Latest / Cinema Yūgen / Blood, Grit & Grindhouse: Behind Return to Death Park

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Blood, Grit & Grindhouse: Behind Return to Death Park · Cinema Yūgen

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G'day. That's right. It's that time again. Time for... CINEMA! YOOGEEEAAAAAAA!
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Yes, cinema Yugen once again, Yugenites. Welcome back.
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A true architect of independent horror, a filmmaker who never waited for permission, never chased trends,
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and never forgot what made us fall in love with the genre in the first place
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from shooting Super 8 shorts at just 15 years old to building a full-blown cult franchise.
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Decades later, Ken Ace Brewer is the embodiment of DIY horror hustle,
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writer, director, producer, editor, actor, and yes, often the masked killer himself.
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His style, fast cuts, lean, relentless storytelling, old school blood,
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high body counts, creative kills, no apologies after reigniting his filmmaking fire in 2018.
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He carved out lane that feels
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ripped straight out of the video store era but
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fueled with modern intensity from death
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park the beginning and death park the end to
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the grindhouse punch of the award winning death bitch to
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the undead chaos of zombie rage brewer doesn't
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just make horror he builds worlds soaked in
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it and now return to death park expanding the
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carnage in 2026 the park gates
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are open once again this is popcorn horror with
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teeth this is indie filmmaking without a safety
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net this is the killer behind the mask
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ken ace brewer coming to your speakers please welcome you ladies and gentlemen
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the writer director of return to death park my review at film threat.com get
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down and check it out in the description but now welcome the indie horror legend
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ken ace brewer Welcome to Cinema Yugen, Ken.
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Thank you very much, Kent, for having me. I really appreciate it.
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Mate, it was fantastic, mate. Great to see your picture. I really loved it.
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What a heck of a lot of fun. It seems like you have a heck of a lot of fun making
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a heck of a lot of death. Yeah.
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Tell us, tell us about the, tell us all about the, the, the death franchise
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and the, the, the Ken Ace Brewer brand of cinema.
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Where, what are your influences? Where does all this come from, Ken?
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Oh gosh. I mean, yeah, I did. I mean, you don't have to tell the whole story of your life.
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Just, you know, your cinematic influences and all that sort of thing.
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I mean, yeah. Sure. Sure.
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Well, and, and the influences, I mean, my, my director hero is Bill Lustig. Okay. Cool. Cool.
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Yeah. Yeah, he's pretty much my inspiration. I mean, I like to try and be like him as much as possible.
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Right, yeah. And, of course, Quentin Tarantino. Right, right, right.
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Was there any particular film? Like I was talking the other day with a bloke
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who Matt's movie reviews, who reviews a lot of movies.
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Is there a particular film? Was it film in general? Was there a particular film
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that lit the fire under your fuse, as it were, when it comes to making movies?
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Oh gosh, I couldn't say there was a particular, you know, film.
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I mean, I, I've watched a lot and well, I, you know, I really love martial arts
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films and, you know, and, but the horror was easy to do.
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And I really, I've been a fan of horror too. I mean, if you look at my film
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collection, it's probably more horror than him. So yeah. Right. Yeah.
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Obviously John Carpenter, you would like John Carpenter. Oh yeah. Yeah. Yeah.
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Any, any particular John Carpenter film? Oh, Prince of Darkness by far.
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Okay, cool. Yeah. No, that's interesting.
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A lot of people say, you know, that there's token answers to that question.
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You know, there's people that say the thing, there's people that say Big Trouble
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in Little China, there's people that say Escape from New York.
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So that's great. That's different. Prince of Darkness. Yeah.
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I like it. I like it. Yeah.
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Different part of the quote unquote, uh, what is it? Apocalypse trilogy.
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Yeah. Of his films. very good
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stuff it's just it's just got a sense of dread
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through the whole movie you know what i mean it's just like lingering
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yeah and those dream sequences really
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get you yeah yeah i also like
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the bit where that that whole sort of stepping through
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the mirror that dark mirror sort of stuff oh yeah and
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it's funny the way he he he did the devil i
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mean he's basically how you would imagine the devil
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would look i mean we've only seen his hand but in
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my mind that's the devil's hand exactly yeah totally
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and then of course a further personification of him in uh in sutter cane with
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the in the mouth of madness which is which is one i really love which i don't
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think like a prince of darkness doesn't get enough love sometimes yeah it's
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nice to see them all getting sort of a nice,
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re-releases uh of late from
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different boutique uh i
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was able to go see prince of darkness at
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a theater maybe like four months ago so it was oh sweet
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ass was it was it an actual film screening or was it a digital i believe it
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was digital okay yeah right so it wasn't an actual print right yeah but so tell
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us tell us all about the the death franchise where did you know i mean this
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death part, I mean, there's.
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A whole nine, nine we're up to, and then we go back to the beginning.
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We're returning. I dare say you probably got to return to death park two in
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your brain there somewhere.
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Or death park in space.
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You know, some people say that they've, they've run out of ideas when they go
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back to space or the old West.
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I don't think so, Ken. I think that, I think that it gets clever.
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Like, I really love Leprechaun 4 in space.
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I love Jason X. Yeah. Oh, man. Yeah, Jason X. Yeah. Yeah, totally.
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Yeah. A lot of people, like, I would have loved to have seen Machete in space,
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you know, that's teased in the Machete kills.
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I would have loved to have seen Machete kill in space.
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But yeah, just I'd love to see a death. Well, obviously, you probably couldn't
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do a death park in space unless it was kind of like death park meets dark city.
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Like the death park has been removed from earth somehow, probably a bit like
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Joe Lansdale's drive-in is, is sucked into a kind of alien dimension.
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And have you read those drive-in books? You would read those if you haven't. Have you read those? No.
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Now you should totally check it. Joe R. Lansdale, the driving,
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you can get like all three books in one book.
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Now you need to, You need to read those as a, as a horror movie fan.
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I believe Don Cascarelli, that's right. Phantasm and Baba Hotep.
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He was actually in one, in a, in a collective version I have of those books.
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He actually talks about, and there's
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actually images cause he was going to develop driving as, as a movie.
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Interesting. Yeah. But I mean, that's how I foresee like Death Park.
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If Death Park went into space, that's how it would have to be.
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Like the park itself would have to be somehow cool.
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Well it lifted it's it's weird
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because basically the first super eight
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film i made was about a
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killer in a park right you know
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and then what like a million years later yeah
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yeah we just me and my friend we
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we it started off we did a little a little
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a film called slaycation with dolls i
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like that it's like people thought it was funny you know
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what i mean so so we i mean we
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we just said well let's make a little short film and
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it was like i think the first death park was like three
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minutes long maybe yeah and and then
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it just went from there every two months we we'd shoot
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a little short film and they'd get longer and longer
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and longer so we were at like 20 minutes then 30
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minutes then 40 minutes and then
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we decided just we were filming i think.
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It was going to be part seven and we just
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decided to make it a feature right right because
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i had got a new camera you know and i just you
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know decided to do that so then
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uh so what ended up really happening towards after
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we did death park the end i was on a i was
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being interviewed by someone and someone brought up the idea
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of putting all the short films together and
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which was funny because i filmed those
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films to where they ended
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and started you know
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just like it just like a phantasm film right you
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know and we go back and replay the last minute and
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then go from there and so
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it was it was a no brainer to just put the to just edit it all together into
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one film and that's how death park the beginning came so right death park the
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beginning then death park the end and then now return to death park and they
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all pretty much it's just a story the whole way through it's it's kind of cool yeah.
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No, it's a, it's an interesting method to like building a, building a narrative
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that way, like piece by piece, you know, I mean, some people do it on a page.
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You've just done it like quite literally, like you went out,
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like you got an inspiration for this bit and this bit and this bit and this bit.
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And even though there are a whole bunch of little short films,
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they're all connected by a similar narrative structure and certainly a narrative plot device.
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I went to a convention and then we just started selling them like crazy you
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know a lot of people were buying them so yeah we put them on dvd and that's
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yeah we just decided let's let's do it.
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And and yeah that's how death park the end
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came to be and when we
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it just did really good i mean it only cost us death park
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the beginning if we added up how much we spent on it
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on all the separate films i think it came out to
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160 because there's no names in
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that film it's just all my friends and stuff
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like that yeah but when we came to
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part two we got a few people and
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that cost us 640 dollars wow
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yeah and then you know we just uh
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i did like father like daughter after that that was a
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two thousand dollar film and then uh we
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did zombie rage which was only
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a couple thousand and and then uh
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yeah then we did death bitch and uh death
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bitch was cost us a little under four grand and
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then this film was just at five grand return to death part wow there you go
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so independent or potential independent filmmakers out there that listen to
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the show or even if you've stumbled across this episode in amongst your listening pleasure.
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Here's a good lesson that Ken has offered you here.
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It doesn't cost millions of dollars to realize your cinematic dreams.
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Tell them more about it, Ken.
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Well, I mean, I can do everything myself. I do that.
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I have one partner in the business and that's Mary.
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She writes and she does the special effects and she does the scheduling with
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the actors and a lot of stuff like that. I do all the editing.
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I do everything. I mean, I've got the sound. I do everything.
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And that keeps costs down. You know what I mean?
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But another thing you're doing too while keeping costs down
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is is you're also like you say you take them to these horror conventions
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you're building an audience you're building
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a fan base so that you know that your next project comes out you you're not
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completely jumping off the cliff blindly you have a garnered a gathering audience
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for your material so it doesn't feel like completely putting on a blindfold
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and doing something completely stupid no no no you're right because yeah,
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you could do that and then just end up in debt. You know what I mean? Right. Yeah.
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Yeah. Yeah. You throw like, yes, yes. It's okay to express yourself artistically,
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but if you do it, you know, if you do it in, if you do it like, unfortunately. Yeah.
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You have to attack creativity where there is, is want.
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I remember a screenwriter telling me a really great lesson years ago.
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He said, people think that to get into this business, you have to,
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it's like being struck by lightning.
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That's easier to do if you put yourself where lightning strikes.
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Now, a side note to that is, is similar to what you're doing is rather than
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just gambling on, yeah, okay.
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I've got this idea for a film. I've got this need to be creative,
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but also I'm aware that there is the, the, the, the, there has to be at the
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end of the day, like people say, well, I just want to be creative.
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I don't really want to think about an audience, but the problem is when you're
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thinking about making a film, you do have to think about an audience because
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it's ultimately going to end with people watching it. I mean, am I right?
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Oh, well, yeah. I mean, yeah. If you can't make something that's going to appeal
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to somebody, you're just making a movie for yourself.
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Right yeah you're making the coolest home movie
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that you and your friends will watch and no one else will will you
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know care about because there's nothing that anyone else can really dig
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into you know what i mean the first way we make money right
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after we make the film is we just we rent a theater for two hours and we usually
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you know i mean each time we've done it we've made money you know and and the
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last time when we played and well not the last time but the time when we played
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death bitch we had it sold out we had people sitting on the floor.
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So that was a great feeling you know what i mean that so many people came to just see that movie,
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and yeah so i mean we would make a lot of our money back right that night you
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know what i mean so it's yeah you just gotta you know it's definitely a screening
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is very important yes yeah,
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I mean, because, I mean, not just, not just to make money back too,
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but I mean, you yourself as a creative person, you need some sort of feedback.
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Well, am I moving the needle or is the needle dead?
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Yeah, exactly. I mean, I've gone to some premieres and there's like nobody there but the cast.
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And that, that, yeah, I almost feel embarrassed for them. You know what I mean?
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Right, right. Yeah. They're sitting there going, huh? Okay.
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Yeah. Whoops.
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Yeah. No, it's, it's really demoralizing and I've, I've certainly myself too
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been in situations like screenings that have not gone well,
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you know, look, look, and look, sometimes it's worse when that is a,
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is a packed house and vice versa happens.
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You know, like you talk about just the cast shows up and they have to watch
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this movie with nobody for themselves, but it's, it's kind of more demoral, would be more,
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even more demoralizing for it to be in a packed house
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and have the film play badly oh you
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have to walk out past all those bases that all that you know i was at i was
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at a premiere where yeah the movie started and i was like sitting mid mid mid
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seating yes and maybe it was bizarre when the movie started,
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there was a bunch of people in back of me.
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And by maybe a half hour in, I turned around and there was nobody to care for.
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It was like, oh, no. Yeah,
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no, it's one thing to die on stage, but when you've got to all die quietly in
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the audience and then walk out past a sea of discerning cinema goers that have
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been disappointed is another adventure unto itself.
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Or as they say at the end of the never-ending story, that's another story.
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Well, these are low-budget. You see, my theory with these independent low-budget films,
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like we do on micro budget you call them yeah is
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you just you have to keep it has to move
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like a roller coaster i i try to keep the
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the the the like talking like the the you know people talking back and forth
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the downtime under four minutes if you start going over four minutes people
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just don't have an attention span right yeah yeah it's like you know to the next kill already.
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Yeah yeah so you just got to keep keep the
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thing moving like death bitch just keeps moving if it
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stops and maybe stops for four minutes and
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people are talking but it's important to the story
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yeah you know what i mean some people i've seen some movies
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one movie where this i don't know if they
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were i think they were just padding the movie i mean the girl was
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sitting in front of a mirror combing or brushing her
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hair with her top off or honest to god it it felt
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like 10 minutes but i think it was only five yeah yeah
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wrong i don't mind seeing a naked girl but i
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mean after a while just it's like come on yeah yeah it's trust me i mean coming
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coming from the lips of a man who's seen quite a few movies and and i've seen
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a lot of independent movies too and yeah i know what you're talking about there are.
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I struggle to find the artistic definition for some of the stuff that I've seen. Well, no, I agree.
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Because if you watch some of my films, you'll notice there's not much nudity in them.
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Right. I know there was a little bit in Return to Death Park,
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but in Death Bitch, which is an exploitation film, you would have figured there'd
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be tons of nudity. There was none.
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Right. You know what? I have a problem. like
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i i feel like there has to be a reason
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i don't want just a girl's top to come off for no reason
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right yeah logical reason for it
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to happen yes no no look i'm i'm totally
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on board with you there is someone who's who also writes movies
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not just writes about movies i have
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been in in those situations in script development conversations
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like there's not enough nudity and i have
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had those conversations similar to what you've just said is like
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well there's kind of got a don't you think there
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should be a reason for her to get her top off or she just you just want to see
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like the thing is they don't when when you broach the question you say well
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you just want to see where she runs out and rips her top off for no reason i
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can do that you know like she runs outside she goes,
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oh damn, this t-shirt's the wrong color.
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And, and she rips it off like Hulk Hogan and then spends the rest of the movie tits out.
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We can do that. I mean, you know, Ira Clarkson did that in, in Death Stalker just fine.
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She didn't have a shirt. She just had a cape.
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So, you know, but I mean, that's a different movie and I've seen movies like
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that. There's a movie that Julie, God bless her, rest in peace,
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Julie Strain did called Elixir with Robert Zadar.
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It is, it is, it is, it's weird.
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Most of the film is Julie Strain running around almost naked through forest of sorts with a sword.
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I don't know where she gets the sword. She just somehow finds a sword somewhere.
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At some point she encounters this dude. I don't know what he's doing there.
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And they do this weird sort of dance around the fire and then she kills him.
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And yeah, I don't remember too much.
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It's not a very memorable film, but once you see it, you really never forget
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it because it really has no plot. Robert Zadar is in it too.
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At the start and the end, Robert Zadar drops Julie Stranoff on this island where
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she's going to do a photo shoot.
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He drops her off on a boat and he picks her up at the end.
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Yeah. It's called Elixir. Like, if you're really interested,
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you can go down that rabbit hole.
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But I don't advise it. There's a lot of films that I've seen under sufferance, not for pleasure at all.
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But, yeah. But the bulk of that film consists of this woman running around the bush.
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Yeah. With nothing on. With a sword. yeah
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so if you're in i mean because there's then there is
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no plot there is no that that's my point
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like people say well the directors and the producers come to you we need more
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nudity i mean yeah okay but don't we need a plot too you know because i've seen
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movie i mean even pornos have plots sort of kind of one of the yeah the 70s
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they totally had a plot yeah yeah you know i mean now Probably not,
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but I mean, they used to have sort of a very basic narrative that tied the whole
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thing together before everything got untied.
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But yeah, no, it's a crazy stage because people, when they hear Grindhouse,
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I got the feeling people think when you mention Grindhouse in the pitch today,
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they think, well, it's going to look scratchy and shitty and there's going to
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be a lot of blood and whatever.
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The point is, what they miss is because they're only thinking about the grindhouse aesthetic.
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They're not thinking about what made grindhouse movies popular,
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which is what we were talking about before, is they were propulsive storytelling.
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It might've been exploitive a lot of the time, sure, but there was a propulsive nature to the story.
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There wasn't just people sitting around with their boobs out and whatever else
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gratuitously for way longer than they probably should. There was something to
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be done. People had a purpose.
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You know what I mean? Yeah.
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Definitely. Yeah. I mean, that's just, I think that, I think that today it gets
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lost on image rather than like, we are telling stories here. I mean, am I right?
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Oh yeah. Yeah. I've seen some people that to me right off the bat, it just looks so artsy.
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Can, can the rest of the movie look as good as this beginning?
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No, it usually isn't. You know what I mean? They
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spend the money on the camera work and all that
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and then the movie is just like when when when
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it comes to a scene and two people are talking the room
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is completely quiet you can
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hear the echo in the room they're talking to each other and it's like so bad
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it's like why don't you put some music in the background why don't you do something
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but it's like why put two people that are having that aren't the greatest actors
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together and have them sit there awkwardly and put the audience through that yeah.
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I don't know i don't because i don't like to watch it
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so i'm not going to do something like that in my movies unless
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unless the girls have got a good you
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know like when linnea is talking
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with josie and they're walking down
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the path together and and uh and this
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is uh her character is telling her how she stabbed
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and killed that girl in the park before i mean that there they practiced that
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and it came out good yeah we had a whole background going sounds in the background
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it seemed more natural than two people just talking in a room with their bad acting yeah.
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I like when i like when uh matrix guy
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who's literally credited as matrix guy john azuna
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yeah goes off and he's literally referred to as the matrix guy yeah that's because
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so i brought that up i go let's just call him the matrix because we didn't have
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a name from and he was all dressed in black and he was in that one matrix movie
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so let's just call him the matrix guy yeah.
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No it was great no he shows up and he does you know i mean because he's a he's a really uh,
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a really skilled martial artist oh big time
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and what's so cool about death bitch 2
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is all the people that are wanting to get involved i
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had this friend i don't know if you watched any
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of the 90s back in the 90s there was a lot of martial arts films oh mate yeah
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yeah don the dragon wilson gary daniels yeah and then there was ian jacklin
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right all right we got Ian hasn't done a movie in over 10 years.
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We got Ian Jacklin in Death Bitch 2. Awesome.
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Yeah. So there's going to be a fight between Ian Jacklin and John Ozuna.
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And we've got Art Camacho, who did all of the Don the Dragon Wilson movies,
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basically choreography.
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We've got – he volunteered to do the fight. Awesome.
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To choreographied the fight. Yeah, I've seen Art's work.
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He's he's worked a lot with uh mate of mine alex nevsky he's been doing a lot of westerns lately,
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but i think art's worked a lot with uh with those colors because the fights
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are always pretty hardcore in in his movies so yes so if you this will be got
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him on board it'll be it'll be really cool ian's ian's a really nice guy i i've
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known ian for a while so it was i found out he was back in L.A.
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I got right a hold of him, and I showed him the trailer to Death Bitch,
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and he's like, I'm in. Yeah.
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Nah, shit, why wouldn't you be? It's a ton of fun. It's award-winning.
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It's the sequel to the award-winning Death Bitch.
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You're going to throw him in a car, in a detective, in a cop car with Robert Mewkes. Awesome.
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Awesome. It's a hot ticket. I'm already there, and you haven't even made the movie yet.
27:39
It's got to be, it's got to be pretty, what's a good word for it?
27:42
Is it, is it, is it validating?
27:46
When all of your hard work after all this time comes together,
27:50
when it starts to come together, I'm not saying it's ever easy because it's, it's, it's never easy.
27:56
It's always an uphill battle, but when the tools feel a bit lighter in your
28:02
hands and people start to answer calls and come together a bit easier,
28:06
it has to feel good after so much time.
28:09
Devoting yourself to it right it does yeah
28:12
yeah especially on this one now i guess
28:16
because death bitch one did so well
28:19
and it won the award now it's like i get people i'm getting people messaging
28:23
me asking to be in the movie right yeah i mean bridget the midget came back
28:28
and said hey put me back put me in death bitch too and it's like well you killed
28:33
in part one but we're bringing her back He's got a sister who's a lookalike. Yeah.
28:39
Now, this is giving us our excuse for a naked. We're going to have a naked small person.
28:47
Sweet as. That's all part of your complete breakfast right there.
28:51
So are you doing a Kickstarter or is this funded?
28:58
How is Death Bitch 2 coming about? If you go to our website,
29:03
lividmedia.org, you just hit
29:07
the store button it drops down it says support livid
29:09
media okay and we've got basically a
29:13
crowd funder menu right there just just like they would have on so anyone can
29:18
go at any time and help fund your you got it wow that's well there you go that's
29:23
that's something a little bit different very innovative there you go people
29:28
so get over to where is it what What did you say, mate?
29:31
Lividmedia.org. Lividmedia.org. Yeah, become a producer.
29:36
Have a scene where Robert Mewkes beats you up or a death bitch kills you.
29:43
We need several producers.
29:45
There's DVD packs. If you want your rewards right now, you could order a DVD
29:51
pack set and stuff like that. Yeah.
29:54
Don't wait, everybody. Don't wait.
29:58
Get over to lividmedia.org and get into the death.
30:04
Become part of the death franchise created by this wonderful man,
30:11
my wonderful guest, Ken Ace Brewer.
30:14
Lividmedia.org is where you get all the rewards, and you get to be part of creating something cool.
30:24
From my very cool guest, Kenneth Ace Brewer Ken.
30:30
It's been an honor to have you, mate. I look forward to everything you've got coming up.
30:36
I encourage everybody to get out there and support indie cinema and support
30:41
the work of Ken Ace Brewer.
30:43
Ken, thank you again. I can't wait to see what the death bitch does next.
30:47
Ha ha, right on. thank you so much for having me, Ken. I really appreciate it.
30:51
Yes. Ken Acebrewer, Return to Death Park.
30:54
You can support Ken by getting over to his website. Get down to the links in the description.
30:58
Return to Death Park at now Death Bitch 2 in the making, in pre-production.
31:03
You can support that film. You can support Ken in his indie filmmaking adventures.
31:08
My review for Return to Death Park, filmpro.com.
31:12
The link's in the description and get over and help Ken with his
31:15
filmmaking madness if you can get down to the links in the description and as
31:21
always my little you guys thank you for listening to us on spotify iheart radio
31:26
or wherever you choose to listen to your favorite podcasts i'm kent hill and
31:30
until next time you've been listening to us on cinema.