Terrence Williams ( director of Horno and Hood Has Eyez) interview…








Almost a year ago, I got my start doing a hotseat. I wanted to just interview people I know would entertain you guys. Whether you know who they are, or not..one thing is for sure, the job they have is not easy. They have to come up with answers to questions that a lot of people would never dare  ask. ” How dare you tell someone you did not like the film they are promoting”…” How dare you ask people about topics that are taboo”..All I have to say, it is ” fucking Terrence Williams”..thank you for checking this out and give Mr Williams some love..


1. Do you personally think, critics are fair to your films? ( the ones you read
at least) Do you read every review? And if so do you get pissed at bad ones or
people who call you Clarence?

Sometimes. I’d say it’s split down the
middle, fifty-fifty. For me it really depends on who the critic is and how well
he or she knows the type of films they are reviewing. It’s tricky since anyone
can start a blog these days and call themselves a “critic.” But to be a
successful “critic” you have to know your shit. Know a vast library of films so
that you know what the hell you’re talking about when judging a film. I usually
read all the reviews my films get, at least once. I can’t recall who said it
first, Hitchcock or John Waters, but they said the following in regards to film
reviews, and I wholeheartedly agree; “Read the bad reviews once, the good one’s
twice, and put them all away and never look at them again.” Because at the end
of the day they are just that person’s opinion, so for any one to follow that
persons opinion blindly on whether or not they should watch something, then I’d
think that critic would have to know filmmaking like the back of their hand,
inside and out, you know, to have some validity or leg to stand on. It’s a
helluva thing to put all your trust in one man’s opinion, especially when it
comes to them telling you what you should and should not watch. In your recent
review of The Hood Has Eyez, was the first time ever I was called ‘Clarence.’
Ha-ha-ha. So that’s a new one. No hard feelings though. We all make

2. What was the first film you ever watched and said, “you know what I want
to do this”?

A Clockwork Orange. I first saw that film when I was about
10 or 11 and immediately afterward my mind got to working… That’s what I want
to do… make movies that make people uncomfortable and raise a few eye


3. With your films do you personally set out to offend people, or do you
just want to have fun and if people do not get the fun, oh well?




I like to push people’s buttons and get a reaction out of them, especially
with my art. Those are the type of films that I enjoy as a moviegoer, so that’s
what I try to do for fans as a filmmaker. I like films that catch me off guard
and surprise the hell out of me. I don’t really care for big budget, box office,
cookie-cooker, formulaic films, where you pretty much know what’s going to
happen five minutes in. Tried and true formulaic bubble-gum packaging. I hate
those type of movies. Most pod people seem to love them. I guess if you have a
brain tumor you’d dig stuff like Transformers. Watching stuff like that will
make each minute seem like a lifetime. Truthfully though, you’re better off
opening the fridge and watching the mold grow. At least that’s a little less
predictable and more entertaining. I do have tons of fun making my films. If I
didn’t I wouldn’t be doing it. I like doing things my way, working with what I
have. Setting out to capture a particular vision and usually we succeed at what
we set out to do. So if people like it and get it great, if they don’t, that’s
fine too. We here at Cinema Threat don’t try to make movies to please the
masses. When you try to be all things to all people, you end up not being very
good for any of them.


4. What made you want to cast a flavor of love girl in your film? Did you
know about her on the show, and just said I have to work with her?


The actress you’re referring too is Jesselynn Desmond, who has acted in two
of my films; in The Hood Has Eyez as Susan and Horno as Samantha Good Head. I
can honestly say I have never watched Flavor of Love and only found out she had
been on it once I got her head-shot and résumé. I cast her based on her audition
and other acting experience. The bulk of the actors I have worked with are
professional actors who have done many different things and played many
different roles, from independent films to big box office pop corn films,
commercials, etc. They act for a living. That’s what they do.




5. I have to ask every male adult gore director this question, so you are no
different…Is filming female nudity a turn on or do you just look at it like
another day at the office?


