30 May 2013 (released)
30 May 2013
Norman J Warren is an English film director best known for 70’s cult horror films like Inseminoid (starring Stephanie Beacham), as well as Terror, Prey, and Satan’s Slave. Back in the day, Warren’s films were dubbed the NewWave of British horror. However, it is his recently re-released exploitation flick Her Private Hell which put the director back on the map!
Mind you, his career started much earlier, namely as a runner and assistant director, before he went on to direct some very interesting short films, including the atmospheric Incident (1959), which is set amongst a fairground, and the moody Fragment (1965), about an unhappy love affair.
Last year, and proving that he still enjoys a cult following, Norman received the honour of having an entire evening dedicated to his career, at ‘AN EVING WITH NORMAN J. WARREN’ at London’s Cinema Museum. To coincide with the event, his 1967 exploitation flick Her Own Private Hell was released in dual format edition by the renowned BFI Flipside label.
The sympathetic director is a regular guest at ‘Manchester’s Festival Of Fantastic Films’, and continues to work on various projects and various short films.
Writer Claudia A. caught up with Norman for an extensive chat and interview.
Film-News:
Norman, your name will forever be associated with British low budget cult horror, but your first film was actually a so-called ‘sexploitation’ flick…
Norman J. Warren:
Yes, that’s right.
Film-News:
‘Her Private Hell’ (1966) happened to be that first film… What were the reasons you accepted to direct it?
NJ Warren:
I had been working as an assistant director and assistant editor for a good number of years but my ambition was to direct. However producers were reluctant to hire me as a director, on the grounds they couldn’t be sure I was capable of putting something on the screen, so I decided to make a short film ‘Fragment’ and shoot it on 35mm film. I took the finished film to independent distributors and independent theatre owners, until a man named Richard Schulman said he would show it at the London cinema he owned. Now it just so happened that he was also discussing with an independent distributor by the name of ‘Bachoo Sen’, the idea of going into production themselves. My short film was on the screen while they were talking and as they needed a director, Bachoo pointed to the screen and said why don’t we give him a call? So out of the blue I got a call from him, asking if I would consider directing a feature film for them. I had no idea what the film would be, but to be honest I would have said yes to anything. I was 25 and desperate to direct a feature film. The film proved to be ‘Her Private Hell’.
Film-News:
The film was the first British sex film, though compared to sex films nowadays or indeed, sex films made during the 70’s, ‘Her Private Hell’ has actually very little sex in it and seems rather tame…
NJ Warren:
That’s true, the film is unbelievably naïve. To understand the reason why, you have to go back to 1967 and the many restrictions on filming any sex scenes in the UK. You were not allowed to show nipples and in a love scene the guy had to keep his trousers on and if the girl was naked, she was not allowed to move.
Film-News:
At the time, the film caused controversy because of its topless scenes. Ironically, the film run into censorship trouble with the British Film Board because of it, while it was ok to be screened in the US. These days, it would be the other way around, no?
NJ Warren:
At this time it became common practice to shoot two versions of any sex scene. One for the UK market where the girl would have her back to the camera, and a second take that could be used in America and the rest of the world, would have her facing the camera. I’m not really sure what the situation is with sex scenes in America today, although it is true they tend to be more puritanical in their approach to sex but very relaxed when it comes to violence. I really can’t remember much about the controversy surrounding Her Private Hell but whatever is was, it certainly didn’t do me any harm. In fact any controversy about a film always results in bigger box-office results, and ‘Her Private Hell’ was extremely successful at the box-office. I couldn’t have wished for a better start to my directing career.
Film-News:
One year before your film, Michelangelo Antonioni’s ‘Blow Up’ came out on the market. It took quite a different approach to the world of modeling…
NJ Warren:
Yes it does. But then ‘Blow Up’ is more a murder mystery told from the point of view of the photographer, David Hemmings. It’s not really about the world of modelling. Of course everyone remembers the scene in which David Hemmings makes love to the model, Veruschka von Lehndorff with his camera.
Film-News:
‘Her Private Hell’ is a cautionary tale of an innocent girl abroad who gets caught up in the sleazy world of modeling. How you do think the attitude toward modeling (and models) has changed since the time you made the movie?
NJ Warren:
The modeling industry was very young when we made ‘Her Private Hell’ and there was certainly questionable agencies operating. Models tended to be associated with glamour and pin-up magazines. Whereas today, modeling is seen as being very glamorous with models able to command large fees. It was also the start of the super-model when we made that film, with the likes of Twiggy and Jean Shrimpton breaking big into the market.
