Hostel: Part II

[MacGuffin]

'Hostel' Helmer Eli Roth Says Horror Should Have No Limits: 'It's All Fake'
'I want sex and violence mixed together. What's wrong with that?,' writer/director wonders at NYC Comic-Con.
Source: MTV

NEW YORK — No less than Quentin Tarantino has called "Hostel" writer/director Eli Roth "the future of horror." Strong words when only two of your films have been released to the big screen.

At just 34, Roth is relishing his standing as one of the new icons of the genre. His anticipated sequel "Hostel: Part II" is set for release June 8. MTV recently spent the day with Roth as he spoke at New York's Comic-Con. While there, the outspoken lover of blood and nudity opened up about his upcoming flick, why he wants no limits to violence in film and his beef with "Ocean's Twelve."

MTV: You're often lumped in with other young horror directors like James Wan ("Saw") and Alexandre Aja ("The Hills Have Eyes"). Do you enjoy being associated with that group?

Eli Roth: We've been referred to as the Splat Pack, which I think is a cool title. Hopefully I'm not the Judd Nelson of the Splat Pack. Preferably I'll be the Rob Lowe. We're all just trying to bring back really bloody, violent, disgusting, sick horror movies.

MTV: It's a noble pursuit.

Roth: Yeah! I feel like in the '90s, horror just lost its way and everything became so safe and watered-down. When I go see an R-rated horror movie, I want lots of violence. I want nudity. I want sex and violence mixed together. What's wrong with that? Am I the only one? I don't think so.

MTV: What kind of trajectory would you like to see horror take in the future?

Roth: We're in a really violent wave and I hope it never ends. Hopefully we'll get to a point where there are absolutely no restrictions on any kind of violence in movies. I'd love to see us get to a point where you can go to theaters and see movies unrated and that people know its not real violence. It's all pretend. It's all fake. It's just acting. It's just magic tricks. Hopefully we'll get to a point where people realize movies don't cause violence. It just reflects the violence going on in the culture. I'd love to see us get to a point where you can make a movie and not worry about the limits of the violence. Then I think they'd get so violent that people would get bored of it.

MTV: What do you say to critics who call your work "torture porn"?

Roth: It's so funny how critics will always quickly reduce horror almost to a subgenre of pornography. I do feel like terms like "torture porn" are offensive. When I see a critic refer to "Hostel" as torture porn it feels like in the 1950s parents going, "I don't want you to listen to that rock and roll. It's dangerous!" It makes me laugh. It makes me feel like they're out of touch.

MTV: Do you feel a sense of fraternity with the rest of the so-called Splat Pack?

Roth: We don't go out like the Bloodhound Gang, or go back to the clubhouse and watch movies — although we kind of do in a weird way. We were all kind of the outcasts, so there's a real bond between everyone. None of us are competing for the same projects. Everyone is doing their own thing. And when a movie is successful, it helps all of us. When "House of a 1,000 Corpses" was successful, it helped "Cabin Fever." When "Cabin Fever" was successful, it helped "Saw."

MTV: What was appealing about going right back into another "Hostel" film for you?

Roth: I watched ["Hostel"] with audiences all around the world and everybody loves the kids and the girls getting run over and the eyeball getting cut out, but more people told me that they were freaked out by the American businessman in the locker room with the gun going like, "What's it like to kill someone?" And they'd say, "I want to see a movie about that guy." So with "Hostel: Part II," I said, "Let's really go deep into the minds of those businessmen. Let's watch the process from start to finish."

MTV: What scenes are audiences going to be talking about as they leave "Hostel: Part II"?

Roth: You've got to have those signature scenes. Let's just say there's one scene that's going to make every girl in the audience cringe and scream, and there's one scene that's definitely going to make every guy in the audience cringe and scream.

MTV: Do you have a third "Hostel" in mind?

Roth: It's not something I'd do, but never say never. I did parts one and two without a break, so my head has been in that torture factory every day for literally two years now. I need to switch it up. I need a little sherbet in between to just cleanse the palette.

