Interview with Michelle Bauer
By: Joe Vannicola

Introduction:
In the 1980's there was the emergence of a new type of actress indigenous to the B horror movie genre: The Scream Queen. Out of all of these women,(who possessed striking beauty along with varying degrees of acting talent), the top contenders to the throne were the triumvirate of Linnea Quiqley, Brinke Stevens and Michelle Bauer. For a brief period all three women were busy performing in a plethora of mostly direct to video horror films made by directors such as the prolific Fred Olen Ray and Dave De Coteau, among others. What set Michelle Bauer apart from the rest of her contemporaries was that she possessed a genuine flair for comedy; a gift the other Scream Queens appeared to lack.

Now after an absence more than a decade, Michelle has returned to acting in Jeff Ward's BLACK REIGN in which she'll be telling the story to her daughter in scenes added to the films original footage. According to Ward, Michelle was loved by everyone working on the film for despite her having to endure 105 degree heat in a farmhouse without air conditioning , she never failed to be helpful or lose her sense of humor.

And Michelle is not your typical actress, either. Instead of sitting in her chair between takes, she'll be helping the crew because she loves keeping busy while on set. Michelle doesn't take the trappings of stardom very seriously, although she does put her all into the craft of acting. She simply isn't one to lust after awards or crave the Hollywood spotlight. As Michelle said to me, "It's the fans."

In fact, noted artist Dan Horne is one such fan and he has recently finished a painting inspired by her called Blue Moon which will also be released as resin statue. Such is the popularity of this modest and unassuming lady.

During our interview, Michelle was funny, candid and refreshingly real. She humorously recounted many interesting behind the scenes stories concerning her films and the people she's worked for. For my money, this beautiful, talented lady still has miles to go in her career as an actress and I speak on behalf of her legion of fans by saying that I hope that we'll get to see more of Michelle in the near future.

Joe Vannicola: Michelle, how did you begin your acting career?
Michelle Bauer: At the time I was doing work for Penthouse and The Playboy Channel. Ever since I had done my centerfold for Penthouse in 1981, then they call you back and have you do numerous lay outs throughout the year. Then they started putting the payouts to video. It was new and I thought I'd give it a try. Then Playboy started doing video's so I got involved in those and then came the mud wrestling. That was all brand new. Mud wrestling and oil wrestling, this was a whole new frontier of entertainment (laughter). So I started getting involved in that. You know, you're ad-libbing and being kind of goofy. Someone said to me," You really ought to meet this guy whose doing this movie. He's casting for this vampire movie and you should go read for it." I said to him," I'm not an actress. This video and wrestling stuff is real fun, but acting is not my forte." He goes," Just give it a try. The worst thing you can say is no." So I go in and I do this reading for this vampire thing. This was the day I met Fred Olen Ray and it was THE TOMB that I read for. And for some unknown reason he loved me, asked me if I'd dye my hair black and gave me the part. Ever since then it was word of mouth. I had no manager. I didn't have representation of any kind. I had just been doing a lot of modeling for the men's magazines and video's for them. And the next thing you know I meet Dave DeCoteau, then TransWorld Entertainment, then word of mouth and you just start working and it never stops.

JV: Speaking of Penthouse, do you find there's a stigma attached to being known as a Penthouse Pet?
MB: No. If anything, there was a stigma of being a Hustler Honey. (laughter)

JV: Yeah, there's a stigma of being one of those.
MB: When you do Penthouse, especially if you're accepted as a centerfold, that gets you to meet a lot of different people and you join their (Penthouse's) club. We were the Penthouse Pets and we traveled around. There was a baseball strike at the time, so we're out there hitting all the electronic conventions as a group and playing baseball with the football players doing all these exhibition games. You really get a lot of people looking at you. With the Playboy it was the same thing and then you're meeting a whole different realm of people that are a little bit more serious about what it is that you're doing. So I think anything below that is something you didn't want to get stuck in.