I’d be a god-damned liar if I said I was never turned on by any of my
actresses, especially if they’re doing a nude scene. If I’m not turned on then
the audience will not be turned on, and therefore we are doing something wrong,
and possibly something is wrong with me. Don’t misunderstand me, I’m not saying
I stand behind the camera with a freakin’ boner or anything, but as a
heterosexual male who still has his eyesight and blood flowing through his body
and nether regions, you can’t help but be attracted to beings of the opposite
sex. However, I always maintain a level of professionalism and at the end of the
day it is just work. Even if I were shooting porn, it would just be work. After
the scene is done everyone goes about their business. Horror and sex go hand in
hand. It’s sorta like life and death.


6. As you know, I did not care for Horno, this is your chance to defend the
film? and, also…Why should fans see Horno?


I don’t feel Horno needs defending. I don’t feel any of my films need
defending. They speak for themselves. They are what they are. Either people like
them or they don’t. Interestingly enough, Horno was my response to many of the
criticisms I have faced over the years since becoming a filmmaker. Especially
once I began making horror and exploitation films. Horno is a commentary on
people’s judgments of my films, an illustration on their beliefs about
micro-budget films in general and micro-budget filmmakers specifically. It’s the
journey I have made as an independent filmmaker. I deliberately made a film
about a smut director who decides to make a mainstream film to break out of
being branded a ‘porn director’ but no matter what he does, everyone, including
his actors, still think he’s a porn director. That’s how I get treated at times.
If those people ever took the time to actually watch one of my films or any 70’s
or 80’s grind-house films I think their opinion would change. But their idea of
horror is Sleepy Hollow. They would realize it’s not porn and I am not a
pornographer, I am just insane. At this point, it’s all just funny to me,
really. That’s one of the reasons I made Horno. It was to poke fun at people’s
uninformed labels and stupid opinions regarding my films. It’s a film response
to the critics opinions regarding my films and indie films as a whole. That’s
why it purposely has cheesy and over the top acting, a soundtrack that sounds
like porn music, a boom mic constantly appearing in the frame, repeated shots,
jump-cuts, and a crudely executed zombie film, etc. Even though the zombie genre
has been done to death and just about everything you can do with that topic has
already been done and then some, Ron still thinks its a brilliant and
revolutionary idea. But some folks still didn’t get the joke. The fuckin’
characters in the film are constantly calling it a porno and the director Ron,
is always having to clarify “it’s not a porno movie, it’s a HORNO movie!” But
his explanation always falls on deaf ears. Once people get an idea branded in
their mind, that’s it, there’s no changing it. That’s why stereotypes are so
hard to shake. That’s what Horno is about. Poking fun at dumb people who don’t
get micro budget filmmaking and exploitation films, while having fun with it in
the process.


I did all of this to show, If you put a naked chick in your film these days
most square people automatically consider it porn. If an actress in your film
sucks on a fake cock it’s unequivocally porno, regardless if there’s a story
there or not and it advances the plot. Since that happens in the opening scene
of Revenge of La Llorona – an actress deep throat’s a fake penis, a lot of
people began associating my work with porn and a few stopped wanting to work
with me… mostly actresses who were afraid of being ‘branded’ or associated with
that type of thing. From that point on I had to constantly defend everything.
Especially once I made The Hood Has Eyez. I set it up so that no matter what new
direction Ron (the main character in Horno), might want to go in, and no matter
what new film he sets out to direct, or what types of new ideas he has, Sid
Corsi (his producer and financier in the film), and the fans will always want
more of the same. More tits, more ass. And the other mainstream folks will
always dismiss his work as porno, even though “it’s not a porno film, it’s a
HORNO film!” Even after making this commentary film, I still have folks saying
“Horno is not as good as The Hood Has Eyez!” And that’s just plain stupid,
because Horno is not The Hood Has Eyez. It will never be and can never be. Horno
is a whole ‘nother monster. Yes it is horror, but it’s a lot more comedy,
because it takes all these asinine ideas and merges them together with an
asinine plot, tits, ass, gore and more. It also shows that indie filmmaking
isn’t as glamorous as some might think. It’s not romantic. It’s just a man with
a vision, a camera, and a few dedicated actors with a need to create and express
themselves. Ass to mouth, now that’s romantic. In my book, a film is a complete
failure only if it completely fails to evoke an emotion. Hating any of my films
is an emotion, so I have succeeded in stimulating a person if they eject my DVD
and are so pissed they want to use it as a drink coaster. I don’t make films
intentionally to make people angry, but if I put my heart and soul into
something and I am so passionate about what I do, undoubtedly people will become
passionate when they watch my film…. either they will love it or hate it, or
fall somewhere in between. I don’t believe there is such a thing as a “bad
movie.” They’re not bad movies, they’re just misunderstood. There are somethings
I simply do not get, that other people rant and rave about, like the Harry
Potter films. If you like gratuitous nudity, over the top violence, blood, guts,
fake breasts, real breasts, massive male organs, and other obscenities,
mindless, campy fun and blood-drenched gore-gasms you should check Horno




