About thomasedwardseymour

Considered one of the "Top 20 Contemporary Underground Filmmakers in the U.S." according to the "History of Independent Cinema" published in 2009. Has won 14 indie festival awards, has directed seven features that have been covered and reviewed everywhere from the NY Times to NPR. Thomas's online content created for Black20 studios has reached over 25,000,000 views. The video "PG 300" (Cake Town) has 9 million views just on youtube alone. Was World Champion Record Holder on Twin Galaxies for the Konami Mame Arcade game "Crime Fighers" until his record was just recently defeated. Tom is published in three books about indie filmmaking. His latest film "London Betty" narrated by Clint Howard was just bought by Maverick Entertainment. Before that his Best Selling (York Entertainment) film "The Land of College Prophets hit 193 on the imdb pro ratings in 2005 the week of it's release.

The Ex Massacre Documentary

As the new year begins a few things are starting to fall into place. My new feature length documentary EX Massacre is coming along slowly but I’m making steady progress. I just finished a great interview with my friend Jason Carvey. He is a writer/director that cast John Krasinksi (The Office,Jack Ryan) in one of his first feature films. Carvey speaks about how certain distribution companies have really hurt independent filmmakers. Even when a film is profitable sometimes the distribution company refuses to honor their contract and pay filmmakers. I had the same situation happen to me with the film Land of College Prophets back in 2005. The film was successful but York Entertainment refused to pay us once they reached the break even point. If you can’t pay back your investors it can become difficult to raise more money again. This in a weird way works as a form of censorship though this is not necessarily the intention of a crooked distributor or the studio system. By financially starving out independent filmmakers “society will eventually lose out” to quote my friend Professor James Richardson.

This is different than banning a film from major streaming sites like in the case of Debbie Rochon’s Model Hunger. This is particularly bizarre in that I can watch films like Human Centipede 1-3 or a Lars Von Trier film on most formats but simply because Debbie has an unrated film from a smaller distributor, they lack the power and influence get it though. The third piece of this would be the outraged mobs on social media helped to get Debbie fired from her day job for playing evil nazi villains or doing nudity in films, something that even academy award winners have done like Christoph Waltz, Holly Berry or even Charlie Chaplin. With nearly 300 features under her belt Debbie Rochon might be the most prolific American Independent film star in history…and she has been treated like shit. She is a trailblazer for women in the genre and routinely tops lists of women in horror. To paraphrase her, “the judgement I get from a seemly younger generation is baffling.” Looking down on her for the roles she has taken. A bizarre twist to me that they can’t see a hero from a villain.

Exploitation films are meant to do what studio films can’t, push the envelope. Specifically in the horror genre that idea of a non-offensive nightmare seems rather toothless. After all we see horror film to be scared and shocked in a safe way. Odd that people would try to hold horror films to the same standard as a terrible network sitcom. This documentary has led me down some strange path but I think it is a good thing.

Then there was Blockbuster Video. Jason speaks how in order to get certain films into Blockbuster, films at times were heavily censored. In addition that fact that Blockbuster killed the independently owned video stores is a from of censorship because they only carried family friendly content. Exploitation films and low-budget content was to a significant degree excluded.

What I see from these three forms of censorship is problematic. What tiggers people now might not be what triggers people ten years from now. So in destroying a filmmakers career on social media, we may lose out on how we may reinterpret a film in the future or we may lose out on how that artist evolves. James speaks about how black exploitation films of the 70’s planted the seeds for Marvel Superheroes in present day. Even though the representations are imperfect and in some cases offensive we can look back and see that they are very important. If we look back at the past and cringe a bit, it is a good thing because it means that we’ve made progress. If we demonize the past by the standards of today the whole world looks evil though that lens. The problem is what we’re doing in 2019 will be demonized in five years as well but we don’t yet know how. How do you know you are the right side of history until the future bear its results. So I don’t think censorship good for a society in the long run. Take what is relevant and meaningful from the past, leave what is irrelevant where it originated, in the past. As of right now that that feels true to me. As the film unfolds I hope to learn more.

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VHS Massacre becomes Bestseller and the new Ex Massacre Doc!

