We've interviewed Mike Nelson from MST3K, Charles Band, Fred Vogel, and even Howard Suber, and yet, out of all of the interviews featured on "Cinemusings," our interview with Shane Ryan from "Alter Ego Cinema" is still the one everyone talks about, and raves about, not to mention it's still our most notable interview of the site. Why? I really can't explain it. It's surprising to me as well. I interviewed Shane Ryan because I'm a fan, but I really didn't expect his interview to be the most popular. In a nutshell, though, Ryan has charisma, and he dove into our questions with commitment and shed some excellent insight on independent filmmaking that connected to many filmmakers that frequent this place.

Ryan's upcoming feature "Romance Road Killers" is Ryan's pet project, a film that will likely be his highest budgeted picture to date. Hell, we even donated money to the production. Ryan, who is currently enveloped in the production of his murder picture, agreed to be interviewed for the second time, and talk about this project. What with the upcoming sequel to "Amateur Porn Star Killer," we thought we'd bring you our very own sequel and catch up with Ryan.

So, here's the sequel to our popular interview:

Hey Shane, how have things been since we last spoke? Well, my film with my penis hanging out is now in stores, that’s something new. Started a new relationship, well it’s going on 16 months now. We love each other, but I think any day now one of us is gonna kill each other, it’s been pretty wild. Makes good ideas for films though, but I think I’m already getting gray hairs over it. Have had about 500 or so more death threats, always a good thing, means the films are getting attention and reaction. Fighting my addiction with infomercials and caffeine. And trying to work up the nerve to edit APSK2. How are you? Well the fact that you mentioned your penis kind of sickens me, no offense, but either way, I'm great. Changing the subject very quickly, how was your Halloween?

It started out with a three-hour argument, which was hell, then we finally made up and went to Universal, which was awesome. But we could only stay for 3 hours and then headed over to Bondage Ball, which was interesting. I know based on the cover of the film you’d think I’d prefer Bondage Ball, but I’m more like a little kid and like the scary monsters and mazes at Universal. But it was fun. A naked girl, well she had on some kind of cloth that was completely see-through and no bra or underwear, gave me a message and stuck her hands down my pants massaging by ass, can’t argue with that. Actually there were a lot of naked people there. A Cary Grant impersonator was there, he was the best. Never once broke character, it was fucking hilarious. He was just there on his own, too. He wasn’t paid to be there, so that made it even better.

Just so you know, our interview with you remains a highly talked about and popular article. I still get e-mails from filmmakers declaring “Oh man, he was so right about the porn comment!” and “Damn, Shane is right about the distribution comment.”
Yeah, I think I really fucked myself with the porn comment now, though, (laughs). When I was making a film called “Piñata” and the first thing people would say are, “is this porn”, I felt like slapping the bitches. But when you have a film actually called “Amateur Porn Star Killer” you can’t really blame somebody for asking it. Then again, it does have the word “killer” at the end. But most dumb-shits have such short-attention spans that they don’t even get to the end of the title. I think they only read the first two words then stop and make a big question mark with their face. Or they make an ugly face and don’t say anything.

I’m not sure what I said about the distribution comment, I’ll have to go back and look at it.

Who else did you shop your movie to? Can you divulge that or is that a bit counter active?
Oh, I’ll gladly share it, might be helpful to others with similar types of films. Just keep in mind that it doesn’t mean these places are evil, they just didn’t feel the film fit, or if it fit, it wasn’t the right time.

TLA turned it down because they weren’t looking to distribute any more horror at that time, but they are selling it at TLAVideo.com and they’ve really helped expose the film.

Maverick turned me down, thought I had a good shot with them after checking out their films. Razor Digital, who put out Chaos, said they didn’t want any more violent films, which surprised me, since they had just released Chaos. Especially since my film has no blood, unlike Chaos.

Monarch, Polychrome Pictures, Think Film, Image Ent. and Life Size Ent. turned me down. I don’t believe I ever heard back from West Lake Ent., 7th Art, The Cinema Guild, Temp Video, New light Ent., Vanguard Cinema, Truly Indie, Heretic Films, Indican Pictures, MTI Video or Magnolia Pictures after submitting the film. I tried follow-ups and still never heard back. Echo Bridge didn’t even want to see the film. I never heard back from Koch Lober, which is funny, since Koch Entertainment ended up putting out APSK. I think Life Size, who had turned me down, is also part of Koch Ent. Koch has several indie film companies, including Cinema Epoch.