7. Have you ever been offended by a film?


Maybe some of the racist films back in the day like Birth of a Nation, the
Stepin Fetchit films, Amos ‘n’ Andy, that sort of thing. Most Westerns,
especially those starring John Wayne, were also offensive to me. Presently the
main thing that offends me or has offended me has been propaganda, like Faux
News stuff. Things related to politics, since that actually affects peoples
lives. It makes me cringe when I see shit reported on that I know damn well is
untrue or biased and only there to brainwash people and make them think one way,
instead of allowing them to form their own opinions. A blatant example would be
Faux News or the 700 Club. They’re not films but they are a form of
“entertainment” and they are offensive and truly frightening to me.




8. You have been a part of the Hollywood machine, and now you are part of
the indie machine. Personally, do you think racism still exists?


I’m assuming you’re referring to in the business? If so, yes there is still a
lot of racism. Although it is more disguised now. It’s not as brazenly obvious
as the Stepin Fetchit stuff I mentioned earlier. This year marks the first time
in 10 years that there have been no black acting nominees up for an Oscar. Not
since the 2001 Academy Awards have black actors been shut out of the Oscar race.
I’m not suggesting that there should be racial quotas for the Oscars, nor are
African-Americans the only under-represented minority among the nominees, but
the “good ‘Ol boys” system is still largely in place. That’s one of the reasons
I enjoy working in the independent world as opposed to the Corporate film world.
I have more control over what I do, more freedom. I don’t have to shuck and jive
for some studio who only want me to make certain types of films for a certain
demographic. I was recently watching The Wire, the HBO series which had a
largely all African American cast, that dealt with an African American
neighborhood in Baltimore Maryland. It is one of the most genius and brilliant
shows ever made, but it never won an Emmy for anything. And the writers and
directors (a few who happen to be Caucasian), kept it real when stating that,
“it’s because the show did feature a largely all African American cast and dealt
with issues mainly relating to them and ‘their’ world. The Black characters
weren’t one dimensional and the line between who’s the good guys and who’s the
bad guys wasn’t as clearly drawn… it’s a complex show, and I don’t think
Hollywood was ready for that. Even today.”


So on the one hand it could be argued that racism in Hollywood no longer
exist because you have a show like The Wire, with a mostly African American
cast, but you look at a guy like Tyler Perry, he has to dress up as a woman and
act ignorant. Shuck and jive. Whenever he veers from that, they reel him back
in. When he made For Colored Girls, which I liked by the way, it offered meaty
roles to a who’s-who of black actresses, and it was based on material with a
literary pedigree and a place in the theatrical canon. Still, mainstream critics
didn’t take Perry seriously; they see the Madea creator as someone who makes
sanctimonious slapstick. They thought ‘For Colored Girls’ found him out of his
depth. So unless he makes a fool of himself, they’re not interested. Most could
argue he makes movies and is successful, so there can’t be racism. He has his
own studio, he makes 3 or 4 films a year. How can you say there’s still racism
in Hollywood?” But folks have to remember, Stepin Fetchit, who’s last name
ironically was also Perry, parlayed the Fetchit persona into a successful film
career, eventually becoming a millionaire, the first black actor in history to
do so. He was also the first black actor to receive a screen credit, but look
what he had to do to achieve this. I have no beef with Tyler Perry. I respect
and admire what he has achieved, but we can’t pretend that Hollywood hasn’t
branded him and is going to try to keep him dressing like Madea. That’s my
point. So it’s there, but in a subtle way. The fact I’m always asked this
question, “do you think racism still exists?” Illustrates there’s still some of
that in Hollywood.




