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THE ESSENTIAL ISSUE

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CREATORS UNITE 10 EDITOR’S LETTER We are delighted to present CREATORS UNITE #10: THE ESSENTIAL ISSUE, featuring exclusive interviews with Kelli Maroney, Lloyd Kaufman, Luigi Cozzi, and Kurando Mitsutake. Kelli Maroney, the highly respected actress that many of us have admired for decades, is without a doubt, an exceptional woman who is loved by all. We invite you to join us in getting to know her. Lloyd Kaufman, the creator of TROMA ENTERTAINMENT is the ultimate reference for filmmakers and independent creators. Lloyd’s influence cannot be ignored as the TROMA culture have permeated spirits in a profound and lasting way. We had the privilege of interviewing Lloyd, both in English and French (which he speaks without an accent). Check out our Masters at Work to learn more about Lloyd! Luigi Cozzi, known for his films Starcrash, Hercules, and Contamination, is one of those iconic artists, who continues to create essential work against all odds. We met him in Rome at the PROFONDO ROSSO store, which he co-founded with Dario Argento. We hope you enjoy this glimpse into his world. We also had the pleasure of interviewing Kurando Mitsutake, whose fascinating work restores a sense of prestige to cinematic art. Mitsutake's approach, both in substance and form, is a captivating blend of violence and aesthetics. His work is truly outstanding and transcendent. To mark the release of our 10th magazine (and 28th publication), we bring you this special "best of" issue, dedicated to four exceptional artists, featuring exclusive interviews with each of them. We hope you enjoy reading CREATORS UNITE #10 as much as we enjoyed creating it. THE ESSENTIAL ISSUE is available in digital and print formats (limited edition prints). You can find the e-book version on Issuu and hard cover books on Peecho. A soft-cover magazine in four parts (each dedicated to a specific star) is also available on Issuu and Peecho. DC Deever THE ESSENTIAL ISSUE

CREATORS UNITE 10 TABLE OF CONTENTS

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Special Best Of Including Essential ITWS of Kelli Maroney, Lloyd Kaufman, Luigi Cozzi & Kurando Mitsutake • •

Editor’s Letter - P3 Table of Contents - P4 & P5

Masters at Work 1 - Kelli Maroney - P8 • WEBTALK P10: Starter by Christopher Zisi. Interview with Kelli Maroney by Christopher Zisi & Laura MacLeod • SHOWROOM P35: Reviews by Christopher Zisi & Matthew Kirshenblatt • SUPERTREAT P45: Creators Unite Voight Kampff TEST Masters at Work 2 - Lloyd Kaufman - P53 • PASSION STORY P54: A tribute to Lloyd Kaufman by Todd Rigney • WEBTALK P68: Starter by Richard M. Martin. Interview with Lloyd Kaufman by David Dubrow et Emilie Flory • GUILTY PLEASURE P99: Filmmaking Schlock Horror & Gore! by Tony Newton Masters at Work 3 - Luigi Cozzi - P109 • WEBTALK P110: Starter by Maria Cristina Mastrangeli. Interview with Luigi Cozzi by Maria Cristina Mastrangeli • SHOWROOM P137: Reviews by Cultmetalflix and Christopher Zisi • EXHIBITION HALL P149: The Gallery 106 - Creators Unite Gallery welcomes Horror Icons, an exhibition of Chantal Handley’s work THE ESSENTIAL ISSUE

CREATORS UNITE 10 TABLE OF CONTENTS Masters at Work 4 - Kurando Mitsutake - P169 • WEBTALK P170: Starter by Emilie Flory. Interview with Kurando Mitsutake by Christopher Zisi • SHOWROOM P201: Reviews by Sooz Webb • TECH SECRETS P213: Shooting Practice, Gunfight, Gun Psychology, Q & A, Arsenal by Christopher Bourez & Emilie Flory Bonus Feature - P259 • MYTHMAKER: GEORGE A. ROMERO by Jason Figgis A short video essay for Creators Unite Magazine looking at George A. Romero's seminal classic horror film from 1968 - Night of the Living Dead. Written, presented and directed by Jason Figgis • Special Thanks / Masthead - P256

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CREATORS UNITE 10 Masters at Work 1 – Kelli Maroney

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Kelli Maroney

by Christopher Zisi 1984! Some of us remember that year well. World superpowers seemed headed toward “Mutual Assured Destruction.” The possibility of nuclear war affected the consciousness of every college aged schmuck (which I was one). The possibility of the world coming to an end permeated every intellectual discussion as Ronald Reagan and Mikhail Gorbachev repeatedly failed to decrease the nuclear stockpiles. That same year, a cult classic hit the silver screen. The not so epic Night of the Comet told the story of the end of the world. The joke was on all of us, as nuclear winter didn’t factor into the equation. On the surface, Night of the Comet seemed to mesh two plots. High schoolers coming of age mixed with the apocalypse. Was mankind worth saving? Government henchwoman Audrey (Mary Woronov) didn’t believe so and set out to euthanize perky blonde high school cheerleader Samantha (Kelli Maroney). Ditzy, shallow, and materialistic Samantha seemed to symbolize the futility of 1980s youth and their inability to carry on a civilized culture and society. Ah, but wait! Audrey looks closer and sees something else.

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Optimism, trust, and the ability to make lemon-ade out of lemons. Yes, a closer look at the sultry cheerleader suggested that Samantha is exactly who we want to help construct a society in which all peoples need to love and coexist. Sure, Samantha’s proclivity to use an Uzi is quite alluring and not a bad plot device, still, her smile and sex appeal could prove to be quite inspiring. When leaders, technology, and normative social structure have failed planet Earth, Samantha and her buddies may be the perfect combo to begin it all again. With a pom-pom in one hand, a machine-gun in the other, perhaps Samantha is a perfect metaphor for what it takes for a pretty lady to succeed for decades in a misogynistic film industry. Before Alice in Resident Evil and Selene in Underworld, the babes of horror were portrayed as meek and merely pretty faces that just so happened to survive occasionally. In reality, Kelli Maroney beat both Kate Beckinsale and Milla Jovovich to the punch. Sure, her portrayal of the ditzy but feisty Samantha (and also Alison in Chopping Mall) gave a very masculine audience characters that seemed to feed male stereotypes of young ladies. In reality, Alison and Samantha (as portrayed by Ms. Maroney), were energetic, resourceful, strong, and very capable of overcoming evil, killing monsters, and saving the masses. As more and more stories in today’s news highlight the predatory nature of a male dominated Hollywood, Kelli Maroney’s endurance is a testament to her strength and smarts in the entertainment industry. Even more important than the initial impression we draw of either Samantha or Alison, is what those two Maroney characters evolve into before the end of the films.

