More News From Margot

There’s a bit of a frenzy going on in our end. Amy is terribly busy preparing to start shooting Rucker in a few days, while Jac is cutting Crux Extrema I, getting ready to start shooting Crux Extrema II and revising the script for Casa De Fieras (Menagerie) There are other scripts in development as well, maybe some other script may get the green light ahead of the rest.

At the same time, all systems are GO for the theatrical release of Amy’s film Pygmalion, which includes working on the trailers, key art, (for the posters) and all the promotion work which will be in full throttle in a few days. There will be a lot of TV exposure in the coming weeks.

@Reine Margot I know your involvement here is business, but it would be nice to see you post more – you write some funny and interesting shit. I’m a fiend for Indie horror, and believe/hope that a shining new era is coming regarding its production. Will be watching out for the Trucker film…
Diceman

I promote our productions, with an emphasis on what we have in the works. Right now my interest is in getting Monxa Mala and our other films promoted. You’ll be hearing a lot about Pygmalion, in the near future, as well as the projects that are keeping Jac busy these days, the films he’s doing with Dani, Crux Extrema, three intense sexy films where she suffers all kinds of extreme torture.

One of the biggest complaints about Jac’s latest Monxa efforts are that he has forgotten his audience trying to be an auteur. An artiste. At the risk of offending, we don’t want art. We want open graphic naked-woman-whipped sadism. THAT is what will sell to us. Figure it out. I haven’t bought anything since you got “artistic.” I would rather have Poor Gabrielle”, with genuine screaming, that what you are making now. Perhaps just me–likely considering the volume of comments–but please, please, just stick to well-lit sexual torture. It’s not like you will be up for an Oscar or Palm d’Or.
Ed

Jac began working in films in 1977, when he did a film to graduate from film school. He worked at CBS after finishing college, and later with a NYC advertising company. In 1981 he began his Indie career with a famous documentary that made him go around the world. That’s over 4 decades of work, all kinds of work, with big and small companies. He’s not ‘trying’ to be artiste, he already is a very well known artist. And no one will be offended by a comment.

I don’t really know what you mean by well-lit. All the films are lit in a certain way and they are not that different from when Jac started the Red Feline line of films, with Red Feline On The Cross. Jac prefers the Ciaro Oscuro style of lighting. If you watch that first film and Monxa Mala, the big difference is the budget and the equipment used.

No one is obligated to buy our films and we’re very happy with those who do, whether it is the individuals who pay 20 or 30 bucks for a copy of a film, or those who buy the rights to show it on a movie theatre or TV.

There’s a lot of talk about what Jac used to do and what he does now, and I really don’t understand the point some people are trying to make. But it doesn’t really matter. I think at this moment in time, what’s more important for us is to enjoy our work and get it out there. We are very confident that each film finds its audience.