Q: You are both a writer and a producer. Which do you prefer?
DAVE: I prefer to develop a screenplay with a writer usually from an idea that originates with me. I produce out of necessity. I like to control all aspects of the production.
Q: What does your typical budget look like?
DAVE: Since I shoot exclusively on 35mm I tend to spend a little more than most low budget movies. I complete the picture to answer print so we can screen them at film markets.
Q: Do you ever feel restricted by your budget?
DAVE: I think any filmmaker feels some sort of restriction no matter what the budget is. My biggest budget to date was 2.2 million. That was for SKELETONS. It had a 19 day shooting schedule. It was the most difficult and stressful movie experience of my professional life.
Q: What do you find to be the most costly portion of your movies?
DAVE: Raw stock and lab and LA locations.
Q: . What is the most important part of the motion picture process for you?
DAVE: Total creative control. I know that sounds egotistical but after 55 movies I just want to do it my way. When I don't get it I get very expensive.
Q: Do you have a core team?
DAVE: My DP, Costumer, Makeup, Production Designer and ADs have been with me for a while. But most leave because I only hire good people who go on to bigger movies. I like working with both experienced and relatively new people because I like their energy and enthusiasm.
Q: . What has been your most frustrating experience as a moviemaker?
DAVE: You'll have to read that in my Autobiography. The stories are so juicy I've got to sell em not give em away. (grin!)
Q: What has been the most rewarding?
DAVE: The theatrical release and critical acclaim of LEATHER JACKET LOVE STORY. The Los Angeles Time review was amazing!
Q: You often used a pseudonym on some of your movies, particularly for FULL MOON. What is the reason for this?
DAVE: Because I usually didn't like the out come. I didn't have the control. I didn't need another credit so when it didn't work out I just used a pseudonym. I do love Charlie Band though. I will be forever enamored with that man. I have since the day I met him and have for the past 15 years.
Q: What is your favorite and least favorite movie you've worked on?
DAVE: Dr. Alien was the best experience. Skeletons was the most difficult because I had replaced Ken Russell only 2 weeks before shooting and didn't know what I was getting myself into. It turned out well enough though. I got a ton of job offers from that film.
Q: What was the weirdest thing you ever had happen during the shooting of a movie?
DAVE: Oh, gosh. Weird things happen on every shoot. Probably Voodoo Academy. I think it was the quietest crew we ever had. I think they were disturbed by the homoerotic nature of the film.
Q: Who does most of the visual and special effects for your films?
DAVE: All makeup effects are handled by Jeff Farley and Chris Bergschneider. Those guys are amazing. As far as visual effects I try to do everything in camera - the old fashioned way like Hammer Films.
Q: Are there any specific directors or films that influence you and your work?
DAVE: Roger Corman, Joel Schumacher, Jess Franco and John Waters.
Q: Tell us a bit about your recent productions and RAPID HEART.
DAVE: I just finished shooting the 5th Rapid Heart movie THE FRIGHTENING. Our most ambitious production to date. And as usual we shot in 35mm anamorphic - an expensive and time consuming process. Lucio Fulci shot this format quite a bit. I think it pays off in the end because you are using the entire negative which creates a sharper image. FINAL STAB hits Blockbuster Video on October 2nd. I'm quite proud of this film as I think it delivers on every level. THE BROTHERHOOD 2: YOUNG WARLOCKS is really something special. If you liked the first BROTHERHOOD you'll love what I did with this one. Its more potent erotically and the scares are more in your face.
Q: Any advice you would give to someone just starting his or her motion picture career?
DAVE: Move to Canada. The new center for motion picture and television production. I'm not kidding.