9. The Hood has eyez…I know you did a script, but there are moments in this
film that felt like the actors just went off the page and improv’d…did you
tell your crew, listen if you feel it, just go with it?




Yes, definitely. The script is the foundation, which I laid, but the actors,
they provide the rest. There were many instances during the shooting of “Hood”
where the actors went beyond the lines in the script and we just kept shooting.
Like Kimmy’s rape scene for example. It came off realistically because the
actors read over the scene, we discussed it, blocked it, and then they took it
from there. Antonio Royuela (Psycho) and Cyd Schulte (Kimmy) were amazing in
that scene. Everyone was. And they all improvised most of the rape scene. The
dialogue was scripted and most of the main actions, but I think it would have
resulted in a stale, dull performance, had they followed it word for word,
action for action.




10. This shocks me, you put up a trailer that is pretty much the film. So,
anyone who sees this trailer almost knows what to expect from this film…so why
would someone be negative on this film when they fucking know what they are
getting into, do you ever wonder people’s reasoning’s?




I stopped trying to figure out people’s reasoning a long time ago. We
intentionally set up The Hood Has Eyez trailer like a classic 70s or 80s
exploitation/grind-house trailer. The trailer was modeled after those of The
Last House on the Left, The Texas Chainsaw Massacre or Children Shouldn’t Play
With Dead Things. Most of the trailers for these types of films, from that time
period, were set up similar to that. I tried to give people a crystal clear idea
of what type of cranium fuck piece this was gonna be (Hood Has Eyez), yet there
were still folks who went in and come out acting surprised that it wasn’t
Insidious or something. I don’t have anything against that film, I actually
loved it, but my point is Hood Has Eyez is an exploitation film, not a
traditional horror film in the typical sense of the word. It lets it all hang
out right up front. I set up the trailer for Horno the exact same way. If folks
went into that not knowing what they were getting into, then that’s as stupid as
meeting RuPaul at the bar, taking him home and then being surprised that his
cock is bigger than yours.


11. Do you agree with the tag “adult gore” when describing some of your
recent films?




Sure, why not. I’m not really one for labels, but I don’t get butt hurt when
people call my films this or that. I love these type of films. Whether people
call them adult gore, torture porn, exploitation, b-movies, T&A films,
whatever your cup of forty-water is, it is what it is. My most recent films;
Horno, Hood Has Eyez, and Revenge of La Llorona do get put in that category a
lot. I think those films are exploitation/B-movie type films first and foremost,
a genre of films that has existed way before the ‘adult gore’ label came along.
That label doesn’t bother me, however I don’t like when people call my projects
pornographic because they are not. When I make a porno film (and I eventually
plan to do so) then they can call the kettle black because it will be.




12. You made the film 4 years ago, ( The Hood Has Eyez) are you shocked
people are still mentioning it and wanting to review it?


I think I’m more shocked at how popular the movie has become over the years.
It seems like it struck the right nerve with folks. I’m proud that we made
something that people are still interested in all these years later – that
they’re still even discussing it to the point of wanting a sequel. I initially
set out to make The Hood Has Eyez, because I love films of this nature, and have
always wanted to create my own type of I Spit On Your Grave or Last House on
Dead End Street opus, and it seems we’ve succeeded.




