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‘Suitable Flesh’ – Barbara Crampton and Heather Graham on Gender-Flipped Lovecraft Roles [Interview]

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Suitable Flesh Barbara Crampton Heather Graham 2024

Director Joe Lynch’s (Wrong Turn 2, Mayhem, “Creepshow”) new movie Suitable Flesh, based on H.P. Lovecraft’s The Thing On The Doorstep, is set to unleash body-hopping madness in theaters and VOD on October 27, 2023.

Heather Graham and producer Barbara Crampton star in Suitable Flesh, executive produced by Brian Yuzna (Re-Animator). Dennis Paoli, the writer of Re-Animator and From Beyond, wrote the script

Joe Lynch and the late Stuart Gordon’s frequent collaborators seamlessly insert Suitable Flesh into Gordon’s Lovecraftian universe (our review) but give it a slight twist in gender-flipping archetypical Lovecraft roles. Bloody Disgusting spoke with Joe Lynch, Heather Graham, and Barbara Crampton out of Tribeca earlier this year, before the SAG-AFTRA strike, where they discussed how Lynch came to direct Suitable Flesh and taking on these rare roles.

It was Barbara Crampton, a producer on Suitable Flesh, who reached out to Joe Lynch about helming the new feature. Crampton reveals that Lynch wasn’t just her top pick to direct but Stuart Gordon’s pick as well.

She explains, “Joe is a very full filmmaker. His movies are always fun. There’s always a lot going on, and I think that’s true of Stuart’s movies. I mean, they’re bold and provocative and wild and somehow a little weird sometimes, and that’s Joe stuff. When I talked to Stuart a couple of years ago, I said, ‘Who do you think is working today that’s similar to your style of stuff?’ Maybe it was a precursor to talking to him later when we got hold of the script, and we wanted to make it; he said, ‘Oh, I really think Joe Lynch is a similar type of filmmaker.‘ I had that in the back of my head, and then Joe and I became friends.”

Crampton continues, “After Stuart passed, I had a conversation with Dennis Paoli, and I said, ‘I really just want to continue my legacy of Lovecraft. Did you guys have anything that was sitting on a shelf that you never did?’ He sent the script to me; it was called The Thing on the Doorstep, as the original story is called. I read it, and I immediately loved it. Immediately.

“Joe was one of the first people I thought of. I mean, I did send it just to do due diligence to a few other directors, and we talked to a few people, but Joe was always at the top of my list, and he’s who I wanted, and if he said yes, it was going to be his. Then, when he said, ‘Yes, I want to make this movie with you guys,’ with AMP Films, who is the production company that I’ve been working with for the past few years, I said, ‘This is no longer a Stuart Gordon film, it’s a Joe Lynch film, so you have to put your stamp on it and do what you want to do.'”

Suitable Flesh

Suitable Flesh follows Psychiatrist Dr. Elizabeth Derby (Graham), a wholesome career woman who has it all until Asa Waite (Judah Lewis) crashes into her life as a troubled patient suffering from an extreme personality disorder. Or does he? That encounter puts Dr. Derby on a wild body-hopping ride fueled by sex and carnage, presenting an unconventional role for Graham. It was Lynch’s idea to gender flip his lead character, which led to Graham’s casting.

Graham shares why she was so excited to play Dr. Derby: “Yeah, as a woman reading a script, it was just so exciting to get this script because Lovecraft’s story was written about a man, and he switched the character to a woman, and so it was so refreshing to get to be the protagonist of this kind of story, which is scary and a neurotic thriller, and I get this opportunity to do so many different fun things. In these stories, exploring sexuality, it’s not usually the woman’s protagonist story. Usually, they’re the object, or they’re the person being cheated on. So, to explore a woman getting herself into a bad situation from her point of view, it’s pretty rare, actually. So, I’m so grateful for having this opportunity.”

The central friendship between Dr. Derby and her colleague-turned-confidant Daniella Upton (Crampton) serves as an emotional backbone and gives both actors interesting dynamics to play with the more the horror ensues. But that very nearly might not have been the case.

Crampton reveals, “At first I wasn’t going to be in it. Then we were thinking about who we were going to cast for Heather’s friend, and then we just had multiple conversations, and somebody said, I’m not going to say who, ‘I think you should play the part, Barbara.’ I went, ‘Oh, I don’t know.’ Then I asked Joe, and I said, ‘Well, what do you think? I don’t know.’

Lynch, also on hand for this interview, interjects, “All right, can I be honest?” While Crampton hadn’t initially considered herself for a role in Suitable Flesh, the director certainly did.

Lynch confesses, “I wanted to ask you since day one, but I remember you were just like, ‘I just want to be the producer on this.’ And I thought I’m not going to tell you what to do. You’re Barbara Crampton, you’re my boss now. But secretly, in the back of my head, I always wanted to see that dynamic because there are certain scenes where this becomes a showdown. To watch these two powerful women square off to each other, not just in a physical sensibility but in a mental sensibility. But we also needed two people who you could believe could be friends. That was tantamount to the entire film.”

“Early on, we were watching White Christmas, and there’s this beautiful song called ‘Sisters’ in it, and at one point, we were trying to get that in the movie, but it was way too expensive. But that sensibility of these two women who were best friends, maybe there’s more to their dynamic than is even on the page,” Lynch continues. “But we wanted to explore that. To watch these two characters and these two powerful actors embody them, it needed to be believable. The second that Barbara texted me, the relief on my face, I could tell, was just like, ‘Oh, thank God she said it and not me.’ Because it was a no-brainer at that point.”