Film-News:
Are you still in touch with Lucia Modunio, who plays the lead?
NJ Warren:
No, not directly. However, Lucia very kindly allowed an extract from her autobiography to be used in the ‘Her Private Hell’ booklet produced by the BFI, with her memories of making the film.
Film-News:
In the bonus features, cult actor Udo Kier can be seen in a screen test for the part of photographer ‘Matt’, however, the role went to relatively unknown actor Daniel Ollier. How come?
NJ Warren:
At the very start of the project, Bachoo Sen was to make ‘Her Private Hell’ as a co-production with former actress, Margaret Jones who ran a small production company in London. Margaret took on the job of casting and she arranged for Udo Kier to do the screen test. I don’t have much to tell about him; apart from he was a nice guy and he was a good young actor. Of course he was totally unknown in the UK at that time. He would have been very good as Matt, the photographer’s assistant, but unfortunately, Bachoo fell out with Margaret Jones and decided to produce the filmhimself. That was also the last time Udo Kier was ever mentioned, and Bachoo cast the French actor Daniel Ollier for the roll of Matt. Daniel was alright, but his English was appalling and had to be re-voiced.
Film-News:
In the screen test, Udo Kier dances with a young model / actress called Jibby Beane. Is that the same Jibby who nowadays works in the art world and is muse to Vivienne Westwood?
NJ Warren:
Yes, the very same. Once again it was Margaret Jones who arranged for Jibby to do a screen test and she disappeared when Margeret and Bachoo split. Jibby was great fun with real energy and would have been perfect as one of the girls in the film.
Film-News:
Although you started off as a director of Sexploitation your first love was always the horror- and Sci-Fi genre. At what point in your budding career did you switch genres?
NJ Warren:
With my first two films being financially successful, I’d made ‘Loving Feeling’ directly after ‘Her Private Hell’, I was in great demand as a director and I was offered other sexploitation films by independent producers. However, I turned them down, not because I had anything against sex films, I just didn’t want to make anymore. I will always be grateful to Bachoo Sen and sex films for giving me the opportunity to direct feature films but for me, the films weren’t very rewarding from a directing point of view. I decided to return to editing and directing commercials until another opportunity came along. I really wanted to direct a horror film as it was a genre I loved, and because unlike sex films, it puts no bounds on your imagination.
Film-News:
The film recently came out as part of the BFI Flipside series, in dual format edition (DVD and Blu-ray). You must be proud!
NJ Warren:
Yes indeed. However, I must confess that ‘Her Private Hell’ was the one film of mine that I thought would never be seen again, so when the BFI said they wanted to release the film on DVD and Blu-ray, I was both amazed and pleasantly surprised. Working with the BFI was a very good experience, as everyone connected with the project were very enthusiastic and considering the poor quality of some of the material they had available to them, they’ve done an excellent job in producing the dual format release. What is also very flattering is that with that release, just about every film I’ve made is now available on DVD as well.
Film-News:
Tell me about the vibrant jazz-beat score in the movie…
NJ Warren:
That’s my very dear friend, John Scott (credited as Patrick John Scott). I first met John when I was working as the assistant editor and assistant sound editor on a 70mm film for Shell called ‘Shellorama’, and John was hired to compose the score. During a break in the recording session, I mentioned to John that I was planning to make a short film, ‘Fragment’, and asked his advice on how I should go about getting music. To my delight he offered to do the score for me. In fact John not only composed the music, he also played on the recording with members of the Johnny Scott Quintet. When I got the opportunity to direct ‘Her Private Hell’, John Scott was naturally my first choice for the music score. John is a joy to work with and not only does he produce some of the very best music ever, he also has the ability and skill to produce a full and rich score no matter what restrictions the budget may impose. The ‘Private Hell’ score is a wonderful mix of jazz and sixties rock and features some of the very best musicians of the day.
Film-News:
With the film re-discovered, and a recent event dedicated to your career at the Cinema Museum, Norman J. Warren still is much in demand. So what’s the next project?
NJ Warren:
I would really love to make another film, and right now I’m involved with two new horror projects. One is currently in the nightmare world of finance, and the other project is in the early stage of scripting. The film industry has changed enormously in recent years and getting funding for an independent production is very difficult indeed, but who knows. If Lady Luck smiles, one of the films could become a reality.
Film-News:
Many thanks for your time, Norman, and best wishes for the future.
(Please also read my review of ‘Her Private Hell’)