13. Do you think there should be a line drawn, as to how far a movie can




I pretty much have no boundaries for decency. It’s all scripted and
fictional material, so I don’t see what the big deal is. If it’s not your thing,
don’t watch it. I feel mindless dribble like Jersey Shore or The Bachelor is
more harmful to our society than Visitor Q. There is enough real life shit
taking place every day in every inch of this globe. So if folks want to obsess
over stuff they should obsess over that – the reality and brutality of human
nature, not fictional movies.




14. Was there any scenes in Hood has eyez that a actress or actor had to
maybe be persuaded to do? Like they objected to the subject matter… Lets be
serious Terrence, I do not know too many women who even though it is fake, would
let someone do a dirty sanchez to them?


Ha-ha-ha. It’s funny you bring this up. The people who ended up cast in the
movie were all down to do whatever was in the script. They were a committed
bunch. They knew what this was and what we were attempting to do. A few of the
actors I had worked with before, so when I originally pitched the concept to
them and they said “cool, I’m in,” I knew they would be. They did tell me I was
a very sick and disturbed individual after reading the script however. But we
all were in on the joke and knew we were trying to make a film in the vein of
other exploitation legends, like Last House on the Left, I Spit On Your Grave,
Thriller: A Cruel Picture, etc. During the casting process however, many people
were turned off instantly just by the synopsis of the film; After being
violently raped and humiliated, Kimmy seeks revenge on the sadistic gangsters
that wronged her. Uhm, no thanks. So it was a challenge finding actors who had
the chops for some of the other roles. But eventually it all worked out. I will
admit, Cyd Schulte, who played Kimmy in The Hood Has Eyez, seemed to be having
second thoughts about the Dirty Sanchez scene when it came time to film. It was
one of those one take things. Had we had to film it again, I dunno if she would
have been as adamant about it. Come to think of it, there was one scene that I
had written, that she (Cyd), refused to do. Toward the end of the film when
she’s torturing Antonio (Psycho), and getting her revenge, I had originally
written a scene where she squats over his head and takes a huge crap. Her words
to me, “uhm, I think we already pretty much grossed them out with everything
else, we did the Sanchez, so lets just omit this one, what do you say?” I was
like “okay. Fair enough.” I guess I’ll save that tasty nugget for the




15. Without self promoting your library, what was the last film to blow you
away and why?




A Serbian Film, hands down! These days many films pop up claiming to be “the
most brutal and disturbing film ever made,” and they rarely ever live up to that
claim. But this one not only lives up to its claim, it surpasses it. I know
there’s a lot of pretentious hipsters out there who’ll say nonsense like, “this
film didn’t shock me, I’m a hipster and I’m cool, nothing shocks me or disturbs
me, blah, blah, blah.” But it shocked me. And I watch a lot of films of this
nature. There were scenes in that movie that made me proud, ashamed, and jealous
that I hadn’t thought of that, as well as repulsed – all at the same time. I
loved every minute of it! I’m curious to see what type of U.S. Release A Serbian
Film eventually gets. I can’t help but think it’ll be heavily censored and
they’ll have them cut out or clean up a few of the scenes in it. Especially when
he anally fucks his dead underage son at the end! Or the newborn porn


16. Did you ever think while working on Hood Has Eyez, ” there is no way, I
can give this movie to the ratings board or the MPAA”? You know if you gave this
film to try and get a R, you would barely have a film…it would be about 9
minutes long…( I am joking..I think)