MTV: Tell us about your fake trailer in "Grindhouse." Could you imagine the fake film "Thanksgiving" spawning a full-length movie?

Roth: Oh, absolutely. The trailer was so much fun. It's all gore and nudity. It's all money shots, bodies being chopped up and people being stabbed and cheerleaders stripping on trampolines. It's three minutes of pure happiness. The feature will never live up to the trailer unless we just do 90 minutes of that. For "Grindhouse 2," I think there's a very strong chance of shooting it. Quentin and Robert and the Weinstein Company love the trailer so much they're already asking me, "Where's the script for 'Thanksgiving'?"

MTV: You have yet to work with a truly large budget. "Hostel: Part II" is only a $20 million movie, right?

Roth: I wish. If you combined all three of the budgets of my movies it wouldn't even equal the salary of one castmember on "Ocean's Thirteen."

MTV: Are you itching to do something on a larger scale?

Roth: It's interesting, because I've had opportunities to do franchise movies. Once your movie opens at #1, you're offered everything. There were movies like "Halo," and they're remaking "The Hulk" again, and "Die Hard 4," and I just thought I'd rather write and direct and do my own thing. I don't need to jump to a $100 million movie. There were some books I was interested in. I was like, "I'd love to do 'The Phantom Tollbooth' or 'In the Heart of the Sea.' " But the truth is, right now I love writing and directing my own stories. I really wanted to adapt the "Tripods" trilogy, but it went to another director.

MTV: How do you feel about your competition this summer at the box office?

Roth: It's going to be the Splat Pack vs. the Rat Pack. They were like, "We're going to open ['Hostel: Part II'] in June." I'm like, "What else is opening then?" They're like, " 'Ocean's Thirteen.' " I'm like, "Well, that's awesome, because it will be fun to go up against George Clooney, Brad Pitt and Matt Damon." But you know what? I still want my money back from "Ocean's Twelve." The biggest heist they pulled in "Ocean's Twelve" was taking the public's money. I want my money back before I see "Ocean's Thirteen."

MTV: No one will say that about "Hostel: Part II" though, right?

Roth: No. I think people will say, "I want my lunch back," after "Hostel: Part II."

[polkablues]

"I'd love to do 'The Phantom Tollbooth'"

A future entry in the "My childhood just died" thread, perhaps?

[MacGuffin]

New Trailer here.

[matt35mm]

BOING!



EDIT:  Oops, I meant BORING!

[MacGuffin]

Shoot Ends, 'Insane Editing' Begins: Eli Roth's 'Hostel: Part II' Column
Director talks about end of filming, appearance in Tarantino's new flick in exclusive MTV News column.
By Eli Roth

In the third installment of an exclusive MTV News column, director Eli Roth discusses the conclusion of shooting his upcoming "Hostel: Part II" as well as his role in "Grindhouse."

In Prague we finished filming with Jay Hernandez and Jordan Ladd. We had to wait because of Jay's availability with his TV show ("Six Degrees"), but it was well worth the wait. I love working with Jay, and I was really happy to get to work with Jordan again. Jordan was the first person I cast in "Cabin Fever," and we've been close friends ever since. We all had a great time. I also got to direct a great European actor named Luc Merenda, who starred in some awesome 1970s Italian genre films. I've always been a huge fan of his, but he's been retired from acting for 15 years and now runs a highly successful antique business. I tracked him down in Paris and asked him to play a part and he said he'd come out of retirement to do it. It was a great thrill for me, and it was really fun for the other actors as well.

After we wrapped I jumped right into shooting my trailer for "Grindhouse," which I'm not allowed to talk about under penalty of death, but it's one of the most ridiculous, violent, fun things I've ever shot. That you'll be able to see when "Grindhouse" opens April 6, along with my acting debut, assuming I haven't got completely hacked out. Although Quentin did tell me that one of my dialogue scenes made it onto the soundtrack, so hopefully that's a good sign I'm still in there.