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CREATORS UNITE 10 WEBTALK Kelli Maroney: The best day of work is when you first get a role. That first day on set is like the first day of school. I remember the first time I was able to cry on cue on Ryan’s Hope. That was big for me because if you couldn’t do that they would probably get rid of you! I just love it on a film when the work is going well and everyone seems in sync, from the crew to the actors, directors, craft services, the grips—it is a mutual respect, love, and mutual admiration society. Laura MacLeod: What's been your worst day of work so far? Kelli Maroney: Every time we wrap a movie or I get wrapped on a TV show, I feel like it’s a death! I walk around set all needy, not wanting it to be over and not wanting to say goodbye to anyone! Well, maybe not exactly that needy, but I do feel very sad and make sure I know how to stay in touch with everyone. I think many actors feel this way. Laura MacLeod: Who have you most enjoyed working with and why? Kelli Maroney: As I mentioned, Louise Shaffer and Roy London, but additionally I loved working with Joan Fontaine, who played my agent on Ryan’s Hope. I loved working with Catherine Mary Stewart on NOTC (Night of the Comet, Ed.) and Barbara Crampton on Chopping Mall and made two lifelong friends. Once I’ve done a movie or TV show with people they become like family in my mind. I’ve been lucky enough to have been thrown in with some remarkably talented and kind artists. I loved working with Joe Mantegna, Peter Riegert, and of course, the wonderful Adam Ant in Face Down. I love Thom Eberhardt and have done two films with him now, and I enjoy working with Jim Wynorski, although he yells a lot on set.

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CREATORS UNITE 10 WEBTALK He is just 1000% committed and wants everyone else to be on point, too. He is hilarious, and I have fun working with him. There are so many other people who have helped me and touched me throughout my career that I’m not going to be able to mention everyone, and I hate knowing that I’m forgetting to mention people. Laura MacLeod: Who would you want to work with? What sort of role would you play? Kelli Maroney: How about Tarantino? He takes actors and brings them into the present, like John Travolta, Robert Forster, Pam Grier, many more. And I would want to play a badass character who lives. I’d also like to do other films with Barbara Crampton, Catherine Mary Stewart, Thom Eberhardt, people I’ve already mentioned whom I’ve worked with and love. Also, there is a lot of brilliant talent coming up now in the horror and independent genres that I’m excited to work with, too. There has been a shift back to story and character, and I love that. There is a whole new energy that I feel happening now. Christopher Zisi: To Avenge is one of your latest projects... this looks like a fantastic film. A babe with a big knife seeking revenge... can you tell us anything about this one and the character of Abigail? You can be sure I will have it up on my blog as soon as it comes out. Kelli Maroney: Well, thank you! It's a revenge film with supernatural elements, and it explores the concept and emotions of revenge from many points of view. It pulls no punches and will likely be quite controversial.

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THE ZERO BOYS

The Zero Boys, The Sultry Kelly Maroney Dodges Crossbows and Machetes The Zero Boys (1986) 1h 29m. Writers: Robert Gilliam, Nico Mastorakis, Fred Perry. Director: Nico Mastorakis. Stars: Daniel Hirsch, Kelli Maroney, Nicole Rio...

Review by Christopher Zisi

Growing up in the 80s meant one thing... Kelli Maroney was your fantasy girlfriend. The nubile and perky blonde Uzi wielding cheerleader was everything a teen boy could desire. Cult favorites like Fast Times at Ridgemont High and Night of the Comet left us teens breathless and desiring... at least in out fantasy worlds. The thought anyone could seek to rip her apart with a machete or impale her using a crossbow would've been too horrifying to imagine. Hence 1986's The Zero Boys, directed by Nico Mastorakis is our feature today. Three hunks, Steve (Daniel Hirsch), Rip (Jared Moses), and Larry (Tom Shell) have just beaten some neo Nazis at a survival game championship. Good news for Steve... he wagered the lead neo Nazi and the winner gets Jamie (Maroney). Uh oh... this is news to Jamie and she ends up in the trio's car along with two more babes, Trish (Crystal Carson) and Sue (Nicole Rio). As the three babes bicker and Jamie keeps looking put off by her new brute date, the six head deep in the wilderness. Uh oh... Jamie sees a naked babe running for her life. The gang pulls over... bad move... to investigate. THE ESSENTIAL ISSUE

CREATORS UNITE 10 SHOWROOM A storm arises and the six find shelter holed up in an apparently empty cabin. Weird things begin happening and Trish sees someone peering at her and Larry during pre-marital sex. Now the hunks investigate the property and find a makeshift torture chamber next door where snuff films are made. Uh oh... Trish is seized by a fiend hiding in the bathtub. Now Trish is tortured, humiliated, and prepped to be a star in the next snuff film. The guys man up and grab weapons and act macho. The gals bicker and scream at every corpse that pops up... women! The bad guys also have weapons... crossbows and machetes. The guys concoct a bad escape plan which the fiendish hunters were banking on. Boobie traps... explosives... electricity... arrows... and machineguns will rule the second half of the film. The trio of babes will look wonderful as they are afraid and beset. The deaths will be excruciating... you'll see. Do any of the hunks and babes have what it takes to survive this wilderness game of life and death? Will Kelli Maroney's charm and sex appeal pull her out of this mess? Just who are these fiendish backwoods snuff film makers? This film will remind you of one of the Friday the 13th sequels and Deliverance. For some neat 1980s slasher fare featuring the nubile Kelli Maroney... see The Zero Boys. Christopher Zisi

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THE DEEP ONES

The Deep Ones (2020) 1h 23m. Writer & Director: Chad Ferrin. based on stories by H.P. Lovecraft. Stars: Kelli Maroney, Gina La Piana, Robert Miano...

