

AMBUSH BUG (BUG): I just wanted to see, is there a brief description you give to people about the film, just for those who haven’t seen the film yet?
XAN CASSAVETES (XS): No. (Laughs) In all honesty, I’m very bad at tag lines or whatever it is. My brain is way too muddled.
BUG: I kind of describe it as a film that tries to take the sensuality and the romance of vampirism back into the horror genre. Would you agree with that?

BUG: (Laughs) So have you always had an interest in vampires?
XS: Yes. I mean I have always had an interest there. I did this documentary at Z Channel, you guys wrote about it, which had every single kind of movie on it from like kung fu to soft-core porn, westerns… every single kind of film that you could imagine and this is what I grew up on and that’s where I saw so many of those kind of films that were very Euro-centric and based on women. The stylish horror films are the films that really stimulate the imagination and the subconscious and really looking back, as a child I didn’t really pick up on it, but really kind of reflect some times different philosophical sort of themes and I loved those.
I can’t say I’m like a hardcore horror nerd, because that would be a lie and I’d be lying, but I’d like to say it. I definitely kept coming back to this world and have been turned on to a lot of stuff that I think is incredible, but my reference point is more stylized, kind of adult euro arty horror film.

XS: Well the composer, Steve Hufsteter, is a guy I’ve known since I was like sixteen. We were in a band together for almost ten years, so we have a very musically symbiotic sort of mental and emotional thing going between us, so by the time… He was there when I was writing the script and giving me notes on the script. He was basically my muse while I was writing the script and I was basically his muse when he was composing the music for the movie. From the beginning, he sort of knew what I would want even though it took a minute to find it. I mean he came up with that more kind of love theme early on and that sort of set the table, even though the rest of the music that he’s written isn’t particularly period, that sort of set the tone and then we together sort of watched the movie and discarded certain ideas and went with different things spontaneously while watching the movie. He would just play and the directions he would take were sort of customized to the scenes and how they were constructed.

BUG: Is that soundtrack available anywhere?
XS: It’s coming out. Yeah, it’s going to come out on iTunes and then they’re going to release vinyl.
BUG: Fantastic. I’m going to pick that up. I can’t wait. So how did you assemble the cast for this film?
XS: Roxane Mesquida I’ve been a fan of for ages, because I’m obsessed with Roxane in Catherine Briel movies and then I know she went on to do more horror things and RUBBER. I’ve loved her in everything and I think she’s a genius.

Then Anna Mouglalis, my sister told me I should meet her and one phone call with her was like “Oh my god, this woman’s voice…. It’s beyond…” I looked at her picture and I’m like “How can this woman look like this and sound like this? If I don’t get this one, I might not be able to emotionally make this film.”
But I got her and Milo Ventimiglia, I wanted someone really physically good looking, so that the couple… you could question the superficiality. Painfully for them, there’s a point where they have to confront the superficiality of their relationship and they have to question it. That meant that the guy had to be as beautiful as she was.

BUG: Yeah, they really did flesh out those characters and with the script and the story as well, it just made it so that you were rooting for these guys to survive no matter what was going on, no matter what challenges that they were facing. It really was a fantastic look at a romance where there are those things and it’s nice to see that kind of metaphor played out in the vampire genre I think.

BUG: I really like the fact that he really didn’t know how to make action or make gripping scenes until he became a vampire and it’s almost like you can’t write about love unless you’ve been in love, things like that are great metaphors to play with in this film.
XS: Thanks. Thank you. I like them.
BUG: Were there any cuts or anything like that as far as the gore and the amount of blood that you were going to be using? There were some pretty harrowing scenes in this film.

BUG: I also really like the scenes that you guys did where it was like the behind the scenes where all the vampires are getting together. It could have gone really cheesy, but it didn’t. You were able to straddle that and you were able to make sure that it didn’t go to that cheesy level where they are commenting on TRUE BLOOD, the TV show and things like that. They don’t name TRUE BLOOD, but you can tell that’s what they are talking about.
XS: I guess. Dude, I swear I’ve never seen TRUE BLOOD and it’s only after people saw that scene that they are like “Dude, TRUE BLOOD” and I’m like “I don’t know what you’re talking about.”

BUG: I really liked the character of the motherly vampire. And she’s really trying to not drink blood and not be tempted. That scene where she’s turned to the dark side is really, really well done.
XS: Thanks. I had a whole day to shoot that sequence. (Laughs)
BUG: You come from a family very familiar with cinema. How did that effect your making of this film?