The MPAA’s death grip on the movie industry has been significantly
loosened by the DVD and internet boom, similar to what happened with the
drive-in B-movies of the 70’s and the VHS boom of the 80’s. For some filmmaker’s
straight-to-video or internet downloads are not glamorous enough, it’s the ‘kiss
of death.’ For me it’s the only way to go. I don’t aspire to make films that a
mother, her teenage son and his girlfriend can all enjoy equally at AMC
theaters. Those are cookie-cutter films. I make love ‘em or hate ‘em gems. I
have never had to deal with the MPAA and think that their ‘ratings system’ is
designed to keep true independents out of the game, or at the very minimum,
severely cripple them. As an independent filmmaker I don’t have the big budget,
the name actors or the flashy effects, what I do have is an original, uncensored
story, to not film this in its purest form would be detrimental to both my film
and me as a filmmaker. I make films to entertain and stimulate people, big
Hollywood makes films to make money. A lot of creative people shuffle around in
that world but are severely restricted by the ratings system. In my world I
don’t worry about shit like that. If I make a movie that has the equivalent of
an NC-17 rating it helps me sell my film, if you get an NC-17 slapped on your
film in Hollywood-land that limits your films distribution, which then limits
how much money the film makes… at least that’s the formula the corporate
big-wigs have come up with, so in turn the money people make sure your film
never gets that rating, because in their brain that would mean less money. So
they would rather cut the picture to death until it resembles an A sexual movie.
Even an R rating scares some of these money seekers. So, what you get is a shell
of a movie. Many films that could have been great end up not being so because of
this system. Things are taken out, shuffled around, deleted, cut – the vision
gets lost. Then sometimes you get to see the stuff the MPAA wanted taken out on
the directors cut of the DVD and you’re like, “that’s it!” It’s very
bureaucratic to say the least.


I did have numerous distributors steer clear of the film or tell me outright,
stuff like “I’m a fan of the revenge flicks, but I think The Hood Has Eyez is
just too strong even for us!” We even got turned down for “distribution” by
Create Space, an on-demand service that allows you to self publish your own
DVD’s. Even though they weren’t going to take any of the risks involved but were
happily going to take 70% of the profit ,they still wouldn’t fuck with Hood Has
Eyez. They said the following “Unfortunately, we are unable to accept ‘The Hood
Has Eyez’ due to it’s extremely disturbing graphic nature.” That shows you how
scared some companies were of this thing. It was their loss though, because to
date, Hood Has Eyez has been one of my most successful films, monetarily.
Netflix even bitched out. Netflix, at one time a kick-ass company, has went
completely corporate. They initially accepted The Hood Has Eyez, put up a link
to our film on their website, our DVD cover, and a release date – everything,
then they came at us with some bullshit, ended up rejecting the picture. That’s
why some of their films are listed as ‘long wait,’’very long wait’ or
‘unavailable,’ they don’t pay much money to Indie filmmakers to begin with, and
now they have some ludicrous submission requests and are censoring films. I left
them as a customer and went over to Blockbuster online, because ironically, they
are now more Indie friendly. At one time they were the bigger cheese.
Blockbuster.com carries The Hood Has Eyez but not Netflix? Go figure? Since they
are in direct competition with Netflix at the moment, and trying to grow their
online subscription service, it remains to be seen if they’ll continue to
support Indie films in the future, once they grow.


17. What kind of childhood did you have?


A very interesting one. I saw a lot of stuff growing up that would shock some
people and I also did a lot of things. I saw some crazy stuff during the Contra
War in Nicaragua that was raged by the U.S. backed Contra’s, with Ronald Reagan
and companies seal of approval (and financing). But I saw even crazier shit once
I moved to Inglewood, California. Gangs, crack, nightly killings – it was a war
zone. I always shake my head at the irony… I left my country to escape an
‘official war’ and ended up living in a place where there was an unofficial one
taking place. The one in Inglewood didn’t get the same type of media attention,
however. Anyhow, I somehow survived. I’m assuming you asked that question
because of the sick and crazy type of movies that I make. I’m sure you think a
person who makes shit like The Hood Has Eyez has to have had some traumatic
experiences in their past, especially their childhood. That’s partly true. I did
base some of the things in The Hood Has Eyez off of some real life experiences
and things I’ve seen, but a lot of it is just my “sense of humor” and the type
of films I grew up watching. I guess you have to have a morbid sense of humor
and be able to laugh at some things in life, especially when they’re as serious
as some of the stuff I saw, otherwise you’d be a depressed headcase ready to
blow your brains out. I did have an excellent mom who grounded me, so I turned
out pretty normal.