Pretty Dangerous Films, of the William H. Macy film “Edmond”, turned me down, but was very supportive and kept in contact and gave advice.

And the following places I could never submit to because they didn’t even respond to my request to send them a screener; Palm, The Asylum, Avatar, Xeonon, Hart Sharp, Fireside Ent., Anthem DVD, Strand, Anchor Bay, 1st Run Features, Ardustry, Regent, Marvista, First Indie Pix, Kino and Roadside Attractions.

There might even be more places, but I can’t remember right now. I spent nearly two years promoting and trying to distribute the film between early 2005 till about May 2007 until I finally won over Cinema Epoch.

Who came up with the idea for the cover of the DVD? That’s some powerful stuff.
I took the pictures and then made a sample version of the cover. Here is the direct link to what I made:
http://alteregocinema.com/Features/apsk_poster_emily_theatre_small_small_op_398x600.jpg

And then Cinema Epoch tweaked it to look better:
http://alteregocinema.com/Features/APSK_DVDCover_2_op_422x600.jpg

I made this for the less explicit audience:
http://alteregocinema.com/Features/APSK_nikki_poster_apsk_op_399x600.jpg

And this is my favorite which I made, kind of European style:
http://alteregocinema.com/Features/apsk_poster_emily_3_paint_bucket_finish_op_800x531.jpg

The only downside is for the S&M crowd because there’s no actual bondage practiced in the film. But if they look close enough I think they’ll find it. The poster shows it, literally, but in the movie she’s bound emotionally.

There was even an owner of a bondage site at the screening who at first said “The poster art is really good, though the suggestion of bondage, I should point out, is a bit of a tease. The actress in the movie never actually gets chained up or cuffed,” but followed that with “though the movie’s so nasty that I’m not sure it would have been much of a thrill for me even if she had been.” So, hopefully there are more people like that who watch APSK, who realize they are supposed to be repulsed by it, not titillated.

But everybody loves sex and violence so I feel if these dumb shit stores get off their asses and realize, “well, we do carry Hostel 2, Saw 3 and Captivity, might-as-well add APSK to the bunch”, then maybe this title will appeal to a bigger audience. I think it already does appeal, trick is, is making that audience aware of the movie. I wear my shirt everywhere I go and it constantly gets instant reaction, mostly “I wanna see that” or “I want that shirt”, and sometimes I get slapped.

But Cinema Epoch never gave me any shit for the title. And I wouldn’t have changed it. Unless somebody had a kick-ass idea for a title that I thought worked better. But I like naming my own films, not having somebody else name it for me.

To those still put off by the title or the concept, how do you think you would sell “Amateur Porn Star Killer” to the average movie-goer?
Unfortunately for the general public, the most relative to them would be calling it “Blair Witch” set in a motel room with a lot of sex. I just call it the underground or real version of “8mm”, since most people I talk to have seen, or have heard of it (except for Michiko, apparently, if you watch the interview on the DVD, lol). Plus that was the film which gave me the idea. For the older film crowd, call it today’s version of “Peeping Tom”. Since “Vacancy” just came out, I just tell them it’s a feature length version of one of those snuff films. Depends who I talk to, I have to feel them out.

But basically I would just tell people it’s about sex and violence, and I think that would get the average movie-goer to watch it since that’s mainly what the film is about; how people are drawn to sex and violence. Then after seeing it they’ll hopefully question why they find movies like “Saw” and “Hostel” amusing. Or even Schwarzenegger killing a bunch of people. Yes, it’s fun action, but there’s also something a little sick about it, which has always been on my mind since I was a kid.

Do you believe that snuff films are an urban legend? Have you ever seen one?
Ah, man. Are you trying to get me busted? Now I gotta burn that copy I have buried in the back yard!

