The JESS FRANCO INTERVIEW!

Douglas Waltz

It wasn't too long ago that my dream came true. I went to Chicago to meet the master of exploitation, Jess Franco and his lovely companion, Lina Romay. It was funny because I got off to a late start and thought that I would miss Franco's presentation completely. Then I discovered I had forgotten about the time change from Michigan to Illinois. I actually ended up being early. I was shocked to see so few people there so I got to ask lots of questions. Later at the autograph tables I stayed and chatted him up for a while and made arrangements with one of his producers for an interview. Unfortunately, Jess doesn't use the computer and his thick accent makes him impossible to understand on the telephone. (Although I truly believe that after listening to his commentary on the film EXORCISM, I could do a phone interview now. So we did it by correspondence. There were curiosity questions that I needed answered and questions that I felt had never been asked of the master. That is the heart of this interview and I hope it lends more insight to the man known as Jess Franco.

PCU - In A Virgin Among The Living Dead, your lead actress was Christina Von Blanc. Was she in any of your other films?

Jess Franco - Yes. She was in 3 or 4 films of the same period. She played small parts under the name of Christina Betner, which is her real name. After, ‘A Virgin’, she made a quite nice career in Germany.

PCU - During the funeral scene of the same film, Herminia wasn’t in a casket. Why?

JF - In some old Celtic countries they used to do that. It was an old tradition.

PCU - During that same film there is a song of some sort that the cast is chanting. Unfortunately, I only speak English so I don’t understand what they are saying and it is not subtitled in the copy of the film that I have. What are they singing?

JF - They sing a mixture of Latin and sacrilege chants.

PCU - This film is filled with numerous zoom shots. What are you trying to convey with this particular camera movement?

JF - In my films many zooms see a matter of feelings. Don’t forget I’m a jazz player. I felt so, that’s all.

PCU - Have you ever considered doing another black and white film?

JF - I love b&w! Producers, actors, writers and world rollers hate it. Anyway, as Hitchcock used to say, “Blood is red.”

PCU - In Sadist of Notre Dame, after almost every scene of sex or violence there is a shot of the city accompanied by light bouncy music. Is that to illustrate that one man has little if any effect in society?

JF - You are right. Our society goes ahead despite the monsters as Hitler or Stalin. Nothing can stop health and life.

PCU - Lately a lot of your films have been shot on video. Do you prefer video because of its more immediate results or do you prefer film?

JF - The videotape is just like a new kind of paper for a writer. What’s important is what you say.

PCU - There is word going around that you intend to remake Dr. Orloff. Who would you get to play Howard Vernon’s role and what improvements would you make on the original?

JF - It will be a very modern film but without losing a special gothic flavor. We are looking for the most perfect face to take the place of Howard. It’s rather difficult, but the producer and me, we’ll get it. Excuse me if I don’t give you names yet.

PCU - What would you like to be remembered as?

JF - I don’t care of being remembered.

PCU - Back to A Virgin Among The Living Dead. It was released here in the states. Badly dubbed, cut to pieces and shots were inserted that were done by Jean Rollin. Are you familiar with this butchered version of your work?

JF - I know this version and I get mad when I remember this insane work of stupid butchers.

PCU - Your version of this film has a nice lyrical quality to it. Christina manages to keep her virginity intact throughout the course of the film, regardless of temptation. Yet, she is still victim to what must be a family curse. The film is perfect the way it stands so, does it make you angry when your films are changed for various film markets?

JF - Unfortunately, directors are victims of all those bastards. From Von Sthroinhauer to John Ford.

PCU - In this film Christina's father at one point is hanging in the air with no visible means of support. How did you get this particular shot?

JF - Paul Muller was standing on the dolly chair.

PCU - Who are your favorite actors to work with and why?

JF - I never had the chance to work with my favorite actors such as Peter Lorre, Ralph Richardson and Jack Lemmon. From the actors I directed, my favorites are Howard Vernon, Klaus Kinski, Soledad Miranda, Lina Romay, and Mercedes McCambridge. Why? Because they were clever and sensitive.

PCU - If you could make a movie about any subject and money was no object, what would it be about?

JF - Medea, version of SENECA written at the beginning of our era, James Joyce’s Oliver, Franz Kafka’s The Trial, Garcia Merquez’ Hundred Years Of Solitude and PCU Sade’s Juliette.

PCU - Who is your favorite director?

JF - Orson Welles, John Ford and Robert Siodmak.

PCU - Which of your films is your favorite?

JF - I hate less, Necronomicon, Black Countess, Eugenie, Lorna, Helter Skelter and Vampire Junction.

PCU - Do you prefer to act or direct?

JF - I love acting, but I prefer to direct. It’s more complete.

PCU - Have you ever just acted in a film and if so which ones?

JF - In quite a lot. Always in supporting parts. The best for sure? The Strange Journey.

PCU - What is your opinion of Linnea Quigley?

JF - She has great possibilities now. She is more mature, more relaxed. Her skin and her eyes are beautiful

PCU - Do you feel that Orson Welles’ DON QUIXOTE could have been a better film if you had been given access to all of the raw footage available?

JF - Forget this stupid legend about this footage that Orson himself threw out in his definitive version. Don Quixote is a total masterpiece. I hope that one day you will understand. Orson created a new dimension in the film industry as he did in F for Fate.

PCU - What was it like working for Orson Welles?

JF - It was the most extraordinary experience of my life. He was the most creative and inspired talent I ever met. And I met a lot of genius in my life. I loved him.

PCU - The woman who portrayed “The Queen Of The Night” in A Virgin Among The Living Dead. Has she been in any of your other films?

JF - Of course. She made at least 10 films with me. She’s French and she made a lot of her films in French and Italian. Her name? Anne Libbert. She was gorgeous.

PCU - In the same film you play the part of Basilio. There is a scene when you are supposed to pick up Christina from the inn. Yet, when you are driving back to the family estate you’re in the back of the car with her! Who is driving the car?

JF - I don’t remember, but the car was moving so, someone had to drive it. (Why do you ask such irrelevant things?)

PCU - Finally, are there any other particular memories you have in making this film?

JF - We shot it in Portugal in a wonderful place called Sintra near Lisbon, where I’ve made some other films. Because I love nature and the very special and beautiful architecture of Manuelino Style (A mixture of European Gothic and Far East and old Portuguese colonies). We shot exteriors in the same place. At National Park created in the 17th century and then reinvented by the famous Captain Cook.

(Editor: I left Franco’s speech intact. I wanted you to have the chance to try and understand what he was saying. If there are any typographical errors, or misspellings, they are my fault, and not those of Jess Franco or Douglas Waltz. Thanks)