange them to tell the story in the
order that I think it should be.
When you were growing up as a little boy, what were some of your
favorite movies you remember seeing?

I loved musicals, love stories, emotionally charging films, they were
always my favorites as a boy.


What do you think of the low-budget B/Z-films coming out on dvd
these days? Do you feel that they had as much passion and interest
in making a great film on a tiny budget or do you feel most
filmmakers are just making cheap films intending to make a quick
buck?

Too often, persons are just desiring a make what they call a movie, any
movie. Sometimes there is passion involved and a good film is made.
Other times, clips are just strung together to make what a wannabe
movie-maker calls a movie. As far as making a fast buck, THERE IS
REALLY NO SUCH THING IN MOVIE-MAKING, it's just a dream..
What do you think is lacking in films made
today in the horror genre?

Most of what is lacking in today's average horror
film is a story line that makes sense. Too often,
new film-makers want to string together clips,
not realizing that they must make sense out of
the story. Plots are essential and often are
missing.


Being an independent filmmaker, are there
any names in Hollywood or projects that you
have seen and can admire as a filmmaker?

I admire anyone who puts together an
entertaining movie and gets it out into the
world for viewers and fans to see and enjoy. It's
a difficult process, and anyone who
accomplishes it is to be admired.
What genre of film do you generally prefer to work in, if there is one genre?

If you would look at my movies, dozens of them, not just a few, you would find that most all of my films are different from one
another. I make movies, that means ALL GENRES, not just one type or another.


At what age or point in your life did you know that you were destined to make films?

I knew by the time I was twelve years old that I wanted to make a life of making movies. Every comic-book hero was my dream
of being HIM. Then I felt I could make movies with similar plots. So, for sixty years now, I have been making movies from my
dreams.


Are you a collector of film-related memorabilia?

No, I do not collect movie memorabilia at all, although I have been sorry that I did not keep a lot of the props I used in my own
movies. A lot of fans have asked if I still had any for sale. Now, I do have a few of the items I have used in my more recent
films. I hope to sell some on E-bay.


Who were some actors that you have worked with in the past that you want to work with again or wish you still could
work with on future projects?

Everyone who has ever worked for me in any of my movies would like to be in any project I am doing, if I had a part for them.
I have retained a friendship with absolutely every person I have ever worked with, and would have any of them involved again
if i needed them for a part.


Do you think there is any possibility of you making a sequel to The Doll Squad?

With the millions of dollars being spent on major productions today, I don't think there is any chance of a proper sequel to THE
DOLL SQUAD, although I am asked many times if I could do it. If I could raise the money to do it properly and compete in today's
market, I would do it in a second.


Would you ever consider co-directing a movie with another director?

Would a painter ever let another painter paint part of his painting? I think not, and I cannot imagine co-directing with another
person, that would dilute your personal input. Of course it could also enhance the movie, but I don't see it happening.
Was there ever a point in your career where you wished that you could be in charge of making a very largely-budgeted
film, either in Hollywood or outside of Hollywood?

I used to say that if you had a big enough budget, you could make a great movie on the telephone, hiring the best talents in the
world. I had been offered twice to run studios, but when I said I would do it if my own films could be financed also, nothing
ever happened. I just did not want to be a land-lord, running a studio, I am a film-maker.


Do you think that the big-budgeted films coming out have just as much thought and talent put into them as smaller
budgeted films or do you think that most of that money used for making the film has been unwisely spent?

Actually, it's on a one-by-one basis, not always the same. They have always said that paying big money for a well-known star did
not work if the movie itself was not good.
Stars are often over-paid, and the movie flops, causing a big financial loss to backers. On the other hand, excellent movies have
been made, both with big money and big stars, and little money with little known stars that become very successful. There is no
set rule.


Was there any film that you made that you were completely surprised at how successful it became when it came out or
even in later years?

Two or three of my movies have surprised me when they are doing well years after I made them. New generations have
different tastes. I am happy that most all of the movies I have made are still being recognized thirty to fifty years after I made
them, like 'STRIKE ME DEADLY', "GIRL IN GOLD BOOTS", "THE DOLL SQUAD", "TEN VIOLENT WOMEN".
So many even very costly movies disappear a short time after they are released. I am happy about the longevity of mine.


Did you ever think that your films would ever achieve “cult status”?

I never once thought about " CULT STATUS". Didn't even occur to me that such a thing happens. Only when sufficient numbers of
fans love a movie does it become a CULT favorite. I used to think that the word "CULT" was offensive to me. Now, it is not a
stigma, it's an honor, (I guess).


How many films would you like to have completed when you decide to stop making films, if you every decide to stop
making films?

I can't imagine ever stopping to make films. I'll get movies made if I have to crawl to the set, and be held up behind the
camera. I have always said I will not slow down until I hit age 104, then I'll slow down, maybe even retire(if I can afford to).


Are you disappointed that your dream project of casting Arnold Schwarzenegger in an adaptation of Beowulf never came
to be? If Arnold agreed to be in it, would you still make it now?

I have dreamed of making my 'BEOWULF:KING OF THE VIKINGS" for over sixty years now, but I think Arnold would agree that we
might need a younger Beowulf now, although he would still make BEOWULF, THE KING IN HIS OLDER YEARS, a winner.


How did you enjoy being part of the documentary, The Wild World of Ted V. Mikels, directed by Kevin Sean Michaels,
showcasing your career? Were you happy that John Waters narrated it?

I felt extremely honored about being the subject of the documentary "THE WILD WORLD OF TED V. MIKELS", and having met and
chatted with John Waters, and John telling me how much he liked my movies, I felt it was a great honor. The book on my
movie-making life by Christopher Curry 'FILM ALCHEMY: THE INDEPENDENT CINEMA OF TED V. MIKELS" published by McFarland
Publishing is also a great honor to my life-long pursuit of making films. I am most happy about both.


Have you ever given thought to doing a women in prison flick?

I don't know what you mean: have I given thought to making a women in prison flick? Catch up on my movie (1979) "TEN
VIOLENT WOMEN", it's about as much of a women in prison movie as you can get. Are you aware of it? It's presently a big DVD
seller by ALPHA VIDEO.


What city or state do you think is the easiest one to make a movie in?

I think that most cities now welcome movie-makers, and often offer incentives. I like Las Vegas because it has about everything
needed to make a good movie, and the film commission here is most helpful.


Astro-Zombies M3 Cloned is your latest project that you are working on? Can you tell me a little bit about that movie,
who has been cast in it, what budget are you looking at, filming locations, etc...?

I had to delay shooting "ASTRO ZOMBIES M3:CLONED" while moving out of my studio. I did shoot every scene I needed to shoot
in the sets we built in my studio before tearing them all down and "dumpsterizing" them. I will now commence shooting the last
forty per cent of the movie. We have scheduled shooting again Monday, Aug. 17, and we'll work hard to get the movie filmed
and edited in our new ALL DIGITAL FACILITY.


Are there any other future projects that you have on the back-burner that you would be willing to chat about?

Future projects are always in the works, and I have two or three I would like to make, but what can be substituted for
financing? Any ideas where to get money?