Jay Hernandez and Jordan Ladd changed their flights so they could stay an extra day to be in the "Grindhouse" trailer, and we had a really fun time filming. It felt like 7th grade, when I'd shoot movies in my basement with my brothers and my friends, just having fun with the camera and doing whatever we wanted. And thanks to global warming, Prague was really nice this fall, so we were able to shoot our exterior scenes without a problem.

I'm always depressed when the shoot ends. It's so much adrenaline every day for so long that when it's over you realize you've become addicted to it. During shooting you're up every day before 5 a.m., and you don't stop until you pass out at 11 at night. You can't let up for a second or you fall behind in your shooting schedule, but somehow, after a few days of shooting, your body snaps into it. And then suddenly, after a few months, you come to a screeching halt and go into the editing room, where it's you, your editor and your footage.

I am very lucky to be working with one of the best editors in the business, George Folsey Jr. George cut such classics as "Animal House," "The Kentucky Fried Movie" and "The Blues Brothers," and produced such classics as "Trading Places" and "An American Werewolf in London." George's son Ryan edited "Cabin Fever," and George edited "Hostel." We have a great time working together, which is key, since we're spending about 12 hours a day in a small dark room with just the two of us. But it is strange going from 200 mph every day with questions being fired at you nonstop from all departments, to just sitting in an editing room looking at everything you shot. I have this nervous, uneasy feeling in my stomach that does not go away until the movie's completely cut, so like a compulsive addict I have to spend every day and night in the editing room. But my insane editing neurosis is a whole other blog.

[MacGuffin]

Eli Gets His Geek On For Comic-Con: Roth's 'Hostel: Part II' Column
In exclusive MTV News column, director talks about taking break from editing to promote film.
By Eli Roth

In the fourth installment of an exclusive MTV News column, director Eli Roth discusses his recent trip to February's New York Comic-Con to promote "Hostel: Part II."

As a huge convention geek, I have to say I love doing conventions and panels. I was that guy waiting in line for two hours for Tom Savini's autograph at the Fangoria Convention in 1996, so for me to actually get to appear on a panel and talk to fans is a pretty big thrill.

In 1999, when I first moved to Los Angeles from New York, I didn't have enough money for admission to some horror convention, so I sneaked in the back. I got busted for not having a handstamp, but only after I did two loops around the floor, so I was still able to use my money to buy a bootleg VHS cassette of "Torso." (Hey, it was unreleased in the U.S. — how else was I supposed to get it?) A few weeks ago, I took a break from the editing room and flew east for New York Comic-Con, where I showed the first footage from "Hostel: Part II."

I knew things had changed at Lionsgate since "Cabin Fever" when I showed up at the airport and realized I was flying on the Lionsgate jet. I didn't even know Lionsgate had a jet. I was like, "Were you guys keeping this thing a secret from me during 'Cabin Fever' and 'Hostel'?" It turns out they got it about six months ago, and I figured that since my films had helped pay for it, I was more than entitled to a seat. I'm almost sorry I flew it, because now I'm completely spoiled and my new obsession is finding a way to have a private jet take me everywhere, even, like, to Whole Foods and the gym. Until then, my monkey chauffeur, Mr. Pemberton, will just have to suffice.

Anyway, we landed in New York, and I checked into my hotel, stuffed my face with sushi and passed out. With both of my previous films, I had finished the movie before doing any interviews, but now with the June 8 release, I'm doing press and finishing the film at the same time. It was actually nice to switch gears and take a break from all the postproduction, to remind myself that there is light at the end of the tunnel.

On Friday, February 23, I woke up early and worked out in the hotel gym so I'd be awake for the interviews. Unfortunately, they were doing some construction at the gym; about a half-hour into my run on the treadmill they started painting, and I got too dizzy and had to leave.

