Legendary independent filmmaker Jim VanBebber is known for making genre-straddling movies with inspired stories, real acting, gruesome gore, and shocking, psychedelic sex.
From his first feature length film, Deadbeat at Dawn (1988), a tale of rival gangs vying for control of the streets with bloody consequences, to music videos for the likes of Skinny Puppy and Pantera, his work is isn't for the faint of heart, but guaranteed to affect you.
His most celebrated opus is The Manson Family (2003), a look into the lives of the infamous hippie collective and their charismatic leader. After filming began in 1988, VanBebber stuck by the project through a long and troubled production history filled with budget woes, and the end result was well worth the wait.
The film is hitting theaters in stunning 35mm to celebrate the 10th anniversary of its release, with a follow up debut on Blu-ray in May. See the full list of theatrical screenings here.
So head out to the theaters for an uncompromising experience, but first take a moment to read the insight of VanBebber as he expounds on directing, his latest work on a Vietnam vet horror throwback called Gator Green, and the epic importance of bush.
Skin Central: So The Manson Family is screening in theaters for the 10th anniversary of its original release?
Jim VanBebber: Yeah exactly, and I’m really happy that it’s all going to be 35mm prints. This may be the last gasp for a 35 print in a theater, because everybody has converted.
SC: Now it’s been 10 years since its original release, but the production actually started in the late ‘80s right?
JVB: Yeah, that’s correct. We seized upon the idea basically when I was finishing up Deadbeat at Dawn. I saw Manson’s interview with Geraldo Rivera and that just sparked it. We were like, let’s address this, because really to that point, and I think still, the best Manson movie other than mine, is Helter Skelter (1976), the TV movie directed by Tom Gries, and that pretty much covers the trial. Mine is everything that led up to it. So that’s your perfect double feature, my movie first and then that one. That’s your 101. JVB: It was that Geraldo interview that kick started it, but it’s always been around in my brain. When I was a kid back in ‘76 or ‘77, whenever that movie came out, it was a two parter on CBS, and you only had three channels. My parents would not let me stay up and watch that thing, so I had to go to the playground and say “Hey what’s the shit about, man.” So it was like, he’s the boogie man, you know, there’s the right mix of sex, Hollywood, violence, hippies. I think the case still speaks to us. I do a lot of bullshit, like Deadbeat at Dawn is a candy bar movie. I consider The Manson Family a full meal. It’s something I take seriously. What I’m working on now, Gator Green, that’s a big candy bar, but it’s the best goddamn candy bar you’re gonna have. JVB: Not at all, my audience is always me. I get obsessed with something and I’m like, I got to address this. Otherwise I’d be locked up. Yeah it’s just, you see something, you want to paint it, you make the painting. That’s it. Do your best, give it your best fucking shot. I believe in art, and that may seem crazy and some people may laugh at me saying that, but that’s really the way I conduct myself. JVB: I don’t know, because I didn’t pussyfoot around it. I told everybody that was acting in the film, “You know what we’re doing here, let’s all get a grip on it”. If you’re going to do it, do it, don’t kid glove it. So, we did it. I made the damn movie and there it is. I’m very proud of it, it was a lot of hard work. I mean it looks like a lot of fun, and parts of it were fun, of course, but it’s still hard. JVB: I made sure that everybody was in tune with that. So we had rehearsals where we all took off our clothes and rubbed up against each other and I said, “Ok, you get it?” and they were all like, “We got it”. And then we shoot the shit. Everybody had to be cool with being naked, and not to tell tales out of school, but we all had a good time, man. And I was always prepared as a director, I knew what we were gonna do. It was just everybody having their own little fun, and hell, I think it reads on film. JVB: It’s a basic rule of art. I think it’s Shakespearean. I think it’s going back to the celebration of the art form. And anybody who doesn’t get nude, how can you call yourself an actor? I don’t care what kind of shape you're in. Look, if life is spent for the most part nude, you can’t represent that if you get some nudity clause in your contact. I think it’s ridiculous. I think if you call yourself a performer, if you’re getting out on a stage and interpreting a script, then get ready to shave your head and take off your clothes. Stand on your head, or anything else I come up with. JVB: That’s absolutely correct. I took that from Haskell Wexler, he directed the sex scene in Medium Cool (1969) naked. I’m like, if this kook can do it And it’s a really relaxing way to close the distance for the poor actors who are sitting there buck naked. They’re looking at the camera, and they’re looking at everybody clothed, the sound guy, everybody. So I’m like, I've got to bridge this gap. And it does, I think it really set a different tone. And it was just, “Let’s get through this, I’m with you, my clothes are off too. Let’s get this done” JVB: You know, I don’t know if it worked or not (laughing). That’s the way that I did it. It seems to work, I don’t know. Maybe some people had nightmares or something. JVB: Not only historically accurate, but damn, come on, that’s where it’s at! There’s nothing more frightening than pulling a woman’s pants down in this day and age and suddenly be confronted with no hair, it’s infantile. JVB: Well good, I’m glad me and Mr. Skin have something in common. Hopefully once and for all America will get over this bad trip. I do believe that bush is coming. I have faith in America. JVB: To be honest, just getting the stuff in the can at the end of the day. I was just happy that we had accomplished a little piece of the puzzle. Make the fucking thing. And hell, we did. Now’s it’s done. And I hope that everybody enjoys it that hasn’t seen it. JVB: I’m going to have to go back to Eaten Alive by Tobe Hooper. The film he made after Texas Chainsaw Massacre came out. That’s when I got my stirrings you know. I saw this old dude that was there by himself in the theater, and during the gratuitous nude scenes which Tobe claims to have had nothing to do with, it was Mardi Rustam that shot those, but there is some pretty hot stuff going on, and this old dude was squirming around, his seat creaking. But I felt the same way. Yeah that’s probably the one, and next was Looking for Mr. Goodbar (1977). It’s just a beautiful thing putting eroticism on film. I think it’s a noble art form; it’s like making a good calzone. SC: Do you have an all-time favorite nude scene? JVB: It’s not really a nude scene, but that sex scene between Jack Nicolson and Jessica Lange in the Postman Always Rings Twice (1981), the remake, that’s pretty fucking hot. JVB: (laughing) Ok now I’m going to have to get on Mr. Skin.com and watch that again. JVB:Gator Green. The promo short for Gator Green is going to be on the Blu-ray for The Manson Family, and it will show before every screening of The Manson Family. And I’m raising the money here in Florida to get this up and running. It’s a straight throwback, like I said it’s a candy bar movie. Just a piece of entertainment. I revisit the beautiful, crazed Vietnam vet genre, with my own spin on it.
SC: How did the movie come about? Why did you choose the Manson family as a film subject? 
SC: When you started working on the film, did you have a certain type of audience in mind?
SC: The film seems to be very polarizing, even though the majority of reviews are positive, people seem to really love it or really hate it. Why do you think that is?
SC: What was the atmosphere like when you were filming? Because it’s fairly heavy subject matter, but there are also some fun hippie orgies going on.
SC: Sure. How important is it to have nudity in a movie?
SC: So I heard that you directed a certain scene from The Manson Family in the nude. Is that right?
Sc: And that worked?
SC: Now how important was it to you to have historically accurate bush represented in The Manson Family?
SC: Mr. Skin is a fan of the furburger as well.
SC: Any other particularly memorable moments during filming?
SC: I have a couple more questions for you. Because this is for Mr.Skin- Do you recall the first nude scene you saw in a mainstream movie?
SC: That’s a good one, we have that on MrSkin.com. You can see a little bit of Jessica Lange’s bush in it.
SC: And what’s next for you? Any projects you’re working on now?
