Trapped Ashes

British director Ken Russell started out training for a naval career, but after wartime RAF and merchant navy service he switched goals and went into ballet. Supplementing his dancing income as an actor and still photographer, Russell put together a handful of amateur films in the 50s before being hired as a staff director by the BBC. Russell made a name for himself (albeit a name not always spoken in reverence) during the first half of the ‘60s by directing a series of iconoclastic TV dramatizations of the lives of famous composers and dancers. And if he felt that the facts were getting in the way of his story, he’d make up his own — frequently bordering on the libelous. If he had any respect for the famous persons whose lives he probed, it was secondary to his fascination with revealing all warts and open wounds.

A film director since 1963, Russell burst into the international consciousness with 1969’s Women in Love, a hothouse version of the D.H. Lawrence novel. No director who staged a scene in a mainstream movie in which two men wrestled in the nude could escape notice, and thus Russell became more of a “star” than his actors. While some viewers had their sensibilities shaken by Women in Love, others had their sensibilities run through the blender with Russell’s next film, The Music Lovers. Predicated on the notion that Peter Tchaikovsky and his wife were, respectively, a homosexual and nymphomaniac, the film’s much discussed “highlight” is a scene in which Nina Tchaikovsky (Glenda Jackson) allows the inmates in the cellar of an insane asylum to reach up and play with her privates. But this was kid’s stuff compared to Russell’s The Devils (1971), an ultraviolent and perversely anachronistic adaptation of Aldous Huxley’s The Devils of Loudun. Russell returned to his musical theater roots with The Boy Friend (1971), a bloated version of Sandy Wilson’s intimate 1920s pastiche, and then went back to biography with the insanely inaccurate Lisztomania (1974) and Valentino (1975). The latter film not only suggested that Rudolph Valentino (Rudolf Nureyev) performed totally nude in his silent films, but also offered up the spectacle of Huntz Hall as producer Jesse Lasky. At this point, even some of the most devoted fans of Russell’s outrageous (but undeniably brilliant) visual sense were fed up with his shock-for-shock’s-sake approach and his all-consuming narcissism. Following the mind-bending horrors of Altered States in 1980, Russel maintained momentum with Gothic, a visually lavish retelling of the weekend of debauchery that gave birth to the Frankenstein mythos in the mind of a young female author named Mary Shelley. Though the film may have had its fair share of detractors due to Russel’s signature departure from historical fact, it nevertheless aquired a cult following thanks to its heavy atmosphere and dark fantasy. After detailing the exploits of yet another famed author (this time Oscar Wilde) in the 1988 comedy drama Salome’s Last Dance, Russel turned out another curiousity in the form of that same year’s Lair of the White Worm. Based on Dracula author Bram Stoker’s short story of the same name of featuring a memorable performance by a pre-romantic comedy stalwart Hugh Grant, Lair of the White Worm’s outrageous, sex vampire excess and near surreal humor earned the effort a proud spot in many a cult movie aficionado’s collection. He was back in his old form with 1991’s Whore, which conveyed several times over that life on the streets is hell — then for good measure, said it a few more times. Backed by a childishly slavering ad campaign, Whore brought Russell into the spotlight again for what would be the last time in some while.

Dabbling in television for much of the 1990s, may of Russel’s efforts during the decade were fairly unmemorable despite featuring such noteworthy actors as Richard Dreyfuss (Prisoner of Honor) and Bryan Brown (Dogboys). Just when it seemed as if Russel’s career may have lost steam for the last time, the ever unpredictable director struck back in 2002 with the unhinged comedy horror musical The Fall of the Louse of Usher. Brimming with the director’s trademark debauchery and offering a curious meld of various stories by timeless horror author Edgar Allan Poe, the film may have found Russel back in proper form, but still somehow managed to elude audiences due to both its independent origins and a virtually nonexistant advertising campaign. —allmovie

Monte Hellman (born July 12, 1932, in New York City, New York) is an American film director, producer, and film editor.

Hellman is among a group of directing talent mentored by Roger Corman, who produced several of the director’s early films. Hellman’s most critically acclaimed film to date has been Two-Lane Blacktop (1971), a road movie that was a box office failure at the time of its initial release but has subsequently turned into a perennial cult favorite.¹ Hellman’s two acid westerns starring Jack Nicholson, Ride in the Whirlwind and The Shooting, both shot in 1965 and released directly to television in 1968, have also developed cult followings, particularly the latter. A third western, China 9, Liberty 37 (1978), was far less successful critically, although it too has its admirers, as do Cockfighter (1974) (aka Born to Kill) and Iguana (1988). In 1989 he directed the straight-to-video slasher film Silent Night, Deadly Night 3: Better Watch Out!. In 2006, he directed “Stanley’s Girlfriend,” a section of the omnibus horror film “Trapped Ashes.” Hellman’s section of the film was presented by the Cannes Film Festival that year as an “Official Selection” and Hellman was named president of the Festival’s “Un Certain Regard” jury.