I went to breakfast and had an Olivia Newton-John sighting, which was pretty tremendous for me since I was in love with her when I was 6. At first I thought that the paint at the gym was making me hallucinate, but once I heard her accent, I knew it was her. I wanted to tell her I was in love with her when I was 6, but I thought that might make her feel old and opted not to. I mean, what do you say, "Hi Olivia, I have 'Magic' on my iPod as a joke so I can blast it in my car with the top down at red lights to make people uncomfortable"? Nobody wants to hear that. I let her eat her breakfast in peace. And by the way, I do have "Magic" on my iPod. I also have the whole "Grease" soundtrack. I've never really admitted that before. Where was I? Oh yes, interviews.

I started the interviews around noon and went right through until dinner. By now I know a lot of the journalists, some of whom even visited me on the set while I was shooting, so a lot of the interviews felt more like hanging out with friends and talking about horror movies. Lionsgate set up a suite at the hotel; one by one the journalists came into the room, I showed the clip and we chatted about the movie. By the end of the day I was wiped out. I took a nap and had dinner with friends, and Saturday afternoon I started doing press again.

[MacGuffin]

[MacGuffin]

[Kal]

They should remove the 'Quentin Tarantino presents' before the movie tanks like Grindhouse...

[Stefen]

Theres already a work print of this out there in DVD quality.

Don't pay to see it. Stop supporting this meathead Tarantino jock flick dreck. Yeah, it could be cool, but don't pay for it.

[grand theft sparrow]

But how many of us were actually planning on seeing it, for free or not?

[Stefen]

Guarantee they blame the shittyness of this movie on piracy.

Even if it makes a billion dollars in it's first day, if the reviews are bad, they'll blame it on piracy.

[bonanzataz]

well, i'm seeing it in theaters... it's the only reason i liked the first one. you're SUPPOSED to yell at the screen and get scared with the rest of the audience...

it's FUN!!!

[MacGuffin]

Eli Roth Checks Out Of 'Hostel'
Source: MTV

It's no secret that the "Saw" and "Hostel" films are closely linked; torture, complex plots, and a willingness to test the MPAA would pair them together, even if the franchises weren't housed at the same studio. But, as "Saw IV" continues production, "Hostel: Part II" director and MTV blogger Eli Roth pointed out one significant difference between the two series: There'll be no more sequels to his. Ever. "There are no more 'Hostels'," a defiant Roth revealed to us this week. "There is 'Hostel' and 'Hostel 2' and that's it. It's like 'Kill Bill Volume 1' and 'Kill Bill Volume 2.'"

When "Part II" hits theaters June 8th, it will pick up at the same gruesome moment where last year's torture blockbuster ended - much like such Roth favorites as "Halloween 2." Calling out lame sequels that manufacture plots simply to bring back characters, the down-to-earth writer/director insisted that his two freaky flicks have said all there is to say.

"I hate a lame third sequel, and I don't want there to be one," Roth said. "I wish 'Beyond Thunderdome' didn't exist; I wish there was just 'Mad Max' and 'The Road Warrior.' I really wasn't crazy about 'Spider-Man 3.' I wanted it after 'Spider-Man 1' and 'Spider-Man 2,' but with 'Spider-Man 3' I was really disappointed when I saw that film; that will never happen with 'Hostel.'"

Instead, Roth will turn his attention to the upcoming projects "Cell" (an adaptation of the Stephen King zombie book) and "Trailer Trash" (a "Kentucky Fried Movie"-like flick filled with fake trailers).

[Stefen]

No way this shitty movie is getting an R rating. Not the version I watched last night.

Eli Roth is a douche. There are scenes in this movie that I can picture Eli Roth writing and then directing. Like just thinking "Okay, and here I want her to rub her tits while the blood sprays all over them. Oh my god, YES! This is so gnarly!! Now, when she rings the doorbell and the hacksaw comes flying out I want her to say with a smile on her face "Someone rang?" Oh my god! Such an awesome one liner! I'm incredible!! Oh my god!"

If this dick head had made a movie in 1999 he wouldn't even be making one right now. Instead, he'd be directing shitty rent to own commercials in your local area.

I feel sorry for the teenager.

Oh, and Bijou Phillips is UGLY.