Well, of course I’ve never seen one. But I see stuff that starts out like one all the time. Girls being taken advantage of on camera, humiliated, pressured (or mentally raped) into doing things they obviously don’t want to, but are too afraid to say no. And these are all profited videos. All you need after that is the kill, and with all the killing and videotaping going on in the world, I think it’s very capable that snuff films are not merely an urban legend. But then again, like that quote at the beginning of the movie by Paul Schrader, what the fuck is wrong with me that I’d be open to believing such a disgusting thing may exist when I have no proof?

I notice there were some changes to the cut on the new DVD, including some subtitles, and a new opening.
A few people have pointed out changes but I haven’t changed anything aside from that one time back in early 2006. That was the only re-edit I did. The original version from 2005 didn’t have subtitles or credits, the opening quote, the history about Brandon at the end, or the music by Daniel. You, Film Threat, and Pretty Scary are the only people who liked that version; everybody else slammed it hard. Most of the really bad reviews are of that version. Once I made those changes all the great reviews started pouring in, but the funny thing is, is that the only complaints people usually have are those changes I made, which are what gave it the great reviews. So, you can never tell what’s gonna fly with people.

What I wanted with the changes, was to make sure people knew that what they were watching was just a movie. That way, they didn’t spend the whole film focused on “is this real” or “I can’t believe these idiots think this looks real” or “I can’t believe this is real, I gotta call the cops.” If you know from the start it’s fake, you can then sit back and enjoy the realistic approach, and be lost in the movie, instead of lost trying to figure out if it’s real. I thought the subtitles helped point out the critical things said at the beginning of the killer/victim relationship, which is why the subtitles end early on, aside from one critical moment later in the film. They were not meant to help you understand what was being said, but meant to help you better understand the situation, and how everything is almost all set up from the beginning for Brandon. He’s got his own strategy.

And the history at the end leaves it open for you; for you to be scared knowing that somebody like this is walking the streets, in fact many people like this are walking the streets, and they might even be waiting for you the next time you leave your home.

Why do you think independent filmmakers are so quick to veer away from the term “low budget movie”? Do you think there’s a stigma with that tag?
I didn’t know they were, I’m kinda outta the loop, I guess. We’re promoting this as the lowest budgeted (or cheapest) movie ever made, so I’m the opposite in that case. I use it whenever, and to those who are afraid of that term, why? If you made a dramatic tear-jerker and somebody called it a “B Movie”, I could see that as an insult as I would think of a Misty Mundae flick when I hear that term (nothing against her, just a different kind of movie). But “low budget” doesn’t mean anything about the type of film it is, it just means it was shot with less money. And if that’s the facts, what’s the big deal?

You literally let it all hang out during the film, was there any concerns or insecurities before filming?
Oh yeah. I’m afraid to take my shirt off in the gym locker room, so my penis for the whole world to see as I'm beating a girl's head in, yeah, not really my thing. It’s funny when people don’t know you they’ll say and assume anything. Mainly its “Shane just wanted to get a blow job on camera.” I mean, if these people thought about it, they’d realize what fucking idiots they are. If it only took one night to shoot, and all I wanted was a blow job, wouldn’t I have just tossed the film the next day instead of spending 3 years promoting and trying to get it distributed? Or if it was just about people seeing me get a blow job for my ego, wouldn’t I just put it on pornotube and be done with it? Why spend all that time? And why make all those other films I made, like “Isolation” or anything I’ve done with Emily? It’s all PG type stuff pretty much, where’s the blow job in that?

People only talk shit because I’m the director. If I were just acting, or just directing, they wouldn’t care. But this wasn’t the type of film where the actor and the director could be two different people. If you’ve seen the film, you’d figure that out in a second.

Plus, again, for those people who don’t know me - if you knew me you’d know I always wanted to act, never direct. But as any actor knows getting a good acting gig is like playing to win the lottery, so I just started directing, that way I always have a role. If somebody wants to hire me as just the actor, nothing more, shit give me a call. I’ll gladly just act. But if you want me to do a sex scene, I am kind of shy, lol.

I had to act for this short film my friend made, in which case I was only acting, nothing more. I had a kissing scene, that was it, no nudity. But man, did we have to work ourselves up for that. It’s never easy.

I’ve done a lot more nudity since APSK, and the first step is always a bitch, but once you let it all hang out, you’re good for the rest of the day…until the next day.