JV: Now, you said your first movie role was in THE TOMB, but didn't you do CAFÉ FLESH IN 1982?
MB: Yes. That was so wonderfully filmed. I loved it. It was a great cult film and they really wanted me to do an X role and I told them absolutely not. I said," If you get a double I'll be more than happy to do it." And Steve did it. I didn't mind that it was X rated because the script and the story and the way it was filmed was so above and beyond anything that was X at that time that I had no trouble affiliating myself with it. As a matter of fact, I went on to do many. And I can't tell you how many hundreds of box covers and posters I modeled for X movies after that. I didn't mind being on the box cover because my Mom had seen me on a box cover. She said," We saw you on this X box cover. We took it home but you weren't in it." I said," Well yeah. So what's the big deal?" I guess they were at the time having trouble getting the girls to have a whole new modeling session to do this for the covers. The girls weren't doing it, so they just hired random people to be on the box covers to get people to buy them.

JV: I don't usually bring this topic up this early in an interview, but since we're talking about nudity, what will and what won't you do as far as doing nude scenes?
MB: Now?

JV: Or at any time in your career. Did you have a limit as to how far you would go?
Michelle Bauer: I know when I was doing the men's magazines, I was married to Mr. Bauer at the time and he preferred that I did not do any layouts with men for the stills. So I refrained from that. There's maybe, if anybody looked and searched , there's only very few magazine layouts that I did with another guy. It was all with other women. And then when I got into the B movies it was just an occupational hazard. You had love scenes with guys and you had love scenes with girls. And full frontal was a requirement. I you weren't gonna do it somebody else was gonna. You were defeating your own purpose if you weren't. You completely trusted the people you were working with and working for. No one was going to ask you to do anything out of the ordinary other than act like you're making love to this guy. Okay, I can do that. No I never had a problem with it.

JV: You've done a number of films for independent filmmaker Fred Olen Ray. What is your opinion of him as a director?
MB: I love him. The camaraderie on his set was so fantastic. Everybody worked hard. Everybody had a blast. He's always cracking jokes. He had his serious moments but you were just eager to do this and have fun and have a blast and work hard. Then when it came to more serious people that you worked with, I started doing union films, and these directors were all about business, it wasn't any fun. It was much too serious. It was amazing because Fred and Dave DeCoteau were going back and forth and they're doing these movies. It was almost like I can name that tune in three words 'cause I could do that movie in five days, or I can that movie in three. We were just blasting off these crazy movies that were so fun and just selling like hot cakes. Everybody was lovin' 'em. Even though you're working your ass off and you're doing seventeen, twenty hours working days, it was a lot of fun.

JV: Your voice was dubbed in THE TOMB. Do you know the reason that was done?
MB: Nobody knows why. I don't know why. As a matter of fact, Trans World Entertainment, I had talked to Monique Gabriele and she had done a feature film for them also, they did the same thing to her. And she didn't know why. It was in their hands and it was something they preferred to do.

JV: You did another film with Fred Olen Ray called HOLLYWOOD CHAINSAW HOOKERS. Are there good stories concerning the film you can tell us?
MB: Oh my gosh, I was scared to death of meeting Gunnar Hansen because growing up I saw THE TEXAS CHAINSAW MASSACRE, I thought that guy was a real guy when I was very young. It was a very scary movie like the original THE HILLS HAVE EYES. I'm going," Oh God, that guy's so freaky, so creepy." I was very frightened by that movie when I was young. So when I met Gunnar I'm going, "Oh my God, this guy's a maniac. I know he's nuts and he's got this maniacal look in his eye". I met him and here's the most friendly, wonderful, fantastically cuddly warm hearted gentleman you'd ever meet in your life. Just a big teddy bear and a pleasure to work with. The chainsaws were fun. When Linnea and I had a chainsaw duel, Fred removed the chains and put felt on the chainsaws but we could actually still run them. And I know when Linnea came out to do her chainsaw wielding dance, she's in this sarcophagus and the chainsaw is already fired up in there. She comes out and she's swinging this thing around. Well she's in there and she's asphyxiated by the exhaust from the chainsaw and she comes stumbling out going,' Oh my God, I can't do this." (laughter) But you know, I loved the idea. When Fred called me and asked me if I wanted to be in it and I read the script I said," Oh my gosh could I be Mercedes, Fred. Could I? Could I, huh? "And he said," Yes you may." That was my first time I think working with Jay Richardson, which we ended up working quite a bit later on in the year. Then they opened it at The Egyptian and they had a screening. It was more than we thought it would ever be. You know, they still talk about it to this day asking Fred if he would ever do a sequel and he says absolutely not. But I think he's re-releasing it and asked me if in fact I would do a commentary on it and I said yeah. Fred's getting the miles on that thing. I mean, that thing went totally nuts. No one had any idea where that was gonna go and it went off the charts. I was proud to be a part of it.

