Cameron Scott in many ways is the embodiment of all independent filmmakers. Staring folly in the face, he bravely soldiers on despite the obstacles that hinder him and threaten to shut him down, every step of the way. He is the reason we here at Killingboxx have chosen to pursue our course in promoting the hard work and sacrifice that artists put themselves through, in order to create.
Life is never easy and rarely forgiving, regardless of your station. If we here in the Boxx are able to lift even the most minor of burdens from hardworking people like Cam, we will have achieved all that we set out to do.
- Your first feature is Post Mortem, America: 2021 - You have described it as a black and white, neo-western revenge action thriller. Give yourself a big plug, and talk about the film including a bit of a plot synopsis.
Well, although I LOVE horror films I always wanted to make a really epic movie that crossed over several different genres. Being a fan of films from the 70's and 80's, I wanted to make this film really crazy with no holds barred. It's about a woman who is avenging the death of her baby, and not to mention herself. I'll let you draw your conclusions there.
She comes back for revenge on the crime syndicate, during a time when the world is literally going to Hell. Not much unlike the world as it is now. Armageddon is literally around the corner, and her return offsets the balance of good and evil. The movie is filled with zombies, torture, sadistic killers, grave robbing, and plenty of action.
Yes, it's in black and white, as I've always dreamt of having my first feature done so. Working with Linnea Quigley was always a dream of mine since meeting her in 1993 at the Zombie Jamboree horror con in Pittsburgh, and that's where the idea for this film was born.
I really owe it all to her for getting me my start in the business, when she invited me to the set of another Indiana film called It Came From Trafalgar. After getting my feet wet on that film, I dove head first into this old script I had...polished it up and here I am. We've become really good friends, and I certainly couldn't have made this happen without her. She gives a tour-de-force performance in this movie, kicking some serious ass!
- What were the most important lessons you learned making your first feature and how have they affected the direction of your second film?
I've learned that preparation is the key to success. You can never be more prepared than when working low budget, as it can make or break you. You MUST be sure that the crew of people working with you is reliable; otherwise, if you can't depend on them, you face certain failure.
There're so many things I've learned that I could write a book about it. The second time around I know I will do a lot of things differently. Trying to take the reins on so many things myself is just insane, so I hope to have enough money next time to hire some truly seasoned professionals on the crew. If you don't put your heart and soul into it, then you can't possibly expect others to do the same. Give it your all, or don't do it at all.
- Have you ever wanted to throw in the towel?
Sure. There's times where I've felt that things were way too much to handle, especially all by myself for the most part. Thing is, I love what I'm doing. So, although it's discouraging at times I could never give it up. I feel this is what I've always been meant to do, so I think I'd rather be eaten alive by my own zombies than give it up.
- Would you describe yourself as an actor's director, someone who takes suggestions from the cast and crew, or do you know exactly what you want and prefer it done that way?
I'd say an actor's director; I am always up for taking suggestions from those involved. I love the idea of ad-libbing and improv. I love giving the actors the script and just letting them run wild with things.
On the first film day I let Linnea Quigley and Sarah Swofford just go off ad-libbing a scene driving around in this souped-up 1967 Roadrunner. The script went totally out the window and I just let them go where they wanted to take it, and it's some of the best material I've shot so far. They are SUCH talented actresses. When you have people that good you don't hinder them at all, you just let them flow and only great things can come out of it. I can't wait to work with the rest of the cast I have lined up just to see what they can do when let loose.
- What kind of picture would you like to see yourself directing in ten years?
Hopefully, still making horror and B-movies. I love this genre and the people in it, and they're the ones I want to continue working with. They are some of the coolest, nicest and most generous people you'll ever meet. I just want to make films that are crazy and entertaining.
I really have no desire to ever make the move to 'Hollywood' or go mainstream, although I wouldn't mind having the budget to work with. Ha ha...Budget is the independent film maker's worst nightmare. You're only restrained by your imagination and unfortunately money.
- At what age did you realize you wanted to be the guy behind the camera and what made you pursue becoming a film maker?
I was probably around 8-10 years old really. I started going to my first horror conventions around that time and once the claws of horror were sunk into me that was it. Again, I owe it to Linnea. She encouraged me from day one to pursue this crazy thing I wanted, where most people said that I was living a dying dream. It wasn't until almost a decade later at another convention when I ran into her and Reggie Bannister that I finally got the balls to go for it.