Review by Matthew Kirshenblatt

The Deep Ones is the addition of a fascinating character named Ambrose Zadok. This is the female analogue to Zadok Allen from The Shadow Over Innsmouth, played by the excellent Kelli Maroney — and easily the best

thing, aside from the villainousness of Robert Miano, about this film — who is looking for her lost daughter: a daughter that we realize isn’t missing, but was taken by the Solar Beach cult to their master Dagon. Ambrose is desperate, nearly deranged with grief and fear for her child, and her presence is explained away — gaslit I feel like there is a missed opportunity with Kelli Maroney’s Ambrose Zadok character. The interactions between her and Russell Marsh in her car, which he can somehow just go right into, stand out the most, especially when he confronts her about how “she knew what she wanted” and “she knew the price.” That is a story all in itself. Matthew Kirshenblatt @MKirshenblatt

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CREATORS UNITE 10 Masters at Work 2 - Lloyd Kaufman

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From Toxic Avenger To Blood Hook: How Lloyd Kaufman Shaped My Love For The Absurd. by Todd Rigney

Movies have always played a role in my life. For as long as I can remember, I've loved film. One of my earliest memories of going to the movies with my parents involved a horrifying experience watching E.T. on the big screen. When the beloved alien first pops out and screams at an understandably terrified Elliot, I threw my trusty blanket over my head and left it there for the rest of the movie. My parents said other moviegoers were amused at my admittedly embarrassing reaction. I like to refer to it as self-preservation. My parents had one rule regarding my habit: no horror movies. I could watch as many bloody R-rated action movies as I wanted, but scary flicks were off the table. I scared very easily, which meant they'd have to deal with the effects Jason Voorhees and Freddy Krueger had on my tender psyche. Of course, that didn't stop me from wanting to watch stuff like Child's Play, but they wouldn't budge. If I wanted to watch something scary, I'd have to do it at a friend's house - which also meant I had to pretend I wasn't completely terrified out of my wits in front of my pals.

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CREATORS UNITE 10 PASSION STORY The less said about my experience with Stuart Gordon's Dolls, the better. However, my parents couldn't watch me all the time. When I got a TV and cable in my bedroom (minus the pay channels), I could consume just about anything I wanted. During that time, I discovered USA's Up All Night. Although I enjoyed watching Gilbert Gottfried host the program, Rhonda Shear seemed to mesh well with the show's choice of offbeat cinema. Of course, being a boy quickly sprinting toward puberty, Shear appealed to me in a number of different ways. Regardless, I'd come for the movies, and the kid who loved Garbage Pail Kids and low-budget sci-fi flicks discovered a side of cinema he never knew existed. I was immediately hooked. Then I watched Michael Herz and Lloyd Kaufman's The Toxic Avenger, and it blew my tiny little mind. My parents hit the hay around 11 p.m. every night, so as soon as I knew they were fast asleep (my mom snored notoriously), I'd turn on my little TV and tune in. That fateful evening, I'd stumbled onto The Toxic Avenger, a story about a love-struck nerd who becomes a rampaging superhero after falling into a vat of chemicals. Although I'd later learned that USA had removed a significant portion of the movie due to copious nudity and extreme violence, I didn't miss it at the time. Even in its neutered form, The Toxic Avenger felt dangerous, subversive, and a terrible secret I thought only Rhonda and I shared. It triggered something in me, and I was never the same.

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CREATORS UNITE 10 PASSION STORY Here's the difference, though: while I enjoy writing about people with misshapen penises trying to unlock otherworldly portals using their own cursed organs, Kaufman had a different agenda. At the end of the day, Kaufman's a businessman, and he scratched an itch few of us really knew we had at the time. And when he discovered people would gladly eat up everything from Toxic Avengers and Surfing Nazis to high schools filled with sexy ladies and deranged mutants, he began pumping these ultralow-budget films onto the market. I'm writing stories because I'm a deviant guy with a very sick imagination; Kaufman created movies for sickos because he knew he could make lots of money. The guy's a genius. Sadly, as a nervous, socially awkward kid, I didn't know anyone who felt the same way about the guy. However, when I started a film blog in the mid-2000s, I soon connected with folks who also appreciated Kaufman's work and the TROMA catalog as much as I did. Perhaps the strangest aspect of the internet is that, if I were so inclined, I could log into Twitter and tweet him directly. Of course, that doesn't mean I'll get a response, but the kid who used to watch Kaufman's movies on Up All Night would probably die of a heart attack if he knew that, at some point in his lifetime, he could contact one of his heroes with the push of a few buttons (or keystrokes, or mouse clicks). However, I haven't mustered the courage to make that leap, and I don't know if I ever will. I guess some things never change. The fact that so many people have been affected by Lloyd Kaufman and TROMA fills me with unbridled joy.

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CREATORS UNITE 10 PASSION STORY Although some people dismiss these films as simple trash for simple minds, I couldn't disagree more. Even if you hate the movies themselves, you have to respect Kaufman's business sense and his drive to cash in on a demographic that, apparently, wasn't satisfied by the stuff churned out by big-name studios. TROMA fans are a loyal, dedicated bunch, proven by the fact that the company still operates today. There's no denying the man's influence on countless novels, comic books, and movies, including my own. My name's Todd Rigney, I'm a proud graduate of Nuke 'Em High, and Melvin the mop boy's my best friend. Todd Rigney

About Todd Rigney Todd Rigney was born and raised in Lexington, Kentucky. After writing for a handful of entertainment websites, he published the book Found in 2004. He followed up the acclaimed novel with a series of short stories entitled Twelve (Stories Concerning Love and Death) in 2011. Found would later be optioned by Bloomington, Indiana filmmaker Scott Schirmer as a full-length feature. The film debuted in July of 2012 to a packed house in Bloomington. The adaptation has since played at several film festivals around the world. In addition to releasing the books M'rth and Dancing on the Edge of a Blade, Todd would go on to co-write the horror/comedy Glorious with Joshua Hull. The film is based on his short story Old Glory from the 2017 anthology Taste Level Zero. THE ESSENTIAL ISSUE

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Lloyd Kaufman - A Study

by Richard M. Martin All Photos Courtesy TROMA ENTERTAINMENT Stanley Lloyd Kaufman Jr., better known to us all as Lloyd Kaufman… Today, I will explore a few things that have lead Lloyd to where he is today: a champion of independence cinema. A good place to start given today’s issue of Creators Unite Magazine (CUM! I think Lloyd would chuckle at that one) is at the founding of TROMA ENTERTAINMENT in 1974 by Lloyd and his partner Michael Herz. When discussing Lloyd’s career, it is sometimes difficult to separate him and his work from TROMA, as the two are so closely aligned, as before TROMA, Lloyd was already making movies (don’t mention “B-Movie” around Lloyd, I found out the hard way! See my interview attached). Many would be familiar with the debut of TROMA’s mascot Toxie in The Toxic Avenger (1984) but Lloyd himself has been directing since 1969 with his debut The Girl Who Returned. During his first few years as a young aspiring filmmaker, Lloyd directed under pseudonyms. Was he embarrassed by what he was producing? Given Lloyd’s pride in his work, it is hard to know why he used such aliases like Louis Su, H.V. Spyder, David Stitt and Samuel Weil.