I kind of kick myself some times that I didn’t pay more attention to what they were doing, because I paid zero attention, but what didn’t come through is that they were really in love with what they were doing and that made all of us, I think, feel really happy. I think when your parents are happy and really impassioned with what their lives are, you feel this great sense of peace and happiness. I think the association with making movies for all of us is a positive one, because that’s why we do it.
BUG: Definitely. So do you have a sister?

BUG: Did you draw on that relationship with your sister with the two sisters in the film?
XS: Well since I wrote the screenplay so fast and I though, “Oh, this is just a classical vampire movie” and it’s really the first screenplay I’ve ever written. It’s not like an unintentional biographical confessional thing. It’s so weird, because your subconscious does come into it and I didn’t realize until after we shot that there are so many things that are in this film that were out of my own memories and my own dynamics and one of them was my sister and I get along incredibly and we always have, but there was a period when we lived in a white house in a nature setting that wasn’t our house and it was right after our father died and we weren’t fighting.

BUG: Very cool. So what else do you have planned coming up? Is there anything you’re working on at the moment?
XS: Well yes definitely, but I’m Greek and superstitious and hey baby, it took me forty five years to make that one film, I’m not going to jinx anything. (Laughs) Yeah, it is sort of a genre flip again, not horror or vampires, but something else.
BUG: Okay, great. Well you have a really great style and a great sense of music and timing and everything like that that I saw in this.

BUG: I guess, yeah, that is what makes the movies great. Congratulations on a really great film. I can’t wait to see what you have next coming for us.
XS: I really appreciate it. Thanks so much. I really appreciate the way you took in the movie, it really makes me feel really happy and I thank you.
BUG: Great. Thanks a lot, have a great day.
XS: You too, bye.
BUG: KISS OF THE DAMNED is available on Video On Demand and iTunes and in sleect theaters now! Below the trailer is my review of the film.

KISS OF THE DAMNED (2012)
Directed by Xan CassavetesWritten by Xan Cassavetes
Starring Joséphine de La Baume, Roxane Mesquida, Milo Ventimiglia, Anna Mouglalis, Michael Rapaport, Riley Keough
Find out more about this film here and on Facebook here
Reviewed by Ambush Bug
Though the sensuality of vampirism has been the focus of many a horror movie, not until recently with the TWILIGHT phenomenon has it cause so many a fanboy to groan in pain. Anyone trying to highlight that the intake of blood as an intimate form of contact is going to make most tune out immediately. While some filmmakers have tried to go the opposite route (STAKE LAND for example, reviewed here) and bring the grit back to being a vampire, filmmaker Xan Cassavetes (daughter of John Cassavetes and actress Gena Rowlands) has decided to take the concept of the sensuality of vampires back to the realm of serious filmmaking with KISS OF THE DAMNED.

The cast is top tier as Joséphine de La Baume plays the gorgeous Djuna, a vampires who lives a quiet life until she runs into Paolo (Milo Ventimiglia) at a late night video store. Immediately, there is a spark and though it is against Djuna’s instincts to stay away, she goes with her gut (or maybe something a bit further south) and lets Paolo into her home. Though she drops plenty of clues like telling Paolo she has a rare skin condition and watches an old black and white vampire film in front of him, Paolo just doesn’t get it. Even when she chains herself up to the bed, Paolo still is just attracted to this kinky doll, and though it takes him a while to truly understand what it is he had fallen in lust with, his decision to become a creature of the night is pretty hasty. Soon, Djuna’s sister Mimi (Roxane Mesquida) shows up and immediately causes trouble for the couple as she brings couples home to screw and drain, attacks anyone who shows up at the house with a pulse, and tries to seduce Paolo right under her sister’s nose. All of this is done with style as the confident cast is able to amp up both the sensuality and drama exquisitely.

Still this is an exceptional vampire film. Don’t worry. All of drama is bathed in copious amounts of blood and some stylishly orchestrated shots of vampire debauchery. There are some nice nods to how vampires react to the modern treatment of their species in current cinema and references to TRUE BLOOD which I found to be amusing. And it’s all set to an absolutely delicious retro score which borrows heavily from the Italian giallo films and makes this film feel more like a lost film from the seventies rather than something recently produced. Though I found the story lacking a bit in the last act, there’s a lot Cassavetes did right with this film, especially considering it’s her first feature length movie. KISS OF THE DAMNED is the antidote for all of the crap vamp films horror fans have had to endure through recent years and well worth seeking out.




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