So I’m working on the follow up to the VHS Massacre documentary with Kenneth Powell. That film was shot from early 2012 until 2014 and released in 2016. A lot has changed since then and lately I’ve been trying to put my finger on it. Recently we got some great footage from the Last Blockbuster in the U.S. located in Bend, Oregon courtesy of producer Tom Poirier. It made me think of how Blockbuster starved out independent video stores and in turn, they starved out a number of exploitation filmmakers. You couldn’t see certain films that pushed the envelope in most Blockbuster Videos. For the most part Troma films, rare films, certain exploitation films and adult films were simply not available. Blockbuster was a family store and so they just didn’t carry certain titles. They certainly wanted to monopolize the industry and I think a side result was a deep censoring of certain films to the public and that is never good. So just as people got the freedom for the first time to rent the films at a reasonable price, certain films was quickly excluded. In a new interview I spoke with my friend Professor James Richardson about his favorite exploitation films and why they were important.

So now that Blockbuster Video is in the past (sort of) what has changed? I’d say independent films are being starved out in a different way. Be it through predatory distribution contracts that never pay out, being banned or blocked from premier streaming sites, or simply being paid pennies on the dollar from YouTube. (I once calculated that you have the same odds of playing in the NBA versus making six figures a year on YouTube) to make things worse YouTube recently kicked thousands of channels off of the partnership program cutting them out of the money making process altogether. In a recent interview with Debbie Rochon she speaks of her horror film Model Hunger being banned from major streaming sites because of graphic violence. Ironically I can watch all of the Human Centipede films on various formats. Why is this? Money and influence of course. Even though Debbie Rochon’s film model hunger starred horror icon Lynn Lowry (Crazies,Shivers),  it was low budget and so it was harder to push back.

Lloyd Kaufman himself will tell you that Netflix was built on the backs of low-budget filmmakers like Debbie or Troma Studios and their nearly 1,000 available titles. I even had a few titles on Netflix like Land of College Prophets in there in early 2000’s. Now of course we have all been kicked out. We were good enough for them as they were building their company but now they don’t need us. This a theme that seems to repeat over and over for indie filmmakers. So right now Prime Video and iTunes still have their door open to independent content so that is a light at the end of the tunnel. Though Prime to me is more promising. They have a massive subscriber base and there may be more of a chance that people hear about your film on the web and watch it on Prime without paying a separate rental fee.

So the new doc is going to be about modern censorship of Independent and exploitation films. We may dabble with origin of film censorship in the U.S. for instance the banning films of prize fighting films in the late 19th century, pre-code and post-code and so on. The main focus however will talk about the risks of making exploitation film today. Ex Massacre I’m calling the film. I have about 40 minutes roughed out but I need some more interviews for sure. I’m starting to book them now.

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All this to say I’m excited to be working on a new project and still grateful for the response to my last feature length documentary VHS Massacre. To be honest that’s why I’m doing the new one! There are still people who post pictures, videos, tweet or even drop us a line to tell us they liked the film. This has been happening for about three years now. To have ANY lasting impact in 2018 to me feels like a miracle.

I went to New York Comic Con this year. I stop by the Troma Entertainment booth every time I attend. Mostly because I’m a fan. I like to pick out a few new blu-rays I’ve never heard of. Some times they are pretty out there and offensive but sometimes I honestly like to be shocked. You are watching a spectacle and that can be exciting! I wouldn’t want to censor that. It’s easy enough to avoid material like that and that’s a powerful form of protest to simply not buy or watch more of those films. So it upsets me when people try to go after filmmakers on social media. It crosses the line of trying to destroy the person rather than boycott the art. Some films should be fucked up, if that freedom becomes censored through the government or even worse, the public, then ours is a republic in crisis… and we may be there already.

That being said thanks to everyone for making VHS Massacre possibly one of the best received films of my career! The last time I spoke with Lloyd Kaufman he said that VHS Massacre was a best seller for Troma Entertainment. The last time that happened to me was about 15 years ago for a film called Land of College Prophets. Thanks ya’ll! Happy Thanks Giving! More to come soon!

 

More news to come!

My heart resides in the aisles of the local video store.