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Some of my own favourite stories revolve around, to put it eloquently, food poisoning. “But why?” I hear you ask again. It’s relatable, toilet humour is simply relatable, we’ve all been there, breaking out into a sweat, not a lavatory in sight, the constriction and pain bubbling up from below, your feral instincts take over and you just want to shit anywhere to end the intestinal torment! Lloyd gets that and he is unashamed. We should all be unashamed, it is part of being alive. You think a man with as much energy and get-up-and-go as Lloyd worries about what people think? Certainly not, this is the same man who joked about masturbating to the thought of me in my dressing gown, ME! Was I offended? Not at all, it was funny and contextual, we even got it recorded. Back on topic though, the question still remains “why?”. There is a throwaway line in the depths of his WIKIPEDIA entry not often discussed about Lloyd. In 1966, Lloyd went on a hiatus from his studies and spent a year in Chad for the United States Agency for International Development (USAID) as a pathfinder for the Peace Corps. Could this have been the catalyst for his complete disregard for cinematic reverence, which the film industry always tries to uphold? In an era of scandal and cover ups, the upfront nature of Lloyd's and TROMA’s history and body of work is to be commended. I cast my mind to the character of The Comedian from Alan Moore’s The Watchmen.

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A man who has seen such atrocity he has deduced all life to be one big joke and has turned the world into his own amusement park. To me Lloyd is The Comedian, he has made light of a variety of topics for over 40 years. Countless parodies, innuendos and irreverent humour. What’s not to love about it, it’s relatable. For me personally, Lloyd is someone to aspire to. He is one of the hardest working men I have ever witnessed. He absolutely wholeheartedly LOVES cinema. Lloyd will often help out aspiring filmmakers by making cameos in their films for a small fee or even for free. After all, he has been independent for over 40 years and knows all too well the trials and tribulations of the business. He is beyond generous with his time and appears seemingly from thin air on social media to join in the discussion while simultaneously promoting TROMA NOW (TROMA ENTERTAINMENT’s Exclusive Subscription Video On-Demand Service, Ed). Once a hustler always a hustler. We all probably have a picture in our head of what a man in his 70s is like, slowly shuffling along, hunched over a cane, no, not Lloyd. He throws himself at life and has the filthy mind of any young man. I think this is what my real take home point is about Lloyd. He has worked for every inch of his success and is still putting in those hours and not sitting back resting on his laurels. He is self-deprecating, quick to the joke or pun, and an all-around humble man. He supports the scene and the industry and has inspired and helped countless others.

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Exclusive Interview with Lloyd Kaufman

ThE WEb Talk Artworks: Dale Mike B., Penelope Cox, Sayuri, Ruede Bloch & Kopy Kat | Photos Courtesy: Troma Entertainment & ©GirlsandCorpses.com Once you enter the workshop of Creators Unite, you never come out the same again. As you drift past the paint-flecked easel by the window, the manual typewriter on the desk, the drafting table with the Tensor lamp, all bathed in the soft glow of multiple HD monitors showing multiple images, you become possessed. Possessed by the spirit of creation. That’s why you’re here, isn’t it? The urge, the drive, the need to create. Even as it eats you, it gives you life. TROMA ENTERTAINMENT’s founder, Lloyd Kaufman, fills the workshop with warmth, with energy, with an ebullient, infectious humor. He speaks French and English with equal facility, discussing the Tao Te Ching in one breath, then moving to Shakespeare’s The Tempest in the next. We were fortunate enough to capture just a little of Lloyd’s spark in a chat about filmmaking, writing, and TROMA’s influence on movies today. Creators Unite: Thank you for sitting down with us to do this interview. Lloyd Kaufman: Thank you for doing this issue on TROMA; it’s my fiftieth year of making movies.

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CREATORS UNITE 10 WEBTALK Creators Unite: What are the differences you’re seeing in low-budget filmmaking today from the way you made films decades ago? Lloyd Kaufman: We have a wonderful democratization of the making of cinema. You don’t need money anymore to make a movie. But due to the development and evolution of the movie industry worldwide into a cartel or almost a monopoly—an elite club—you cannot make a living. You cannot pay your rent or eat your food and make movies. When I started, if you made a movie that was entertaining, unusual, or commercial, there was no problem getting your movie into movie theaters. There were many little studios and distributors when I started my movie company in 1974. Now they’re all gone. The industry has become consolidated, and now there’s a small number of Devil-worshiping conglomerates—and some governments—that pretty much control every movie that’s being financed. Because of that, if you’re going to make a truly independent movie (and you want to eat), you have to be partners with or become a vassal of one of those entities. Otherwise, you’ll end up like Uncle Lloyd, living under the overpass of Route 95 in a refrigerator carton, trading DVDs for bath salts. Creators Unite: Would The Toxic Avenger achieve cult status if it was released today? Lloyd Kaufman: The Toxic Avenger was ahead of its time thirty years ago. The guys who made Deadpool are TROMA fans. I’ve never met them, but they talk about TROMA all the time. Many of the elements of The Toxic Avenger, like breaking the fourth wall: we used to be criticized for having the characters talk to the audience. Deadpool does that.