Don’t miss Crampton and Graham in rare form when Suitable Flesh arrives in theaters and VOD this Friday.

Horror journalist, RT Top Critic, and Critics Choice Association member. Has appeared on PBS series' Monstrum, served on the SXSW Midnighter shorts jury, and moderated horror panels for WonderCon, SeriesFest, and Popcorn Frights Film Fest.

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Interviews

‘Rubberhead’ Director Nick Taylor on FX Maverick Steve Johnson, Practical Effects, and Seven-Year Journey

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Rubberhead interview Nick Taylor
Steve Johnson in the documentary RUBBERHEAD: THE LIFE AND MONSTERS OF STEVE JOHNSON, an American Nightmare Studios release. Photo courtesy of American Nightmare Studios

Horror journalist, producer, and podcast host Nick Taylor moves into the director’s seat for his feature debut with illuminating documentary Rubberhead: The Life & Monsters of Steve Johnson.

It chronicles the wild life and career of SFX maverick Steve Johnson, based on the multi-volume book series Rubberhead: Sex, Drugs and Special FX, and those familiar likely already know Rubberhead isn’t your standard horror documentary.

Johnson is responsible for so many memorable movie monsters, having worked on Fright Night, Poltergeist II, An American Werewolf in London, A Nightmare on Elm Street 4: The Dream Master and Night of the Demons, to name a few. He’s also extremely candid in ways that feel atypical in this industry, open about his failures as much as his successes.

“It was a natural progression for sure,” Nick Taylor tells Bloody Disgusting of his transition into filmmaking ahead of Rubberhead‘s world premiere next week at the Fantasia Film Festival on July 23. “I think with my podcast, I got adept at interviewing people and pulling creative lessons out of them, which was the point of my podcast. I wanted this movie to be sort of a creativity pill for artists where if they’re starting a project or feel creatively stuck, they could watch this movie and be inspired and get actual practical creative lessons.”

Taylor’s background in PR and marketing also organically led him down this path.

He charts the course from book promo to documentary director: “But also Bloody Disgusting had a lot to do with this movie because in the very beginning when I first met Steve, I was helping him promote his book and I said, ‘Hey, I got a marketing background and a journalism background. Let me help you promote this book. I’ll just pitch stories from your life to the media, and we’ll see what happens.’ And John Squires wrote an article about Steve making Slimer under the influence of tons and tons of cocaine, and that went fairly viral.”

“For a week, it was story time with Steve,” Taylor continues. “He would tell me a story from his life, and every story was about a major movie, a major director, lots of drugs and alcohol and insanity. I would write them up, and I think John published about three or four of them. So huge shout out to John Squires because that was really great. So yeah, there were definitely a lot of outgrowths of my journalism background that definitely contributed to this movie.”

Rubberhead condenses the multi-book series into a cohesive feature film with a breezy runtime, sparking the obvious question as to how Taylor approached condensing Johnson’s life down to an under 2-hour documentary film.

That was one of the more difficult parts of all of this, because we had enough for a series or an epically long six-hour fan documentary,” he answers. “But from day one, I did not want to make a fan documentary. I love them. They’re a lot of fun, but I did want the movie to stand on its own two feet as a character-driven portrait of an artist and a time period and a technology, that being practical effects. I did want to be objective. I didn’t want to make this too long. I wanted to make it re-watchable. So I think we just really had to focus on what the narratives were that we wanted to tell. So there were some basically almost cliché archetypical mythic narratives present in Steve’s life. We could have made this way longer, but we wanted to keep it short. But luckily that’s why you have special features.”

Rubberhead trailer

Johnson quickly proves to be an engaging subject thanks to his self-effacing wit and frank self-reflections; expect no shortage of stories about how drugs factored into the height of his career or the failures it wrought. 

That rare quality was an asset for Rubberhead, Taylor confirms. “He does not shy away from anything about the drugs, the addiction, the bridges burned, the mistakes made, the lessons learned. He just is honest about all of it. He’s had a lot of time for reflection, and he’s done a lot of reflection, so he doesn’t shy away from any of it, which is huge because it’s very refreshing. I don’t think a lot of people are that way, at least in this industry from what I can see. So I think it was hugely beneficial. We wanted to lean into that, and we wanted to make this sort of a gonzo Hunter S. Thompson sort of wild tale through Steve’s overall life.

Condensing his life into this doc was a slow and steady process for Taylor, too. “It’s been almost seven years. It’s been a labor of love. We’ve been as indie as it gets. We would shoot what we could when we could, and then we would edit when we could. Then after a while it all came together.”

In a way, making Rubberhead brings Taylor’s horror fandom full circle. It turns out that the very film that sparked his interest in the genre and practical effects also comes with an amusing Steve Johnson anecdote.

Taylor explains, “My gateway for sure was Beetlejuice. I saw that at a very young age; I think I was four or five. I felt somebody had shown me, my soul. I get a little emotional thinking about it. There was something about that movie that felt so strange and unusual, but also felt so familiar. It was spooky, but it was fun, and it was lighthearted, and it had humor, but it also had this macabre celebration to it that I just really got into as a kid. I felt somebody had shown me my own soul. And funny story, Steve got fired from Beetlejuice because Tim Burton gave him his hand-drawn designs and Steve’s like, ‘Oh my God, these look like kids did them. This is not what you want. I know what you want. I’m going to redesign these for you.’ And Tim Burton was like, ‘Yeah, no, you’re not.’ So yeah, funny story.”

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