 

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So I recently listened to an hour long podcast from B-mania, an incredibly well produced show. It was about a film I directed with Mike Aransky and Phil Guerette in 2003 called Land of College Prophets. This is a film about low-level superheroes who work at community college. They awaken a haunted wishing well that ends up possessing some of the people in their town. Initially I was kind of mortified at the idea that someone would a review a film that I made in my early 20’s from a 2018 perspective but they actually had a lot of fun with it and were very polite about our low-budget romp.

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I remember spending a year in pre-production, building that well with my father and working with my brother Bruce to secure funding. We shot the film for 12 grand but $3,500 of it was spent on a Panasonic DVX100, one of the first digital 24p cameras.

So the B-Movie Mania guys unearthed the Land of College Prophets DVD at a Dollar Tree store presumably somewhere in New York. To be honest this is the kind of thing that I always hoped would happen. When Ken Powell and I were going on VHS hunts for the Troma VHS Massacre documentary we loved whenever we found a weird film. Films like AIP’s Night of the Kick-fighters comes to mind. The idea that the film is not totally lost to time is a great feeling.

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I made this film after the New York Times trashed my first 16mm feature, Everything Moves Alone. I just decided to dive-in into the B-movie genre pretty hard. Author Mike Watt once referred to my film as a kitchen sink movie, blending multiple genres together. Although EMA had a small theatrical run at the Pioneer Theater in the East Village, I always blamed the New York Times for killing the home video release. They referred to it as “Unfortunate Backwash” and that drowned out all the actual positive press from Film Threat or the Daily News. So after spending years on a feature and then being denied a home video release, it was pretty demotivating. So my answer to that was to AGAIN spend years to make another film to counteract it.

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When we finished Prophets, Edward Haven and Lloyd Kaufman at Troma actually loved the film but Lloyd was very honest about the fact that we may not be able to recover the budget if we put it out through them. At the time after spending 12K on the film we decided to go with York Entertainment in the hopes we could make enough money to make another movie. The film won 7 awards, was distributed in 8 different countries and was a top seller with the company but York Entertainment never paid us a dime. They have been out of business for some years now. So in hindsight we should have gone with Troma for the “street cred”. Prophets did however get released through Hollywood Video, Movie Gallery and Netflix which was great. I can’t really describe what a victory this felt like to me in 2005.  Keep in mind Prophets came out years before other “backyard” super hero movies like James Gunn’s Super, Special with Michael Rapaport or Defendor with Woody Harrelson. 

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For some people this would be a starting point for their career or perhaps some folks would be disappointed with a video release. Where I grew up in central Connecticut people didn’t really make films. We used Robert Rodriguez’s Rebel Without a Crew as our bible. I would get ridiculed by other people that I worked with who told me I needed to move to L.A. to make a film but after all my hard work and determination, their local video stores would carry my film on the shelves right next to the larger releases. We tried really hard and it paid off. I’ve made six other feature films since LOCP and have worked every where from CBS, NBC, IGN to CUNY but I will always remember the Land of College Prophets and the people who helped me make it. I didn’t even have to move to LA to do it and so now my heart lives in NYC with my amazing wife and the (very few) video stores that still remain.

VHS Massacre #1: A look back at out Joe Bob Briggs Interview!

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Congrats to Joe Bob Briggs on his new Shudder marathon! Let’s take a look back at our New York Cinema Radio interview with Joe Bob Briggs! This interview was essential to the VHS Massacre documentary!

 

VHS Massacre wins at the 39th annual Telly Awards!

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UPDATE: 5/30/18: Hunter College gave me a little write-up for my participation in the 38th annual Telly Awards here!

 

VHS Massacre, a feature length documentary that I directed with Ken Powell about the decline of physical media picked up a Silver Telly Award in the Non-broadcast (under $700 a minute) category and a bronze in both the Documentary and Entertainment Non-broadcast categories. It’s so cool that New York Cinema Productions which really just consists of me at this point can hang in there with the likes of PBS, HBO, National Geographic and so on. Watch the film on Amazon Prime , iTunes, GooglePlay or on Blu-ray!