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CREATORS UNITE 10 WEBTALK It’s Brechtian: Berthold Brecht. Thornton Wilder, Andy Warhol. Now having characters break the fourth wall is very chic. We were doing it thirty years ago, but nobody liked it. Thirty years ago, we were putting in rock and roll songs because we couldn’t afford to hire a Bulgarian orchestra to make the soundtrack. Now look at James Gunn, who worked for us: his soundtrack for Guardians of the Galaxy is heralded because it uses source music. Guardians of the Galaxy is a wonderful movie. A masterpiece. Most of these baby food movies are copying James Gunn and putting in source music. Our problem is that we were a little too early. Creators Unite: Who are some indie filmmakers we should be paying attention to? Who’s not getting the attention they deserve? Lloyd Kaufman: If you go to TROMA NOW, the exclusive streaming service, you can see over 100 world premiere movies. Some of them are made by the James Gunns of tomorrow. For example, Fear Town, USA and The Slashening, both written and directed by Brandon Bassham, are terrific: funny and scary. Brandon also teaches at the Upright Citizens Brigade, a comedy group like Second City. We’re writing a new movie that will hopefully begin shooting this summer. We’re doing our version of Shakespeare’s The Tempest. Creators Unite: You’ve successfully made the jump from filmmaker to author with your Make Your Own Damn Movie book series. Tell us about your experience writing books. Lloyd Kaufman: The first book I wrote was my memoir, written with James Gunn in 1994: All I Need to Know About Filmmaking I Learned from The Toxic Avenger. THE ESSENTIAL ISSUE

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CREATORS UNITE 10 GUILTY PLEASURE Lloyd Kaufman has had a significant influence on filmmakers and independent creators. We bring you here an exclusive interview of Tony Newton, an independent filmmaker who produced horror anthologies such as Grindsploitation (distributed by TROMA).

by Tony Newton I started out writing horror film scripts and, being a ghost-writer and script doctor on a few projects over the last ten years, it was my love of horror films that spurred me on to get into indie film making. Since then, I have made horror films, horror anthology films and VHS documentaries. I also write horror books. I watch Horror films every chance I get, I listen to horror soundtracks (the Suspiria soundtrack composed and performed by the Italian band Goblin is the most played album in my house!), I collect skulls (I think at this point in time I have more skulls than a graveyard!), and my latest venture is creating a cabinet of curiosities (so, basically anything creepy ranging from dolls heads to mummified fairies to Cthulhu statues, old rocks, vampire killing kits and old medical equipment)… Apart from that, I collect horror VHS tapes and vintage horror toys and play horror movies on VHS and super 8! I'm obsessed with schlock horror and B movies so much that one of my film companies is now called SCHLOCK FILMS!... I also own VESTRA PICTURES and BODY BAG FILMS.

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CREATORS UNITE 10 GUILTY PLEASURE There isn't much return for indie films filmmaking and most of the time you are self-funding projects. When I'm not doing my day job, I'm editing, writing, filming something, networking, non-stop. I write daily mainly horror film scripts and VHS, trash cinema and B movie reviews. I also produce feature films and write horror books. I wrote The Zombie Rule Book and I'm Zombie. Both zombie books are out now via COSMIC EGG BOOKS. Horror is like Marmite, you either love it or you hate it. Horror has dedicated fans unlike fans of any other film genre; they’re great, passionate people. When you are a horror fan, you're a horror fan for life! Remember: #creatorsunite! Tony Newton A Very Special Thanks To Vestra Pictures, Trash Arts, The Enchanted Architect, Troma Entertainment, SRS Cinema, Sector 5 Films, World Wide Multimedia, Body Bag & Schlock Films.

About Tony Newton @TonyNewton1 Owner of SCHLOCK FILMS, VESTRA PICTURES and BODY BAG FILMS, Tony Newton is an indie filmmaker and a Contributor to Creators Unite Magazine.

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CREATORS UNITE 10 Masters at Work 3 – Luigi Cozzi

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CREATORS UNITE 10 WEBTALK Being an actress who interviews her director, puts me at once in an unusual position. Moreover, even after three films with him, I still feel that Luigi is a discreet and secret being. I wondered how to get him to talk about himself. And I ended up using an exercise that I usually use with young actresses and actors- it so happens that in another part of my life I direct plays! So, I put three identically folded little notes in front of our director. Maria Cristina Mastrangeli: On each note you’ll find a question. There is no particular order. You pick a note, you open it, you answer the question and then you go to the next. You can take all the time you need. Luigi Cozzi: Should I start? Maria Cristina Mastrangeli: Whenever you want. Luigi Cozzi: Who am I? He's taken aback. Luigi Cozzi: Who am I, me? Well, I'm Luigi Cozzi, a sci-fi enthusiast who's been trying to make science fiction movies for many years. It's pretty hard. I directed many films, I wrote many others… I worked for a long time with Dario Argento, then I made my own films as a director and screenwriter. Some have worked very well around the world, so I still have fans everywhere! In addition to that, for a number of years, I have run with Dario Argento this store, Profondo Rosso, dedicated to genre movies (Horror, Science Fiction and Fantasy films, Ed). We sell DVDs, masks, puppets and figurines, all dedicated exclusively to this kind of cinema. And at the same time, I try to continue my work as a filmmaker.

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CREATORS UNITE 10 WEBTALK Recently, I have made two films in which you also have played (Blood on Méliès Moon -2016- and Little Wizards of Oz -2018, Ed)! They are giving me a lot of satisfaction, so I hope to go on. He looks at me, I don't budge. Luigi Cozzi: Is it OK? Well let’s move on to the second question… Who am I!?! Same question! He bursts out laughing. Luigi Cozzi: Do I have to answer again?... Who am I? First of all, I'm a writer. I've always written. Then I am a genre movies historian; I have published a lot of books on this specific topic. As a writer I became a screenwriter and from writing screenplays I moved on to directing movies. I have navigated in various fields of the cinema, but now I am recognized as an author. Luigi has an ironic expression, but tinged with a certain satisfaction, like a child who has managed his first bike ride. Luigi Cozzi: I’ve been promoted, if you want! Before I was only considered as a maker of genre movies. Here we are interrupted loudly: "Can we come in? " Luigi Cozzi: Hi, Vince, come in... Being in Profondo Rosso store with Luigi also means laying yourself open to amazing encounters… The three questions game is interrupted by a gentleman who is vigorous despite his 70 years. With a keen eye and a spring in his step, Vince Tempera, the Italian Maestro of so many motion picture soundtracks is coming into the store. Even without knowing his name, you surely have heard at least one of his compositions. THE ESSENTIAL ISSUE

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CREATORS UNITE 10 WEBTALK The theme of his album Sette Note in Nero, for example, was included in the film score of Quentin Tarantino's Kill Bill. Vince’s reason for visiting his friend Luigi is the search for the mailing address of the company that finalizes copyright requests for the utilization of Little Wizards of Oz, for which he composed the music. The two associates talk about the next screenings of "our" film; One in Chicago, the other in Sitges (International Fantastic Film Festival of Catalunya, Ed) October 13th in the Brigadoon section. Luigi Cozzi (half joking): Sitges, near Barcelona, is the Cannes of Fantastic Cinema! There follows a chat about the ways new generations comprehend Cinema… they do not necessarily appreciate the fact young people don’t go to the movies... but they are happy that genre movies still sell on DVDs; they are collectibles. Then, Vince mentions Romics, the greatest comics and cosplay event in Rome for which he is the artistic and musical director... Maria Cristina Mastrangeli: Ah, I said, my uncle Vincenzo Silvestri runs the comic books section! And here we go again… reminiscing about famous manga titles, where Vince was credited... Vince Tempera: Captain Harlock ! I make a living from this! Vince Tempera composed the score of the Italian version of Space Pirate

Captain Harlock for Universal in 1979, Ed.

