For Fantastic Fest this past week we got lucky enough to interview the director of the insane animated movie Mad God he is a true thespian so this will be an interesting interview for some to read. I look forward to more movies from Phil in the future.
AJ: Hey, Phil. So thank you so much for joining us at infamous horrors today, how did Mad God come about? Because it is. So out there that stop animation is really grim is really dark. And it’s so experimental in a way. So how did this story from Mad Dog come about?
Phil: Well, I was sick a Hollywood movies, you know, and I thought that they had, you know, I mean I could go on and on about this but I’m a student of film history and you know, no, you know, like they do the you know, palm of my hand and you know, in movies after silent films took the wrong path because the studio’s got involved in was all about money and so, you know, they would buy up the novels like Gone with the wind and the whole thing is like that was built by the major studios was ultimately very limited, you know, but it was like a cage that you’re stuck in with the three act structure and, you know, romance and whatnot. And you know, and there’s some great movies got 1939 was a fucking amazing year for movies. So I’m not denigrating all the great work people have done but it’s just the limiting thing. And so I liken it to like the Academy, you know, back at the end, you know, towards the end of, you know, 18th century or 19th century you know, whether it was an academy, you know, like Van Gogh or like sick of it and so you just have to strike out on your own you know, and like and and you know, have people tell you you’re nuts, figure out how not to care
AJ: right and one of the things I loved about this movie mad God is that it proves once again Stop animation can be really cool. And it seems like Hollywood, like you were saying, kind of went in a bad way and they forgot like stuff like Stop motion can be really cool in a project. And you know, there’s so much things I took away from this movie or it’s almost like if Stanley Kubrick was directing an stop animated film, and it was so dark and so beautiful at the same time, but yet this is a hard movie to explain to anyone and you know.
Phil: I don’t even try I mean you just have to watch it and take away from it you know, what is meaningful for you? I mean, you know, I was you know, I had a lot of inspirations you know, particularly on Thomas Bosch and Peter Boyle and you know, Dante and Milton so there’s a lot of you know, history in it and then there’s just you know, a lot of spectacle and weirdness to draw you in so that’s kind of my theory you know, if you if you build a better mousetrap, the world will beat a path to your door, but you know, you never know So, you know, the Karna was, was the ultimate test so we made it through that okay.
AJ: Right. And if I want to say like, kind of discussed this film, can my parents try to explain it to them I’m like, you know what, it’s kind of like the 2001 A Space Odyssey of stuff animates and your man they’re gonna this movie is gonna sit there like what the fuck is going on? Because there’s just so much and yet and so little going on at the same time. It’s kind of breathtaking how you let the animation performances in this movie itself because there is very little voiceover done. The man God so how did that go? Just knowing that he wanted to do very little voice over acting for this as well.
Phil: Well, that’s what I was, you know, kind of getting at earlier was, you know, some of the greatest movies ever made were silent. And what they had to do was be very inventive about how they communicated their stories. And boy, I don’t know it doesn’t get much better than murnau and Metropolis and you know, all of that stuff. You know, it’s like groundbreaking King Kong. I mean, the spectacles that like I’ve never seen anything like that before was a huge inspiration. For me, I was never interested in you know, making a site collapse or a mother. I wanted to see something I never saw before.
AJ: And you brought up the original King Kong. I don’t know if you can see it, but there’s like a little poster there original King Kong. Oh, yeah, I see my entertainment room. That’s not that’s an original. It’s not an original, but it’s a poster of the original.
AJ: Yeah. To make myself more clear, it’s just a poster, the original film.
Phil: I’ve got an original poster for King Kong. At my studio that somebody gave me gave me but it’s a I think it’s a Dutch or Norwegian version.
AJ: Oh, I would love to take a look at that one. That’s, that sounds like it can be pretty cool.
Phil: It’s pretty cool. It’s very powerful. graphically.
AJ: Yeah. And going back to Mad God, I mean, you got Guillermo del Toro to put you know, and bone crow on the trailer, saying your God at the sound is make you feel that somebody like as trend, parent, and as iconic as Guillermo del Toro praising your film, smack dab in the trailer. How does that fit?
Phil: Okay. Well, we’ve worked with Guillermo on a few projects, you know, so, you know, we got to know, you know, quite well, and so established your relationship. And, you know, he was certainly aware of my work on Star Wars and Robocop and whatnot and his younger than man, so it was like, inspired by those, you know.
AJ: Right. And so, this is also premiering at Fantastic Fest points is, you know, an amazing festival itself. And that has me really, you know, overwhelming our movie. Space speaks well about the film to have it not only play at Fantastic Fest, but make its merit. So how did that all come about as well playing at Fantastic Fest?
Phil: Well, marketing and distribution is something I know absolutely nothing about. I’ve never had to deal with that stuff. Because for the day job, you know, all that stuff is done, you know, by other people. And, you know, I made I made quite a few short films. So yeah, I was aware of the entire process, you know, but I never did anything with those films, because they were just short, you can’t do anything with a short. So it was that was more for a testing ground for me. You know, it was just because I hadn’t maybe at that point in time bound my voice. And that’s what you need to do. Like any artists or creative people, they need to find their own language for what’s unspeakable, either in science or art, you know, so, yeah, and if that just takes time, you know, and yeah, I’m 70 years old. Hey, look at that, you know, I mean, that’s what it took for me to you know, it was a lifetime of experience, and I pull it in all the time, you know, from all kinds of adventures, but man, God, you know, a lot of it. And this isn’t total but it’s significant is inspired by watching the news or keeping abreast of the news. It’s like, that makes Gone With The Wind look like the Teletubbies.
AJ: right. And that’s the other thing you brought up the news is like and that’s why a lot of people like my dad watch Horror movies because we get enough of it on the news.
Phil: No, I totally get it. You know. And torture is like particularly the torture porn stuff is like why waste your time on that crap? You know? Oh, well.
AJ: Can I agree with that? Yeah, I you know, I can get into it if it has like a psychological element. But I’m overall I’m done with the torture porn stuff.
Phil: I was over at like that, you know, I went to see. Yeah. Oh Toby Hooper’s Texas Chainsaw Massacre. Yeah. In the 60s. I just walked out I was like, if this is the way it’s going, I’m walking the other way.