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When I was younger and working at CBS I had heard about he Telly Awards but back then in the late 1990’s it was more exclusively for broadcast and that meant that this type of award was not particularly accessible for an independent filmmaker. At CBS and NBC we all knew about the Regional Emmy and the Telly Awards. For many of us it was something to aspire to. In 2007 I was working for Black20 Studios (that was eventually sold to FOX). They specialized in internet videos featuring some impressive young performers and filmmakers like Amy Schumer, Eric Andre, Aubrey Plaza. I was camera operator on a show directed by Mike Aransky of IGN fame. That show net_work ended up getting a Broadband, Daytime Emmy nomination through (of all places) Myspace. The Daytime Emmy’s, probably in response to awards shows like the Webbys, wanted to adapt to the changing times. So what does this have to do with VHS Massacre? Well recently the Tellys have added additional categories that open up the show more to non-broadcast and streaming content. So the Tellys like others awards has changed with the times.

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When I made VHS Massacre for Troma Studios, it really was a love letter to Troma, Lloyd Kaufman and the gang for altering how I saw cinema. They had a powerful combination of comedy, horror and the grotesque. It opened my mind to the idea that you could blend genres, you could be unrestricted by censors and you could still make a solid point. The Toxic Avenger could easily been seen as an environmental film for instance. So the idea that making a film about Troma, B-movies and the video store era could win awards was not in my head. I just believed in idea and wanted to make it. So these Telly Awards mean a lot to me. Thanks to everyone involved including Producer and Composer Timothy Kulig, Ken Powell, Stephanie Perez and the rest of the gang! Long live Troma!

Tom’s New Web Series Toy Shop!

So I’ve been working on my MFA at Hunter and I had to make some short docs for class. They center around my friend Jonathan Alexandratos author of Articulating the Action Figure. I found his book to be fascinating. When you re-create the human image and then sell it, it says a lot about the society we live in. So there is a certain responsibility in the design and manufacturing of certain toys. I posted all three shorts on the New York Cinema Drive-in on YouTube. I hope you dig them, please feel free to share them around if you into the whole toy collecting thing.

VHS Massacre Now on iTunes plus other news!

 

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Some cool news! My documentary VHS Massacre (Co-directed by Ken Powell) is now available on iTunes! This is great news because the only other film I have on there is London Betty. It’s interesting to me how certain film make it to certain formats. Land of College Prophets (a weird little film I did) made it onto Netflix before Netflix was cool. Now they don’t seem to be buying Independent content but Amazon Prime does and in result VHS Massacre in on there too! Certain distributors will package films together and license them to companies. Filmrise worked with Troma and then worked with Prime as opposed to Netflix. I would image at some point Amazon Prime will be “too cool for school” and no longer buy Independent films.

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Getting your film distributed by a company or studio is the equivalent in my opinion of getting a book deal. So you could self publish and there is nothing wrong with that but I was always proud to compete in the professional market with a distributor. Similarly you could make a film and put it on YouTube or Vimeo but for me still seems like a place a feature film might end up when film gets older or stops making money. In many cases people tune into YouTube for certain personalities, ERB, Joe Rogan. Others tune in to watch Ted Talks or people play videos games. There are all sorts of amazing things on YouTube but as of yet, I still don’t think it’s exactly the right venue for new feature films.

I remember over a decade ago I create a trailer mashup called PG 300 or Cake Town as people called it. It has over 10 million view now. Meanwhile one of my earliest 16mm feature films that played at the Pioneer Theater in New York fifteen years ago Everything Moves Alone has but a few hundred. I think my point is that the views don’t always reflect the true value of a film or video. A video could make a company 80 grand on YouTube but it can still be garbage.

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VHS Massacre got a great review this month from Gross Movie Reviews! They called it a “Great documentary!” In this cynical internet environment, when trashing films is the cool thing to do, I’m amazed when any small film get s good review! So thanks guys! Also I’ve been posting about an episode a month on New York Cinema Radio. This month I interview Chris Ferry about his new book-narration gig Stuck in the Stone Age. Chris is part of the comedy troop Story Pirates and this is their first book. So check out New York Cinema Radio!

 

 

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