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CREATORS UNITE 10 WEBTALK I respected the contributions of the children and intertwined their parts with the parts where the actors play teachers... like your character (Maria Cristina Mastrangeli plays the bad English teacher Mrs. Pugliesi, Ed). The film lasts 1h40 and is solid. I'm happy with the result! Maria Cristina Mastrangeli: The legend is that it is very difficult to work on films with animals and children. I watched the children in the scenes where I play the bad teacher Mrs. Pugliesi; they were very focused! You spent a lot of time with them! Luigi Cozzi: After we shot the movie, I spent three days in the most complete silence. My ears absolutely needed to get used to silence! Recalling that, he bursts out laughing. Luigi Cozzi: They were unrestrained! In my time, at their age, we were timorous. But they also have a contagious sympathy. The problems did not come from the children themselves, but from the constraints of the school; we were not allowed to interfere with their educational program, nor to make them work too much, I had only two hours a day in the school with them. It was only thanks to my experience in the film industry that I was able, in just ten days, to shoot everything I needed. I prepare sketches of the scene, from the camera’s point of view, so I can see what I have to shoot for each position of the camera. And I shoot all the scenes from that point of view one after another, even if they are different scenes. This method saves a lot of time, because the preparation of the camera and lights is what takes the most time on a set. I like to have a lot of different shots, it's my way of shooting. I make movies for the big screen not for the TV set!

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CONTAMINATION

It's not a Zombie or even a Cannibal film, so what gives?

Contamination (1980) 1h 35min. Writers: Luigi Cozzi as Lewis Coates (story & screenplay) & Erich Tomek (screenplay). Stars: Ian McCulloch, Louise Marleau, Marino Masé, Gisela Hahn...

Review by Cultmetalflix

Ponder if you will upon Italian Cult cinema specifically from the late seventies/early eighties. I'd lay coin on the fact that a handful of names immediately come to mind; Argento, Fulci, Bava, perhaps D'Amato or even at a stretch Deodato (is he even Italian?). Those who dwell in the arena might even be able to name a few more and definitely a handful of specific films residing in genres other than the blatantly obvious ones (Zombies, Cannibal and, naturally, Giallo). Odds are however one film which probably won't be mentioned is one which wasn't in any of the above- mentioned genres, a film which goes by many titles, (one released through CANNON in the States to capitalize upon the popularity of another film simply entitled Alien), though is better known simply as Contamination. Deep within the 1984 Thatcher "Nasties" list the film has enjoyed many years of notoriety and has even found several re-releases since (garnering a slew of often rather confusing monikers) with several scenes hacked to meet BBFC and regional censorship approval, ironically it was recently released uncut in Britain with a 15 certificate.

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PAGANINI HORROR

Paganini Horror, Satanic Composer Shreds Euro-Babes... Who knew? Paganini Horror (1988) 1h 22min. Writers: Luigi Cozzi &Daria Nicolodi (screenplay), Raimondo Del Balzo (story) Stars: Daria Nicolodi, Jasmine Maimone, Pascal Persiano, Maria Cristina Mastrangeli, Luana Ravegnini...

Review by Christopher Zisi

The great 19th century composer/violinist Niccolo Paganini sold his soul to Satan and used his wife's intestines to craft his own violin strings. Happens, I know. What happens when Giallo takes a turn at this plot device? Yep, 1989's Paganini Horror, directed by the great Italian horror moviemaker Luigi Cozzi. Throw in Donald Pleasence as Satan, a sultry allgirl rock band, and even some more sultry Euro-Babes and we have a film destined to be as classic as Pagani's scores. Kate (Jasmine Maimone) is losing it. Her band has a bunch of #1s, but her sultry producer, Lavinia (Maria Cristina Mastrangeli) chews her out for not being able to create any new tunes. Elena (Michel Klippstein) and Rita (Luana Ravegnini) are her guitarist and drummer. Fawning Daniel (Pascal Persaino), an actor in the band's videos, is Mr. Helpful. He purchases a haunting piece of sheet music, written by Paganini. The seller? Satan, of course. Now the band, Daniel, Lavinia, and horror director Mark (Pietro Gennuardi) rent a haunted mansion to film the band's new video. Now, Kate and her band have their groove back. Uh oh, Paganini's devil-worshipping spirit is conjured up. THE ESSENTIAL ISSUE

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CREATORS UNITE 10 SHOWROOM The lovely Rita is first to go as she gets stabbed repeatedly by a violin with a blade. So sad... she was quite the babe. Babes will continue to die horribly, as this is Giallo. My favorite one is when a band member gets eaten by tree fungus... really! Now, Kate, Lavinia, and the owner of the mansion, a babe named Sylvia (Daria Nicolodi) must figure out how to stay alive, send Paganini back to Hell, and escape. Oh, yeah... the guys... useless... go figure. Babe damsels in much distress are chased and attacked by the otherworldly, and look great in the process. Kate comes up with a really stupid idea... but this is Giallo, so what do we expect? Will Satan or Paganini enjoy one of these Euro-babes as a bride? Just how useless are Euro-hunks? Wouldn't stomach lining make a better violin string than intestine? The Euro-babes are all sultry and their deaths are gory and imaginative (just ask Elena about her tree fungus problem). For some nice Giallo and an attractive all-girl band targeted by Satan, see Paganini Horror! Christopher Zisi

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CREATORS UNITE 10 EXHIBITION HALL

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CREATORS UNITE 10 EXHIBITION HALL If you are a horror fan, then, chances are you have seen Chantal Handley pastel artworks! This remarkable artist designed most innovative Creator/Artist at the AHCA 2019 loves the faces of horror movies, frozen in terrifying smiles, screams or stares, from the legendary Blonde of King Kong to the possessed Regan that haunts everyone who has seen the Exorcist… Enjoy this iconic exhibition!

