Interview with Nikos Mastorakis in horrormovies.gr
Those involved with the movies horror/thriller the broader cult/space exploitation and B movies in General, certainly know the relationship of charismatic Greek Director Nikos Mastorakis in this particular scene. Can the younger age mainly friends of terror to Niko Mastorakis learned more through Greek television and radio, but the truth is that the multifarious professional activity includes creating horror/thriller film.
Projects like the infamous cult of Death ' Island ' along with ' Blind Date ', ' The Wind ' and '. ' for Murder com are characteristic examples of horror/thriller Filmography of Mastorakis. These are jobs that may not have the support of big-budget but in each case show the passion, the appetite and the boldness of their creator.
Tempting movies for lovers of cult and of low budget horror flicks that simultaneously but not notable memberships actors such as Meg Foster, Wings Hauser, Robert Morley, Keir Dullea, Jessica Dublin, Joseph Bottoms and Kirstie Alley among others.
Of course, the Filmography of extends to other genres like comedies (Glitch!, The Naked Truth), action movies (Hired to Kill, Bloodstone), drama (The Greek Tycoon) etc. but because of the special genre of our website, this article/interview focuses more on the horror/thriller side without lacking references and overall cinematic interest.
In the context of cinematographic work of Nikos Mastorakis, we decided to get in touch with him and ask us questions. The answers are very interesting and up to date as you'll find. Below you can read in detail what she said.
-How you decided to get involved with the movie?
It was my natural path from the reportage on radio on tv – the cinema come immediately after. And I made the film primarily to get rid of destructive dependence of public television who was, at that time, the only provider of work and income.
-Your first film was the cult horror film "children of the devil" (Island of Death) in the far 1976. How you took the decision to turn a movie somewhat "difficult" for the general public given the violent nature of? Do you think it was a risk for you then?
The IOD was my second film. The parapsychologiko thriller Death Has Blue Eyes was the first, but I had done a telemovie, "Chase," in 16mm that doesn't ever aired on television, because the tv was unprepared for television films and their cost. The IOD I decided to do it on the post to the system shock, conscious that would doom. As it became. The film that irked the censors in both m. Britain BC. It was banned as a video nasty for several decades.
-In recent years has seen a major shift of horror films and thrillers in extended display of violence and extreme scenes. Do you think there are some reasons for this? The public has become more "open" to violence?
Of course, now even compared with sitcoms, the IOD is almost film kindergarten. The more violent movies are made, so more violence wants the special audience. For me, however, remain valuable the physical effects that can shake up the audience. I think a door that closes abruptly the wind is more frightening than a beheading and a pool of blood.
-We know that the "Island of Death" had problems with censorship. Consider justified such attitudes? Agree with there being a limit on art forms like film?
Censorship is totalitarian control instrument of free creative expression. The used dictatorships, even the current Government tries to limit the opposition channels giving them "lessons" democracy. In advanced societies, censorship should have been banned with penal laws, because it is a kind of lethal instrument, where the victim is the Viewer, reader, author who lacks the pluralism that has right.
-You see horror movies and thrillers generally?
See more suspense thrillers rather than splatter. Horror movies that I go is the kind of Insidious where item "terror" are subliminal and not cut off hands, legs, heads. If you look at the IOD which prima facie is movie violence, we realized that violence is always a subliminal and the viewer imagines more than she sees.
-Could you tell us your favorite movies horror/thriller? You have a top-5 you could expound?
Certainly the first horror that I saw with the eyes almost closed, the classic "Dracula" with Christopher Lee. Among the classics that I see them again with pleasure, is the "Psycho" of Chits, the Omen, the Exorcist and the Alien.
-From the movies of your filmography there are some that prefer more?
My favorite is The Wind, the Zero Boys and the Blind Date.
-Would you like to have some of your movies as "remake"? And if so what?
I work for IOD2-Evil Intoxicating and I have several proposals to remake the Zero Boys.
-Remember some special, funny moment or some was amusing during the filming of a movie that you would like to share with us?
It can look was amusing but for me it was a dramatic experience: the Nastazia Kinski, in movie that filmed only at night, was narkoliptiki and he slept constantly, even when shouting "action." our Not had this uncover rare and incurable disease and battered the most. Sometime I'll upload the video with the sleeping tents in front of the camera.
-There are some filmmakers who influenced you as a Director or screenwriter?
By Hitchcock and Brian De Palma on Spielberg and Nolan, from the Akiba Gkolntsman and Lwrens Kasntan, I don't know how but surely changed my way of thinking and expression.
-Your last movie was the thriller "Murder for" com 2002. There were some reasons not kykloforisate other film since?
Yes, the market died B + movie and video and even DVD died and we ended up having only a source of income and this weak, the VOD.
-Do you have plans for a new movie in the near future?
Along with the low budget they plan, working on various projects with Warner Bros for five years and at the moment we are at a crucial point for a huge production that once commissioned to script.
-You deal professionally with many activities. Journalism, tv, cinema, radio, theatre. Which of these has the highest requirements and more difficulties in your opinion?
All, at least for me, are closely intertwined. I made the transitions from one to another because only one I would have lived my professional life boring. The easiest is definitely the radio because if you have basic aesthetic discourse, the rest is a matter of the music that you play. And certainly more difficult is the movie where you learn every day and never have learned enough.
-Consider the formation of a strong Greek scene around the horror and thriller? Are you aware of particular problems or conditions that must be overcome?
We do not have less talent than the Japanese, the Koreans and everyone else who developed a major industry horror and hyrcanian comfortably. When did the IOD my hope was that I followed others to set a handicraft export, the only genre that has lived for centuries. Besides such films would be the best means to export talent in the international market.
-What is the biggest problem for the Greek Director today?
What has always been. To find funding.
-Given your experience in cinema, is there any advice you would give to young people of our country who would like to get involved with the movie?
The young filmmakers showcase movies can do with their mobile phone and their friends, something that the directors of my generation could not own. Olds today not only attract children but mount and make and special effects in experimental films. On the opposite, of course, is all directors and youtube are kargarismeno by such wannabes. So what matters is talent and authenticity. And if I had to give a tip to those who attempt is to remember that the good scenario makes good movies. And to write in English because Greece has no market anymore, is a desert country for authors.
Φιλμογραφία του Νίκου Μαστοράκη
- Death Has Blue Eyes (The Bomb Girl) 1976
- Island of Death (The Children of the devil) 1976
- The Greek Tycoon (Greek Magnate) 1978
- Blood Tide (The Wave of blood) 1982
- Blind Date (Eyes in the night) 1984
- The Next One (the next) 1984
- Sky High (Doom in the Aegean) 1985
- Zero Boys (1986)
- The Wind (Wind) 1986
- Terminal Exposure (in the crosshairs of the Mafia) 1987
- Bloodstone (1988)
- Glitch (1988)
- Nightmare at Noon (Nightmare in broad daylight) 1988
- Grandmother's House (grandmother's House) 1988
- Darkroom (1989)
- Ninja Academy (1989)
- Hired to Kill (1990)
- In the Cold of the Night (in the Cold of the night) 1990
- The Naked Truth (1992)
- . com for Murder (the Night of Lightning) 2002
Our own top-5 of film horror/thriller of Nikos Mastorakis
TrailersIsland of Death (1976) Blind Date (1984) The Wind (1986) Zero Boys (1986) .com for Murder (2002)
The creation of the "Island of Death" with a presentation by Nikos Mastorakis
Sources and more information about the work of Nikos Mastorakis