But as far as this thing now being out in stores for everybody, it is pretty terrifying. However, I think most people forget about that since it’s not the focus of the movie. Too bad it wasn’t called “Shane’s Wiener: The New Breed of Killers”.

Thanks! Always nice to have a fan. One reason for putting it on the DVD is hopes that if the DVD does well, then that means people are probably watching the trailer. And maybe eventually the right person with a big wad of cash sees it, and loves the idea, and gives us the dough to make it.

Will this be a splatter fest? And are the allusions to “The Devil’s Rejects” coincidental?
I thought “Devil’s Rejects” was great but RRK is nothing like it. Are you referring to the style, or the freeze frames? That’s right out of a 70’s movie, which is one reason why I liked the movie so much, and that’s what we’re going for with RRK, is a little bit of a 70’s style approach.

There will definitely be blood, unlike APSK, but it’s at the expense of the lead characters, and of the audience. You’ll hopefully root for these two lost souls, these kids who should be given a second chance, but never will get one. Each time they kill it’s out of survival instinct, and hopefully the audience will connect with them, and personally feel the tragedy of each death. It’s not like “Devil’s Rejects” or NBK where the killers love what they do. The kids in RRK are doing everything they can to avoid it and just be at peace, but nobody let’s them be. And because they’re so damaged, it’s like cornering a stray dog, they’ll attack. And everybody’s cornering them, their whole life they’ve been cornered. With the boy it starts with social workers, policemen, foster care parents, etc. With the girl it’s her step dad abusing her, her mom not helping, and being stuck in a small town where nobody believes her. When these two meet, everything just escalates, including their love for each other, which is the only good thing that happens.

Anyways, yes, it’s a splatter fest, but not a fun one.

How has your career been these days as an extra?
As an extra, I’ve only worked a few times since we last spoke. The last was with Owen Wilson on his next film. I’m still playing a high school student, lol. Some of the kids in the same scene were literally half my age. We did a scene in a high school hallway (actually a set in a studio) where Owen is holding something that catches fire, and the sprinklers get set off, soaking everybody. It was pretty fun, but pretty scary since you were surrounded with more electrical things than you could imagine, with water spraying everywhere, all over the cords and set. I really couldn’t comprehend how we weren’t getting electrocuted; it looked dangerous as hell.

Owen seemed nice, talking to us when we approached, but otherwise really kept to himself, sitting alone in a chair, and was constantly talking on his phone, and/or texting on his phone. The director, on nearly half the takes, had to send somebody to find him because he kept leaving to talk on his phone and everybody had to wait. This was a few months before his incident.

Besides all that, I would really like to be working on these films, not as an extra, but with some fucking lines (no, not coke lines), so I might start pushing the acting thing again, now that I have a film in stores I can say I starred in.

So… a sequel to “Amateur Porn Star Killer,” I’m a bit worrisome with that announcement, I have to admit.
I thought you’d be excited! I’ll guess you’ll just have to see the final result.

Why a sequel? What brought you to that decision?
If a film has a sequel, that means it’s selling (the original that is). You never or very rarely hear of a sequel that doesn’t get distribution. If a film has a sequel that means the first one must have been a hit (except for “Eddie and the Cruisers”). So, I figured the best way to get another film in stores, unless I want to spend another 3 years working on distribution, is make a sequel. Plus, if I have a sequel, and people who haven’t heard of the original hear about it, then they’ll say “man, I gotta check out the first one now.” And that’s happened several times since we announced APSK2, so it’s already helping the first sell. Another reason is that the APSK movies are so easy to shoot, and don’t cost any money, so I might as well take a shot at it. There’s so much more with Brandon’s character I feel I can explore, so I’ve decided it should be a trilogy. I’m trying to get the second and third done back to back.

The second focuses on a new kind of victim, and a lot more on voyeurism. The new victim likes pain, likes being spanked, slapped, choked, and is very experienced sexually, completely opposite of Michiko’s character. So, this gave an opportunity to watch Brandon’s character have to work in a very different way. Or just a much more threatening manner. This girl gets a lot more beat up, choked, spit on, fucked after death, it really pushes the limits, and shows an even more disturbing and darker side to Brandon than the original does. I think the second, actually, is more about him and his issues.

I’ll keep the third APSK plot quiet for now.

