MARK PIRRO :
Editing is always a
creative element in filmmaking. Many times a filmmaker
can be saved the time and trouble of moving from place
to place by designing a location that can represent
several sets. Turn the camera to the north, you have
one place. Turn the camera to the East and you have
another place. Major studios will do this as well.
They take over a soundstage and build several sets
in the same building. I did the same thing, only without
the luxury of a stage.RG:
The Dorsch’s (Steve and Bobbi) play a
major role in your first few films, what are they
up to now?
MARK PIRRO :
I haven’t spoken to
either of them in over 15 years. Bobbi Dorsch and
I were friends since the mid 70’s and dated for about
two years in the mid 80’s, and when we broke up, it
unfortunately ruined our friendship. She’s a wonderful
woman and I’ve missed her being a part of my life
since then. I’ve always hoped that one day we will
get together again.
Eddie Deezen, whom walked out after 5
days on the shoot, is incorporated into the film through
flashbacks as well as a spirit that continues to walk
the earth until you sink your teeth in your first
victim, how much of that parallel was written in from
An American Werewolf’s walking dead sequence?
MARK PIRRO : Other than the idea
that the skeletal remains pops in now and then, basically
with the same personality he had before he died, and
the title, not much. In fact, the only reason we changed
the title from “Virgin Vampire” to Polish
Vampire in Burbank was because of that one issue.
But other than that, there really are no parallels
I can see.
RG:What comedian inspired you the most?
MARK PIRRO : I was never inspired
by any comedians. The inspiration for Polish Vampire
was probably Roman Polanski’s “Fearless Vampire
Killers” (the American Version – I hate the extended
U.K. version). Naturally, John Landis was a big influence.
At the time of American Werewolf, I loved every movie
he had made.
RG: There is a running gag in this
film regarding the line “Dupah – Is that Polish?”
It’s reminiscent of Mel Brooks “It’s good to
be the King!” is there any homage to his work
using that line?
MARK PIRRO : Other than Blazing Saddles
and Young Frankenstein, I never found Mel Brooks films
all that funny. The only reason we kept saying ‘is
that Polish’ was to try and tie in the title more.
Other than his name and a few small gags, the fact
that he’s Polish is never really an issue.
RG: The DVD commentary talks about
one scene as transcending two parts of your career
both your past and future at one particular moment,
that being the sauna scene. It was interesting that
you were talking to a spy who was acting like an actor
“The Spy Who Did it Better” and at the same
time next to a Queer wolf “Return of the Queer
wolf”. Do you consider this film a bridge between
two parts of your career?
MARK PIRRO :Only in retrospect can
we find that bridge. However, a bit of trivia here.
Every film of mine has a reference to a previous film.
In the case of Polish Vampire, the spy in the jacuzzi
was that reference.
RG: There are many great gags you display
including the “Scat Cat”, “Judos for
Jesus” and of course “The Prostitutes Bread”.
How did you keep your sense of humor about you having
one actor walk out and having to reprise a role you
had hoped to direct?
MARK PIRRO : Once the film was in
production, the only goal was to finish. We worked
for over two years on that movie and I would just
treat it like a long game of Chess. Whenever an obstacle
would get in the way (like Deezen quitting), I would
just work out a counter move (like me taking over
the role). We all kept a sense of humor because we
knew we weren’t doing brain surgery. The worst thing
that would happen is that we wasted a couple of years,
but had fun doing it. In fact, having never had the
notion that this movie would sell, it wouldn’t have
RG: You did most of your prop work
and a good portion of this film was filmed inside
of a garage. How difficult was it to receive permission
for Universal to film the castle staircase scenes?
Was it difficult to keep continuity and a freshness
to the role because it was shot over two years?
MARK PIRRO : The Universal staircase
became a bit of a hassle because when we originally
got permission to use it, we thought we would be able
to use it a lot. Therefore, a good portion of the
script was written with that in mind. Once we actually
got into it, they were not too crazy about us spending
too much time there, nor would they let us set up
any artistic lights there, which is why we built the
garage set. Our castle became limited to just a few
walking bits here and there. In the garage we had
more control of the situation.
The main continuity problem we had was matching hair styles,
primarily with Lori Sutton. Bobbi Dorsch wore a wig,
so that was no problem, but Lori would have her hair
permed, shagged, fluffed, straightened, etc. The most
obvious spot is when she enters the castle. Outside
the castle it’s straight, walking down the stairs
of the castle it’s permed, opening Dupah’s coffin,
it’s straight again. I’m pretty good as a script supervisor,
so other than that, there aren’t too many other continuity
flaws. I think there’s a sign in the weight room that
disappears and re-appears. That’s probably about it.
RG: One of the finest shot sequences
revolves Dupah and his love interest during a dream.