In 2009, he began production on a new feature film, the romantic film noir thriller, Road to Nowhere, which is scheduled to compete for the Golden Lion at the 67th Venice International Film Festival.

He currently teaches in the Film Directing Program at the California Institute of the Arts.

At the 2010 Venice Film Festival he was awarded with a Special Lion Award for Overall Work. – Wikipedia

Joseph Dante Jr. was born on November 28, 1946 in Morristown, New Jersey, and raised in the nearby borough of Parisippany. His parents were professional golf players and his father wrote some books on the instructions of playing golf some of which included Four Magic Moves to Winning Golf, and Stop that Slice. After a bout with polio that nearly crippled him at age 7, he slowly recovered and decided to take up drawing rather than athletics as his parents did.

Dante studied at the Philadelphia College of Art after graduating from high school. As a teenager, he contributed to Castle of Frankenstein and Famous Monsters of Filmland magazines with various drawings, and upon graduation from he College of Art, he became a film critic for the Film Buletin newspaper for which he later became the managing editor. With a friend, named Jon Davidson, Dante cut together a series of movie clips and film trailers and edited them into his first short film which was titled The Movie Orgy (1968) which was shown on college campuses.

In 1974, Jon Davidson was the head of advertising for Roger Corman’s New World Productions and persuaded Dante to move to California to work for them as an editor for various movie trailers and films. In 1976, Roger Corman allowed Dante, to direct his very first feature film with New World staffer Alan Arkush which was titled Hollywood Boulevard (1976), a low-budget feature filmed in black-and-white in just 10 days on a $50,000 budget, in which Date and Arkush inserted stock footage from other Corman-produced films. Hoping to get the jump on the success of the Steven Spielberg film Jaws, Corman commissioned Dante to direct Piranha (1978) around the same time Jaws II was being made. Working with a budget of $660,000 and with a script by John Sayles, Dante had his first serious problems with the filming which included last-minute cast changes, underwater cameras that kept breaking down, union woes, and unusable second unit footage. But the finished film was a miracle of low-budget exploitation filmmaking and has become a cult favorite.

Date worked as a second unit director for Rock and Roll High School (1979), and was then offered by producer Mike Finnell to direct The Howling (1981). With another script by John Sayles and with a budget of over $1 million, the movie about California werewolves proved to be another box-office hit, highlighted by state-of-the-art special effects by Rob Bottin. After directing two out of six episodes for the short-lived comic TV series "Police Squad! (1982), Dante found himself working alongside Steven Spielberg, John Landis and Australian director George Miller for the anthology movie The Twilight Zone, The Movie (1983) in which Dante directed the third segment, a remake of a 1961 original Twilight Zone episode “It’s a Good Life”, which allowed him to draw the script from his love of cartoons which played a major part in the segment.

Steven Spielberg then hired him to to work as director for the Chris Columbus script of Gremlens (1984) which was another box-office success. Dante then directed Explorers (1985) which starred Ethan Hawke and River Phoenix as suburban kids seeking alien life. But the Paramount distributors rushed the film before Dante was finished editing it and the studio’s lackluster effort to advertise it led him to become disillusioned with the movie industry.

He directed some episodes for the Sci-Fi series “Amazing Stories” before directing his next Science Fiction feature which was Innerspace (1987) a take on the 1966 movie Fantastic Voyage, but was another box office failure.

After directing five episode for the series “Eerie, Indiana”, Dante returned to the big-screen with the the well-received Matinee (1993), an affectionate period satire set in 1962 against the background of the Cold War and starring John Goodman as a film director, inspired by gimmick filmmaker William Castle. Dante spent the next several years working for television and re-making several movies such as Runaway Daughters (1994) and directed a satire on politics with The Second Civil War (1997).

Dante’s next two films, Toy Soldiers (1998), and Loony Toons: Back in Action (2004) were not well received by critics. He was recruited by Mick Garris to direct an episode of the anthology series “Masters of Horror” (2005) with the episode “Homecoming” which was played as another angry social commentary and pitch-black political satire on the USA policies. —IMDb