Will you keep your handheld format for the sequel, or will it be a live action medium?
Oh, it’s definitely hand-held, it’s all about making it feel real, like you’re right there with them.

What films influence you? What films inspire you?

Ah, too many man. Here’s a list.
True Romance/Natural Born Killers: 2 of my favorites. True Romance is the best!
Made/Swingers: Vince and Jon are the funniest pair ever.
Collateral: Tom Cruise was the shit in this, so was Mark Ruffalo, and the movie was kick ass, too. The connection Cruise and Foxx make is almost like a tragic romance. And I mean that in a good way, not in some stupid gay joke way. One of the only movies I can watch repeatedly. But you can’t mention Collateral without mentioning Heat!
Grease: Gotta love Travolta in this role, even if you don’t like him now.
Rocky and Rocky Balboa. The greatest action hero ever! He came in with a bang, and went out with a bang!
The Postman Always Rings Twice: Both versions, great film noir. But you can’t leave out Double Indemnity.
Jackie Brown: Now this was Tarantino’s best film. The only Quentin film I can watch over and over. I love Michael Keaton.
Requiem for a Dream/The Fountain/PI: This man is a genius.
Napoleon Dynamite: Who doesn’t love this guy?
Dead Presidents: This is the film that should have made Terrance Howard a star. He’s only in 2 or 3 scenes and he completely blew me away when I saw this film in the 9th grade. I kept an eye out for him ever since. The movie itself is also extremely underrated.
Garden State/In Good Company: They just make me feel good.
Election/Sideways: Alex Payne captures humor in a hilarious simplistic way nobody else can.
Bloodsport: I love Van Damme, and what a great breakthrough film.
Out of Sight: One of the greatest love stories/heist movies. I don’t know why, it just is.
Uturn: back when J-Lo wasn’t J-Lo and she made good films.
The Limey: Soderbergh’s best, before he got too famous.
Taxi Driver: One of the best films out of the 70’s.
The Recruit: A completely pointless throw-away film that I enjoy immensely and watch over and over. I don’t know why,
Face/Off: John Woos’ best American film.
Desperado: Rodriguez’s best film.
Punch-Drunk Love: Adam Sandler’s best film.
Man on Fire/Domino: The moment I realized my taste/style of editing can make use in a Hollywood film. I’d say the RRK editing/style was much more reminiscent/inspired by these films than Devil’s Rejects.
Weekend at Bernies: I love this terrible movie.
Very Bad Things: If you still haven’t seen this, watch it. It’s fucking hilarious wicked humor.
Adaptation: I love when Nicolas cage does a good film because I love the guy. This film is the one.
Open Range: Somebody had to bring back the western, whom better than Costner? (when he gets it right) When he gets it wrong, whom worse than Costner? Of course, Clint Eastwood is the other master. But I’ll give him…
Million Dollar Baby: thanks Clint. Great film.
Donnie Darko and Fight Club: Who doesn’t like these mind-fuckers?
Running Scared: Wow, just wow. Watch this. Who needs speed when you have this flick to get your adrenaline going!
Good Night, And Good Luck/The Man Who Wasn’t There/The Good German: We need more black and white films. Go George Clooney!
Some other great films: Training Day, Cinderella Man, Blade, Memento, Hard Candy, Moulin Rouge, Down with Love, 8Mile, Hostage, Undertow and one of my favorites, American Psycho! Christian Bale rocks!
Man, there are so many it would take 30 more interviews to cover it. I don’t feel inspiration from just a couple films. Almost every film, whether good or bad, has a moment of inspiration in it.
I also really like detective shows, forensic files type stuff, French films and Japanese television.

And finally, where do you see yourself in thirty years? What kind of legacy would you like to leave on the film world?
What? Thirty years?! That’s the exact same age as my dad and he’s just now getting back into directing. And that’s 20 something years younger than Clint Eastwood and he’s still standing strong.
I don’t plan on being at the point of leaving anything at that age, but still in the process of creating. Ha, or maybe not. I feel like quitting every day. Maybe if this ever starts paying I’ll think of staying. Maybe I just have the one APSK film in me. I really don’t know. I’d love to still be making films, still acting, still learning, but also living a great life, traveling, helping others, raising a family, and being in love.