Around that time I saw the film 'Clerks' and that was also heavily influential. With that flick I saw that you could make a kick-ass movie, despite the restrictions of money. The skeleton of a truly good film lies in writing a great script. If the story is good, with a lot of luck, the rest will fall into place.
- What was the first film that grabbed you by your jujube's and made you become aware of film as something more than entertainment?
That's a funny story there. I was only about 3 or 4 years old. My mother and godmother had gone to a local drive-in to see Cheech & Chong's Next Movie
I don't remember a frame of that film, because on the screen outside my window across the lot they were playing the gore ridden masterpiece Lucio Fulci's Zombie. All I recalled at that point was the infamous eyeball gouging scene. That was it, I was totally hooked. Never was the same after that.
- What director(s) have most influenced your own work as a director and in what way have they done so?
Lucio Fulci, the gore-master for obvious reasons. John Carpenter of course. Carpenter has just a wonderful way of telling more than a just a simple story...his way of constructing such interesting characters and intense musical scores. He is someone I would really love to work with and learn from. John Woo, Kevin Smith, Dario Argento, etc.
- What's your personal assessment of the remake and sequel trend?
Ah, the hell with remakes. I just seriously do not see the point. It's just so disgusting really. Most of these remakes are just slaps in the face of the originals. The audacity of some people to think they can improve upon classics. Makes me sick sometimes.
Just goes to prove that there's very little originality in Hollywood anymore, although I think anyone that's honest with themselves can see that. I steer clear of them personally.
Sequels...well, long as the story is good and it's not just another rehash "Let's put Leatherface in outer space" kind of thing.
- What on the pop culture landscape is influencing you right now? (Books, films, music, current events, etc...)
I spend so much time working on my own material, I don't get to sample a lot of what's out there right now. I think the state of the world right now influences me more than anything and I feed off that to create stories that I write now. Although recently I was introduced to Chan-wook Park's films by a friend and he simply blows me away.
Oldboy is simply a force of nature to be dealt with; that film left me physically and mentally exhausted. I'd recommend that to anyone that can stomach it. I'm still old school and read a lot of Clive Barker who is a great influence and probably the greatest creative force I've ever experienced.
- What do you think the future of independent film is going to be like, over the course of the next decade?
Independent film is the ONLY future of film. Hollywood is dead, they have nothing left to offer in any way entertaining or original. I see the independent scene only getting stronger. The age of digital media has just opened it up for anyone that wants to make a film can do it. That simple.
The market will eventually get flooded with material more so than even now, but people will always want to be entertained no matter how broke they may be. The thing about independent cinema is that people will literally put their blood, sweat and tears into it. That's what I appreciate about it all.
- So far, what is/are the most intimidating thing(s) you have had to do as a director and why where they so intimidating?
Having dozens of people staring you straight in the eye and knowing that they are hanging on every move and every word..just waiting to be directed, because you are the one in charge.
The single hardest experience; being personally accountable for a nearly $80,000 hotrod and knowing that I would certainly be knee-capped or much worse if there were even a scratch put on it. Ha ha ha!!
Every step of the process of filming is intimidating, because as a director you want it all to be top-notch. The best that it can be, period! Making a film is like waging war and every step is a fight in itself. If you want to win the battle, you fight straight up the middle because that's where the action is. It's intimidating, sure... but that's the point. The adrenalin fuels me to make it all worthwhile. You'll get knocked down, but like with anything, you get back up... dust yourself off and get ready for more.
- Lucky thirteen, our wildcard question: You have achieved all of your life's goals and become obscenely famous, what fucked up crime are you most likely to be caught committing?
Wow, that's a hard one. I'd probably get in a cross-country chase, high-speed just see if I could pull a Smokey and the Bandit. Just because they said it couldn't be done with technology, satellites, helicopters, radios and whatnot. hahaha I could see myself being hand-cuffed on live TV, being asked "Why did you do it?" "Why not? They said it couldn't be done." Which is the same reason I decided to make movies.
KillingBoxx Note: Cameron is an artist with a fire in his belly, who obviously loves what he does. He puts his heart, soul, drive and passion into the work he creates and we at KillingBoxx can't wait to see the final product tearing its way out of the screen and into our living rooms. Take a moment out of your busy day to sit down and learn a bit of his philosophy, see what makes him tick and when the movie comes out, support his hard work by going to see it.
The future of all art rests in the hands of independents that create from an inner drive and desire. They aren't motivated by money; they are driven from within and because of their suffering, create true art.