Horror Icons Exhibition Creators Unite Gallery welcomes Horror Icons, an exhibition of Chantal Handley’s work available exclusively in Creators Unite Magazine. Photos Courtesy © Chantal Handley

P 152 - Fay Wray ©︎ Chantal Handley P 153 - Janet Leigh ©︎ Chantal Handley P 154 - Shelley Duvall ©︎ Chantal Handley P 155 - Vampirella ©︎ Chantal Handley P 156 - Sissy Spacek ©︎ Chantal Handley P 157 - Elle Fanning ©︎ Chantal Handley

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P 158 - Marilyn Burns ©︎ Chantal Handley P 159 - Linda Blair ©︎ Chantal Handley P 160 - A Witch ©︎ Chantal Handley P 161 - Toxie ©︎ Chantal Handley P 162 - Margot Robbie ©︎ Chantal Handley P 163 - Leather Face ©︎ Chantal Handley P 164 - Asami ©︎ Chantal Handley P 165 - Karen Cooper ©︎ Chantal Handley P 166 - Caroline Munro ©︎ Chantal Handley

About Chantal Handley Born and raised in England, Chantal Laura Handley is an Australian artist who creates horror and pop culture portraits using traditional pastels from her studio in Australia. Visit her website and her shop and follow her on X.

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CREATORS UNITE 10 Masters at Work 4 – Kurando Mitsutake

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It is no secret that the Cinematographic Art has lost its splendor: it no longer causes the same enthusiasm since filmmakers, the real ones, those who have a vision and know how to practice their art, have been kept away from the new production and distribution systems that have now become monstrous, due to their uniformity and short-termism. These systems render inoperative the great producers, the connoisseurs and enthusiasts who move heaven and Earth to bring out real artists and masterpieces. The audiences are still enjoying themselves with disposable “art” that the system throws them to anesthetize them, but a powerful resistance is now developing. “Life isn't a support system for art. It's the other way around.” said Stephen King... The seventh art is no longer an art, or very little if anything: it is still an art among the independent filmmakers and artists who are ignored by State agencies and right-thinking authorities. The underground, independent system… This is where art is hiding and regenerates itself, thanks to a few hotheads who resist against all odds. Kurando Mitsutake is one of those filmmakers, one of these exceptionally talented creators. Passionate, humble and incredibly human and warm, he knows perfectly well his work in addition to having great technique. His films carry within themselves the great human themes that also dwell in us all.

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CREATORS UNITE 10 WEBTALK Kurando Mitsutake is not a star that everyone knows, but he's a superstar for movie fans who praise him to the skies (they all have at least one of his films in their film library). Watching a movie of Kurando Mitsutake is a shock similar to those you could receive in viewing a Romero or a Hooper movie. Mitsutake is a great among the greats. We had the chance to speak with him in order to deliver you here two exclusive interviews, a few analyses of his films and an incredible photo exhibition of his work, prepared in close collaboration with him. You will find it after an amazing Q&A about the art of firing which he treated us with! We hope you enjoy. Emilie Flory

Exclusive Interview with Kurando Mitsutake by Christopher Zisi

thE wEb talk Photos Courtesy: © Kurando Mitsutake, © MAXAM, Inc., © Torin, Jumpei Tainaka, and © FukuzoProductions Christopher Zisi: Spaghetti westerns… 70s exploitation films… Kung Fu epics… you and I have the same tastes, I’m so sorry we have never met. Have you always been fans of these genres?

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CREATORS UNITE 10 WEBTALK I was introduced to her by a stunt coordinator friend of mine. We were at a wrap party of a movie this guy was the fight choreographer for. Since I admired her performances on Noboru Iguchi san and Yoshihiro Nishimura san’s work, I was very happy to meet her. Then, we were invited to a fan convention in Germany together. When you are stuck in an airplane for 13 hours or so, you become fast friends. It was actually on the return flight to Narita back from Düsseldorf, I pitched the idea of Gun Woman to her. The moment I finished telling her the story, she said “I need to play that character. I’m the only one who can play her.” Asami was in love with Gun Woman from the day zero. Unfortunately, earlier this year, Asami has announced she will be retiring from acting. But I secretly hope to entice her back to performing if I ever get a go to do Gun Woman 2. Christopher Zisi: When going after a monster, it helps to become a bigger monster. I love that theme. Your protagonists in these revenge films, whether it be the blind swordsman, or the mastermind in Gun Woman, are all haunted and determined. We are on their side in their quests for revenge, but boy do they make us gasp. Your protagonists often become bigger monsters, and that is just fine with us… does that tell us something about who we are? Are your films a mirror in which we have an opportunity to take a look at ourselves and who we really are and apt to become? Kurando Mitsutake: Thank you. I believe, revenge should only be performed by a person who’s willing to go to hell for that act. So, when you gain such a conviction for your act, you have to become some kind of a monster. THE ESSENTIAL ISSUE

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GUN WOMAN & KARATE KILL Reviews by Sooz Webb

GUN WOMAN

Gun Woman (2014)1h 26min. Writers: Kurando Mitsutake, Chiaki Yanagimoto. Director: Kurando Mitsutake. Stars: Asami, Kairi Narita, Noriaki Kamata, Matthew Floyd Miller…

Revenge is a dish best served cold. Or, in the case of director Kurando Mitsutake’s work, revenge is a dish best served with as many of your enemies’ internal organs splattered as violently as you can arrange it. Couple that with a level of gratuitos flesh on show, guaranteed to push the boundaries of bad taste to the limit, and you’re only halfway close to what our double feature of Gun Woman and Karate Kill have to offer. Seeking retribution for his wife's brutal murder, a talented doctor known simply as ‘The Mastermind’ purchases a prostitute, with the intent of shaping her into the ultimate killing machine. And as you can imagine, her education isn’t all puppy dogs and rainbows. Subjected to beatings and bullying, as well as various methods of combat and weapons training, the young woman becomes an instrument of death, reborn as ‘The Gun Woman’. Her target is the perpetrator of what most in polite society would call pretty heinous acts. THE ESSENTIAL ISSUE