18. How did you get discovered and get your first break?

attending film school I met a chick from Australia who was interested in a
screenplay I had pitched in one of my classes. She expressed her interest in
producing it and from there I founded my company, Cinema Threat Productions. We
raised the money and after a lot of trials and tribulations we went on to make
our first feature film, Transit. The film is an urban drama about Richie
Jimenez, a graffiti artist from South Central Los Angeles, who tries to clean up
his act after a vigilante’s errant slug kills his brother. With gangs running
wild and taggers packing heat instead of spray cans, violence is escalating in
Richie’s ‘hood. Richie is drawn back into the tagger lifestyle and things spiral
out of control when his best pal Shifty turns up with a foolhardy scheme. My
first film was very successful and found distribution nationwide in the States,
Canada and Mexico, and eventually in France, South Africa and the United
Kingdom. It was very different than my later films, my horror flicks. But it did
allow me to make lots of connections, learn the business side of filmmaking,
make a decent amount of money, which allowed me to invest in my future horror
projects. It also proved to me that making films was truly what I wanted to do
and I haven’t slowed down since.


19. If this never happened, and you were not discovered, what would you be
doing for a living? Do you have a regular job when you are not making films?

I haven’t worked a traditional nine to five type day job in 8 years,
except for a brief 10 month stint. I really couldn’t see myself doing anything
else. I just wouldn’t settle for less. I always knew I would be a creator in
some aspect, whether that was music, art, writing, performing. You just know
these things. And I truly believe if I had never succeeded I would have found a
way until I did. Not to sound cliché, but It’s always been in my blood. For the
sake of conversation, If I weren’t making films, writing, creating, then I’d be
running my own brick and mortar store. Probably a kick-ass hostel or bar in
another country. Honestly I do plan to pursue this dream. I’m not going to ever
give up making films, but running my own standing business has always been a
dream of mine. One that I plan to make a reality within the coming years.
Luckily I can make films anywhere in the world and upload them to the internet.
With technology, I can run my business from anywhere in the world.

What is next up for you sir?

Hood Has Eyez 2 is definitely on the
agenda. So many people want it and have asked for it, so I have to give the fans
what they want. Plus there are a lot of disturbing and crazy ideas that I would
love to explore in the sequel. It will be just as hardcore and unapologetic as
the first one, but it will be a totally different film. I wrote a draft of ‘the
Hood’ sequel before we finished filming the first one, but after sitting on it
for a while, I decided I wanted to go in a whole new direction. So I’ve been
writing, re-writing and re-shaping the script for the sequel to The Hood Has
Eyez. I also have a few other scripts in the pipe line and a documentary I’ve
been working on for quite some time now. It’s not a horror or exploitation doc,
it’s a personal documentary about my life and the country I’m originally from,
Nicaragua. It’ll delve into the war, the negative image many people still have
about Nicaragua, even though the country has been at peace for decades now,
moving to the States and having to start a new life, going back for the first
time in 22 years, reconnecting with the place, etc. I have a lot of directions I
could go in next, I just haven’t fully committed to any one thing yet. Nothing
is set in stone. Since forming Cinema Threat back in 2003 we’ve made six feature
length films. That’s six features in eight years! Not bad if you ask me. So I’m
kind of enjoying my break. Letting things simmer a bit, reevaluating things and
deciding what my next move will be. But whatever it is it’ll be big and 110%
Cinema Threat.




21. This is my favorite part…you get to talk..tell people about you, how
to reach you and all that…thank you so much.


Thanks for the opportunity and a kick-ass interview.To all the fans I’d like
to say thank you for all of your support, not just for supporting Cinema Threat
flicks but for supporting independent flicks in general. Every time you guys buy
one of our films you send a railroad spike through the heart of limp, modern,
mainstream cinema… you guys are what help keep pure cinema alive. In the
meantime we’ll keep making manic hoodsploitation epics and bloodthirsty
shoestring gore-blasts, with a horrifying mix of grind-house sleaze, torture
porn, gore and more. And for the haters, my greatest revenge was to accomplish
what you said I couldn’t. To purchase any of our films, learn about what we’re
currently up to, or to simply get your jollies, visit or website: