"This is a story about Hillbillies and feudin'. What happened was, the Lowborn's prize hog, Hank, et Ma Mc Coy. Pa Mc Coy shot the hog and served it up at Ma's funeral. At the funeral there was some mighty fussin'. Pa declared a feud with the Lowborns... And so the story begins "
Two thousand Aussie dollars. That's barely US$1015, or around 720 British Pounds, at the going rate as of this writing (February 2002). What do you get for AUD$2000 these days? Maybe a decent amp for your home theatre set-up, or if you're Australian that might even buy you a halfway reliable second-hand Holden or Ford motor vehicle. However, if your name's Duke Hendrix two grand will buy what is quite possibly THE lowest budget film ever produced in Australia! "Impossible!" I hear you all cry, "Nobody can make a film on such an incredibly shoe-string budget!" But Sydney-based production house Liquid Monkey Films has done just that. More amazingly they've managed to turn out an incredibly slick piece of comic-horror exploitation that is hysterically engaging, no-budget, laugh-out-loud, blackly humorous, sensational fun. Not bad at all for a bunch of guys who happily profess to possessing no formal film-school training! So let's mosey on down to the farm and enter the manic madness that may yet go on to become Australia's latest cult-hit, "The Killbillies".
There's a feud a-brewing between rival families the McCoys and the Lowborns, that was instigated by the unlikely event of the Lowborns' prize hog Hank gobbling up Ma McCoy. This unfortunate event was exacerbated further when Pa McCoy (Fish) slaughtered said hog and served it up for his guests at his wife's funeral. Unhappy with the event of his wife's untimely passing, Pa McCoy determines now's as good a time as any to send sons Raymond (Hendrix) and Boy (Boy) off into the wilderness to settle the dispute with their rival kin-folk. In the interim, Pappy Lowborn (Jonnsen) figures on a not-too-dissimilar tact of purging himself of the loopy McCoys. Although sons Ed (Cahounas) and Earl (Ray) are up for the grisly task, daughter Sally-Mae (Fish again) harbours a deep-seated desire to marry the "Leatherface" like Raymond. Which poses a slight problem when she shares a hermaphroditic body with male-half Styler (still Fish!), who detests Raymond and the McCoys. In their quest to see out their feud to its bloody conclusion, the respective families take in a host of spirited, and madcap, adventures. Without giving too much of the game away, zombie-sex, chicken fetishes, outlandish gore, backwoods incest, blind Christian paedophiles, UFO abductions, anal-probe vacuum hoses, mutant (male) births, an unreasonable quota of fart jokes, TV chefs and a throbbing surf guitar soundtrack ALL figure in the exodus to the evangelistic denouement!
When it comes to shot-on-video productions, I'm the first to admit that I have about as much time for them as gung-ho Texan George Bush does for terrorist at large Osama bin Laden. Then Duke Hendrix and Liquid Monkey Films (a self-confessed "group of guys who got together to make the kind of films they wanted to see") come along and tip most of my preconceived notions of the medium on its head! Drawing on influences as uniquely disparate as (deep breath!) "Ed Wood Jr., Paul Morrisey, Tobe Hooper, Sam Raimi, John Waters, Ren & Stimpy, Roger Ramjet, Hillbilly Bears, The Addams Family and the Munsters" the boys at Liquid Monkey have delivered one of THE most inspired, and insanely laugh-packed, lengths of digital video you are ever likely to see. As a first feature, were the screws put on me to compare the film to any other auteur's maiden venture, for two thousand bucks Hendrix's film measures up favorably against Kiwi maverick Peter Jackson's seminal outing "Bad Taste" (1987). To clarify for prospective viewers out there (and with luck "The Killbillies" may be picked up by some enterprising distributor out there, as Aussie distributors have all but laughed off Hendrix's film), it is NOT the next "Bad Taste", but with Jackson's debut's budget it damn near might have been!
The Ren & Stimpy comparison is certainly not without its place. Indeed, if you could possibly imagine John Kricfalusi's Ren Hoek & Stimpson J. Cat brought to lunatic life, then peppered with just enough zombies, gore, cracked-hillbilly-accents, maddeningly dopey jokes, and a foul-mouthed mutant baby, to catch horror buffs unawares then you'd be close to understanding the spirit of Hendrix's shoe-string budget yuck-fest. Like any true auteurs, Hendrix and crew shot over the relatively short period of twenty days, albeit stretched out over a period of four months. Interiors were all (bar two scenes) shot in an 8 x 10 room in a house in the inner Sydney suburb of Petersham, although you'd never guess from the way Big Daddy Kong redressed that room to create the illusion of multiple locations. On top of such an economic set-sense, the guys shot all of their exteriors in Sydney's Centennial Park, which manages to add that all-important hint of local scenery (or should that be 'greenery'?). Mind you, even with such economic work ethics and minimalist finances, it's a wonder that all involved were able to keep a straight face long enough to even complete the film. Duke himself summed up the film best with his post-production observation "by the time we finished editing the movie we didn't know if it was funny, or too weird, or just plain fucked, but we had a laugh making it and that's all that really counted". Even at a meagre two grand, the filmmakers' enthusiasm for their little production shines through in every frame.
*For a better understanding of the filmmakers, here's a transcript of an interview conducted between director Duke Hendrix and screenwriter Leon Fish by Sydney writer Damian Kringas from late 2001:
Firstly, tell me about the budget?
DH: The budget was 2000 bucks and I'm proud to say we came in under budget.
LF: $2000 - no crybabies, everyone works for free, no problems.
In one line, how would you describe "The Killbillies"?
DH: A celluloid toilet in a psycho ward that hasn't been flushed since Mexican take-away night.
LF: My Three Sons and one big long fart joke with zombies.
As film makers, what's your motivation?
DH: To prove that stoned idiocy can be transferred from the lounge room to the screen. And to prove that you don't need crybaby things like a clapper board.
LF: Iım happily married with children, so it's not getting laid.
Has anyone in the production team had any formal film school training?
DH: Actually we had one guy on the team that went to film school but we sacked him when he came in with something called a catering budget, other than that, Ringo used to clean toilets at a film school somewhere, he told me he'd never seen so much crap.
LF: Absolutely not.
Who would you credit as being your greatest artistic influence?
DH: Definitely Ed Wood. He was a punk film maker. When the Ramones first came out they showed everyone that all you needed was a guitar and three chords and you had a song. Ed showed us all you needed was a camera to make a film, none of us could afford guitars so we made "The Killbillies".
LF: Ed Wood Jr. I love that man.
Are you ever worried about shocking people?
DH: I'm more worried about not shocking people. Shock is a very underrated emotion. Everyone should start their day with a good dose of shock.
LF: Definitely.
Have you shocked anyone?
DH: My wife was pretty shocked when she saw the film. She said, you spent our Christmas money on this crap?
LF: Definitely.
Is it hard finding the right people to work on your films?
DH: Anyone who doesn't want any money is the right person for our films.
LF: I think about one in five people we approached said yes.
How do you approach people to work on your films?
DH: Usually in a long coat and floppy hat.
LF: Excuse me, would you like to be in a zombie movie?
There are a lot of men dressed as women in this film, is that some kind of statement?
DH: Leon wanted to exercise his transsexual tendencies, I think he wanted to send a message to his wife. I acted as a sort of marriage councillor.
LF: Yes.
The special effects are very professional, was that planned?
DH: We were lucky to get Grant Biffen who worked on The Matrix. All he cost was some Kung Fu bubble gum cards, but I think he just wanted to see Leon in a dress.
LF: We had the best FX man in Australia working on this film.
Towards the end of filming, was there was much tension within the main production team?
DH: Letıs just say that Ringo Ray is still suffering from blow sustained impotence and Sven Jonnsen has enrolled in clown school.
LF: Yes. Many times I suggested killing everyone on set. Both socially and as far as the story line went, I think itıs what the movie needed.
What sort of feedback have you received since releasing "The Killbillies"?
DH: Lots of laughter. At the premiere punters laughed and the distributors laughed when we asked them to release it.
LF: Good, bad and ugly.
Is there any hidden message in "The Killbillies"?
DH: Ya know, I think there is - study hard, work hard, save your money, and watch films, don't make them.
LF: Any idiot can make a full-length feature film.
Whatıs the next step for Liquid Monkey Films?
DH: Declaring bankruptcy, then working on Killbillies Klan Bake.
LF: I think weıre doing a movie where the writer gets to kill everyone on the set.
There is a lot of toilet humour in the film, where did that come from?
DH: I love the toilet. Itıs where I do my best work. Not just any toilet either, I'm very particular. When I move house the first thing I look at is the toilet, if it doesn't have the right atmosphere I'm out of there. Besides, I think toilet humour shows us how far we have come as a society. If you think back to pre-historic times, cavemen didn't have the time to laugh at their shit, they would just squat on a rock or behind a bush do their business and get the hell out of there before they were attacked by a sabre tooth. But in todayıs modern society, technology has allowed us enough leisure time to be able to make jokes and laugh at our faeces. I think that says something.
LF: Duke.
Would you ever work in Hollywood?
DH: I'd love to be the Bohemian artist who says no, but hell yeah! I mean whatıs not to like? Iıve heard there is a place where you can go get your asshole polished, they bring it back to itıs original pinkish hue, and let me tell ya, my 'roids would be shining like African diamonds. I can see all of us going through this real tacky Hollywood stage if we had half the chance.
LF: Iıd like to do it. Smile a lot, kiss arse, do what Iım told - then come back and write a really bitchy tell-all book that sold millions. Iıd have lots of really sick revealing photos as well. And then theyıd say, youıll never work in Hollywood again and Iıd say, baby you kiss my arse now. Then Iıd retire and write questions for Sale of The Century.
Surprisingly, amidst all the ultra-low budget hilarity there's some rather nifty low-tech FX work supplied by Grant Biffen (who even more surprisingly worked with the FX crew on the Wachowski Brothers' "The Matrix") as well a host of incredibly catchy surf-guitar tunes by The Atlantics (who have their own website at www.theatlantics.com and many may remember for 1963's smash hit "Bombora"). Words simply can't describe "The Killbillies", it's a film that demands to be seen and judged upon its own merits, as lowbrow as those merits may sometimes be. Even though there's some mighty gross comedy on hand (like a scene with Ed & Earl Lowborn and a pair of Boy's soiled underpants that will leave some viewers cringing in the aisles), the disgust factor remains remarkably low due in no small part to Hendrix's ability to play his twisted gags for optimum laughs. The male birthing of a potty-mouthed mutant baby is unreservedly the film's stand-out setpiece, managing to subvert its disgust factor capably by downplaying the shock value and raising the chuckles by swiftly shifting the attention to junior's raucously rude one-liners. Once he departs screen left, merrily singing scat-style to himself, I wished that Hendrix & Fish had given the little critter more screen time than he was afforded. But as a punchline to an off-colour joke, he works perfectly within context (to joyously return for a cameo under the end credits).
Although currently without any form of distribution, the enthusiasm of the filmmakers has not prevented it from reaching an audience. The boys simply packed it up and took it on the road, in the great tradition of the old roadshow exhibitors of yesteryear. The film garnered its premiere screening at Sydney's Mu-Meson Archives theatre on December 7th, 2001, to a packed house and riotous response. Duke noted that the audience laughed non-stop from beginning to end, with one female patron next to him so overwhelmed by the humour that she literally laughed until she cried! In fact, such was the response to the flick, when the MC at the premiere announced the filmmakers post-screening; the actor who played Boy (under the screen-name Boy Boy) was mobbed by the audience. An encore screening at the Mu-Meson on February 15th 2002 saw another sell-out crowd, many patrons returning for a second-helping of the McCoys and the Lowborns. Happily for the guys, the second screening proved to be a winner, with the film selected for the 2002 "Zombie-dance" in Austin, Texas, as well as securing them valuable funding for their second feature film, a vampire opus with the unlikely moniker of "Bloodspit". On the back of their creeping success with their first feature, Liquid Monkey Films will see "The Killbillies" screened later this year at Polyester in Melbourne as well as guesting at Trashfest 2002 in Brisbane. Sadly, even though the film is gaining a healthy cult following on its home turf, local distributors have all but ignored it, and as of this writing it remains a hitherto unknown property abroad.
Hopefully, with a little more enthusiasm, international audiences may yet get to see Hendrix's no-frills, no-budget digital video wonder should some enterprising distributor with a healthy understanding of independent film ethic pick up Liquid Monkey's tab. As a film, "The Killbillies" is nothing extraordinary, but as a debut feature (and an AUD$2000 one at that) what it lacks in technical savvy and film theory it more than makes up for in blind enthusiasm and laughs aplenty. So here's an open challenge for all the 'cult' film distributors out there: Contact Duke Hendrix directly via liquidmonkeyfilms@yahoo.com, ask him politely for a screener and then prepare yourself for one of the most gonzo low budget features you are ever likely to see. Duke, Leon and Ringo deserve a far wider audience than the one they are currently hawking their wares to, and I would like to believe that there is some-one out there that is prepared to get behind these boys and usher them into the limelight where they belong. With no professional film (or acting) background these boys show talent way beyond their means. You want unintentionally bad films that leave you groaning at their ineptitude? Watch yourself some Claudio Fragasso, Bruno Mattei, Jess Franco or Joe D'Amato flicks. You want knowingly bad, but howlingly funny? Pray to god that some-one snaps up Duke Hendrix's debut feature and unleashes it on an unsuspecting public. Better still, pray some-one stumps up a decent budget and Duke & friends are given the freedom to do what they do best on a grander scale! That might be cause for concern
Review by Mike Thomason
Director: Duke Hendrix
Producers: Duke Hendrix & Ringo Ray
Writers: Duke Hendrix, Leon Fish & Ringo Ray
Director of Photography: Sven Jonnsen
Sound: Ringo Ray
Effects Make-up: Grant Biffen & Big Daddy Kong
Sets: Big Daddy Kong
Masks: Grant Biffen
Editors: Duke Hendrix & Sven Jonnsen
Starring Leon Fish (Pa McCoy/Styler-Sally Mae), Boy Boy (Boy), Sven Jonnsen (Gator/Pappy Lowborn), Duke Hendrix (Raymond/Blindman), Ringo Ray (Earl Lowborn/Scalped Zombie/Woodsman), Tom Simmons (Joe), Goldie Styles (Billie Jo), Tiddles Walker (Jessie Jo/Girl Zombie), Samantha Boots (Bobbie Jo), Grant Biffen (Headless Zombie/Woodsman), Cats Cahouna (Ed Lowborn)
A Digital Video production
Running time: 77 minutes
İ 2001 Liquid Monkey Films
Director's biography
Duke Hendrix is an independent film maker living in Sydney, Australia. He is currently working on his next feature. Completed works include:
1997 - Short film Crack House Zombie, Short listed, Shifty Film Competition. Arena TV Australia.
1998 - Short film Frankenbilly . 2nd place, Shifty Film Competition. Arena TV Australia.
1998 - Part of writing team, full length feature film Waste. 3rd place, People's Choice, Brisbane Film Festival. Video release, tribe firstrites October 1999.
1999 - Short film Earth vs. The Phantom Wrestlers From Outer Space.
2001 - Full feature The Killbillies . Completed
2002 - Full feature Bloodspit. In production
İ 2002, Icon In Black Media
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