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CREATORS UNITE 10 SHOWROOM The pinnacle of this being his magnum opus: an exclusive erotic club, where patrons get to have their end away with those that have departed this mortal coil. Yep, necrophilia. Apparently, romance IS dead. As her name isn’t on the list, our freshly-honed assassin gains entry to the inner sanctum under the guise of death, with a weapon concealed about her person that’s whereabouts would make your eyes water. Without giving too much away, let’s just say she goes in completely starkers, so it’s not exactly safely stashed away in her pocket! As ‘Gun Woman’ (Mayumi) returns to the land of the living, mayhem and slaughter ensue with a brutal and blood-soaked showdown providing a sweet payoff for those that are watching, for more than just the slaughter. Bonkers, bizarre, bloody and at times brilliant, Gun Woman is a heady mix of balls-to-the-wall action, bombastic bravado, and pure gonzo attitude. Asami shines as the would (and will) be femme fatale. Resilient and remorseful in equal measure, she secures her reign as J exploitation gore queen, with an understated yet emotive performance. The actress’s capacity to elicit sympathy despite her character’s almost entirely mute status is truly captivating, whilst her ability to kick ass and chew bubblegum is a sight to behold. As she embarks on her gore-laden rampage, as nakey as the day she was born, viscera and body parts pirouette across the screen, flying hither and yon, in an eccentric danse macabre. Practical effects convey the violence with stark realism, but are so over-the-top exaggerated that the sequence is too engaging not to watch!

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CREATORS UNITE 10 SHOWROOM We end up as delirious as our heroine, though thankfully for us it’s not due to blood loss! Kairi Narita portrays the tortured medic hellbent on a twisted version of enacting justice. Although we feel sorrow toward the character, for the cruel way his wife was taken from him, the doc’s methods of forging his own one-woman killing machine leave a lot to be desired. Personally, I would like to have seen him bite the bullet at the hands of the one he created, but that’s just because I like my ladies a bit more ‘vengancy’ than the script obviously allowed. The 80s inspired soundtrack provides a synth-tastic groove, whilst lending a neo-noir crime-thriller type resonance to proceedings, and the end track is an awesome earworm that keeps playing in your head, long after the movie has finished.

KARATE KILL

Karate Kill (2016) 1h 29min. Writer: Kurando Mitsutake. Director: Kurando Mitsutake. Stars: Hayate Matsuzaki, Asami, Kirk Geiger, Mana Sakura…

Karate Kill carries on the theme of slaughter and payback, only this time

it’s on a lone wolfs terms. Learning that his younger sister Mayumi has gone missing Kenji, a chap who in the words of Donna Summer works hard for the money quits his multiple jobs and heads to the US of A to try and locate her. He (literally) hits up a few places before discovering his sibling has been kidnapped, by the morally bankrupt cult known as Capital Messiah. THE ESSENTIAL ISSUE

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by Christopher Bourez & Emilie Flory

Shooting Practice | Gunfight | Gun Psychology | Q & A | Arsenal

Shooting Practice Central to the resolution of Gun Woman scenario is the tactical training of Mayumi (Asami -J-sploitation queen) by Mastermind (Kairi Narita). Many films leave the realism of a gunfight to our WAR IMAGINATION: in old war movies, for example, a protagonist could shoot one bullet on the battlefield and a group of 5 soldiers could fall. Some other films have taken the opposite direction with (lots) more WAR PROFESSIONALISM: renowned shooting champion Taran Butler has trained many actors, such as Keanu Reeves for highly realistic John Wick, French film Special Forces (2011) employs, as both actor and advisor, a former French military and drill instructor member of the Navy special forces. To which category does Gun Woman belong?

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John Wick Tactical Training: Keanu Reeves at Taran Tactical.

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It is very important to have the reflex to always leave the finger out of the trigger, when not pointing the gun towards a target. That’s for security reason, to avoid inadvertent shooting. THE ESSENTIAL ISSUE

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CREATORS UNITE 10 TECH SECRETS Verdict: 50-50. Some positions are following the shooting practice and rules, while some others should be avoided. On top of that, variations in positions of the fingers, hands, and manipulations, show that more practice is still required to become a professional. A lot more about precision training could be taught by Mastermind.

Gunfight The experience of letting the untrained blond girl shoot at Mayumi is very dangerous but has a strong power of retention for one who survives. Moreover, as explained, most targets are in movement: “Even a trained individual can hardly hit a moving target”. And shooting at a moving target requires to anticipate the movement. The anticipation depends on distance as well as the speed of the target. It requires specific training, that cannot be acquired on static targets. Pointing the index at the target should be sufficient to shoot at this distance. Is Mayumi survival in this experience realistic? Yes, definitely. The pistol is shaking a lot, there is no intent to kill, the blond girl has not activated her instinct in a classical defense. The pistol is mostly targeting too high, and there is a tendency to reproduce the same error in a shooting drill. Her body is soft, while her body muscles should be tightened.

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Gun Psychology There exists a one-gun model for every psychology. Of course, some models are more renowned than others and have become best sellers in the military and police around the world. But the look and feel of a gun varies from one person to another, each choice being very personal, depending on the type (pistol vs revolver), the weight, the strength, precision and range of the trigger, the stock shape, the size, the preference for metal pieces rather than plastic ones, the history, … and for a few last people, inspiration can be driven by actors and movies : the ego, dream, projection of the onlooker… The ammunition type is usually less important since models are available with different barrels.

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CREATORS UNITE 10 TECH SECRETS 4-By disassembling the gun and hiding its parts into Mayumi’s body, Mastermind knows the security guards of the “Room” won’t see Mayumi is carrying a gun… Separating the magazine from the frame doesn’t spare place to put it into a body. Why separating them? Kurando Mitsutake: True. The decision to separate the magazine from the gun and put it in Mayumi’s vagina was more a symbolic reason than a logical reason. It was to create the sense of her giving birth to a gun from her body. Hence the loaded magazine came from her vagina on top of a firearm surgically inserted into her body. 5-You are preparing your feature 5 which will apparently have many gun fights; can you tell us more about the way you prepare those scenes? Kurando Mitsutake: Yes, as for my movie number 5, I’m hoping to get a green light on my hard-boiled film noir gun action thriller. At this early stage, I just put what I would love to see into the script. Then, the production begins; I will work closely with a stunt coordinator and a firearm specialist to bring the gun fights to life. 6-Do you think of those scenes long before you shoot them? Do they inspire the way you write your stories? Kurando Mitsutake: Yes, I do. I usually have the whole movie worked out in my head before the shoot. Meaning, I see the entire movie in my mind before it gets produced. So, if I can just plug an USB cable or something into my brain and download the movie, I don’t even need to film it. Maybe in the future we can do this but the filming is the most fun part of filmmaking so I shouldn’t wish for that technology. THE ESSENTIAL ISSUE

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