It emulates a scene out of an old Bogart film by effectively
using smoke and lighting to display Dupah’s prominence
over his to be victim, how was that setup?
MARK PIRRO : We shot that in the
lobby of the Egyptian Theatre on Hollywood Blvd. I
used to work there and the assistant manager (who
was also assistant director on the movie) allowed
me to shoot there in the middle of the night. There
wasn’t much more to that set up than anything else
in the movie. Same lights, same camera, etc. Just
used black and white film and filled the place with
smoke. Of course, it was a bitch to get the black
and white footage processed, as there weren’t many
labs that handled black and white super 8 film, so
that was a bit expensive…relatively speaking.
RG: Another quirk in making your
films is that you provide most of the voiceovers for
some of the prominent characters, was it the equipment
or lack of budget that caused you to do most of your
MARK PIRRO : Super 8 camera motors
run very loud. Unless the camera is far far away from
the subject, getting usable sound is impossible. We
looped for that reason. The reason I did many of the
voices was just out of convenience. It was easier
for me to do them than to have to bring in actors.
I would let the principals do their own voices, but
sometimes they would have trouble getting the looping
process down (like Hugh Fields), so I would just do
the voice in those cases.
RG: You have since moved on to other feature
films including Deathrow Gameshow and now Rectuma.
Can you give us an idea of what’s in store with Mark
Pirro for the future?
MARK PIRRO : I never plan too far
ahead. I know in the past I would announce my next
film only to find out that something changes and I
go into a different project. When I do a film, I’m
going to be spending at least two years with it and
then probably another two years marketing it and then
another two years dealing with the corrupt distributors
who try to steal it, so I want to be involved in something
I’m really passionate about. As one gets older, it’s
tough to focus the passion sometimes. In any event,
I guess we’ll just have to wait and see.
RG: Is a 20th Anniversary Edition
repackage of this film in the works?
MARK PIRRO : It’d be too late as
the film is ‘officially’ 22 years old. The movie premiered
October 30th, 1983. It was copyrighted in 1984 and
sold to home video in 1985. Maybe we’ll be ready for
a 25 year anniversary. I hope to one day create a
new remastering of it. I wasn’t satisfied with the
job MTI Video did when they released it briefly in
2002. Although it’s better than the VHS version that’s
been out for years, the DVD is still not as good looking
as the film is capable of being. I don’t know, but
something went wrong in the encoding on MTI’s end.
That’s one of the reasons they no longer have the
right to sell it. I’m currently looking for another
distributor for several of my films (maybe we’ll do
a boxed set of three or four of my movies).
RG: I know you take great pride
in the rights to the films you have created, APVIB
was shot on less than a shoe-string budget and has
gone on to make over $1,000,000 in revenue (mostly
to the distributors), any advice to budding directors
whom are looking to make their first feature film?
MARK PIRRO : Actually with television
releases and video re-releases, I venture to guess
that the price has risen to over a million or two.
But you’re right. The distributors make the lion’s
share. Advice? Do it for the passion. Don’t do it
to expect a financial return. Polish Vampire was a
bit lucky because of the time it came out. Home video
was a new thing and the movie was available when distributors
needed product. Today, everyone with a camcorder is
a filmmaker and the market is over saturated with
movies that will never get a release. One has less
chance of selling a film today than when Polish Vampire
was new. On top of that, add the fact that all distributors
will try to steal the film from you (successfully),
so if you have the desire to make a film, do it because
you love doing it, not because you want to be the
next Blair Witch Project. If you’re fortunate enough
to find an honest distributor (as rare as finding
a black man at a KKK rally or an intelligent politician),
maybe you’ll make a few bucks.
RG:It appears that there is a growing issue
surrounding distribution rights and b-movies in general.
One might think that when they sell the rights to
a major distributor that their problems are over,
but in all actuality these rights and/or licensures
expire and resume the original property rights of
the directors and/or writers. How does anyone starting
out even know about these issues?
MARK PIRRO : Go into this knowing
that you WILL get screwed by a distributor at some
point. Most (read ALL) distributors are dishonest
and will do whatever they can to avoid paying filmmakers
their due. I personally have NEVER dealt with a distributor
I would call honest. It is very easy for them to tell
the filmmaker that the movie isn’t making any money
for them, even though the filmmaker may see his film
in every Blockbuster store from Los Angeles to New
York. A filmmaker’s best bet is to have an entertainment
attorney involved from the beginning. He should draw
up the contracts and approve all elements. Even that
doesn’t guarantee results.
RG: Thank you for your time and candid responses
Mark and I hope that your films continue with great
success in the future! Please feel free to keep us
informed when new projects arise.
MARK PIRRO : My pleasure.
can visit Mark on the web at his aptly titled website
His films including A Polish Vampire In Burbank is
available on Amazon.com and off of his website as