JV: In ATTACK OF THE 60 FOOT CENTERFOLDS you played the part of a scientist and yet in the films test footage you were one of the centerfolds. Why were the roles switched?
MB: Well, it was never switched. It was a favor. Fred said," What I have to do is I have to present this to Roger Corman." He goes," I need some kind of bikini made out of rags. I wanted to know if you would work with me and help me show him how I'm gonna present this to make the character look larger than life." It was just a practice thing. I said," Well, I'd love to." So I went out and bought a chamois and I made this chamois bikini which he still even tends to use even in movies he's doing now. Fred has the girls make up their bikinis. He loves them. We did them in DINOSAUR ISLAND also. I made the chamois bikini and then we just did this test footage for Corman to approve the film, which got accepted. It was fine. I was all good. I was never one to say," Hey, I gotta be in the lead role." I didn't care. And when Fred asked me to be in it I said," Yeah, sure, I'd love to." It was, I think, at a point in time when I was getting older and really thinking about kind of changing my roles. Going into more the scientist, the teacher, the mother or the stepmother; something like that. I looking to do roles more oriented toward my age. And Fred went with me on it which was really nice.

JV: About DINOSAUR ISLAND, he and Jim Wynorski did that film together.( Michele begins to laugh). Now, you're laughing, but I read somewhere during the shooting there was some contention between them.
MB: (laughing) I don't know if it was between them as it was who wanted to work and be directed under Jim and who wanted to work and be directed under Fred. Because Fred directed some scenes and Jim directed others.

JV: Do you have any other stories concerning the making of that movie?
MB: I got to play a virgin. (laughter)

JV: Oh good. Then it was all worth it. (laughter)
MB: And Nikki Fritz, that was her first role. I really loved her. I just got so attached to her immediately and I pushed her hard on Fred, so we broadened her role a little bit and gave her a real good chance. She was so excited and really wanted to be a part of it all but didn't think she really had a chance. I said," Oh, come on. Let's do this and let's do that." As the suggestions were coming up as we were filming and I pushed Nikki Fritz pretty hard. Next thing you know, Fred grew pretty fond of her and started using her in quite a bit of things. Working with Peter Spellos, oh my gosh, there's a dreamboat of a man. Toni Naples was fantastic. I was very intimidated doing that wrestling scene with her because she was this kick boxer. Then they had a stunt supervisor come in and co-ordinate the fight. I'm hearing that she's very adamant about really getting in there and kind of kicking me around. And I just voiced my fears to Fred. I said," You know, would it be okay if you let know that I'm not a kick boxer. I'm a pretty good wrester, but I don't know if I could really pull off an actual fight." So, somebody calmed her down then she agreed for the stunt person to come in. They asked me if I'd feel any better if we had somebody come in and co-ordinate it. I said," Absolutely." So then we rehearsed that and went over it and over it. I think that scene came out real well.

JV: On the film NIGHMARE SISTERS I understand that your salary was very low.
MB: The salaries were low on all of them.

JV: Now, a few years later you were called back to shoot new footage for the television release. What can you tell us about that?
MB: Well, it was what they had to do and you wanted to see Dave get the mileage on that movie. You now what I loved about that movie? Even though we got to be the vixens and become the sexpots, to put on a fat suit was a complete stretch for me. And Linnea with her buck teeth, is that great or what? And we took on for the first time these completely different roles. I remember Ken Hall had made this fat suit. I'm in this fat suit and my husband was driving by the set. He's always stop by just to see how things were going. I 'm standing out there on the parkway and he drives by, looks at me and didn't even know who I was. When he came walking up he looked at me and he goes," Is that you?" (laughter) That was so wonderful and Linnea with her buck teeth. There was a scene where, I don't know if it was in the bloopers, but it's the scene when the boys come and she's nerdy. We have these dates over and I'm fat and she's buck toothed. She opens up the door and there's these sorority guys. Linea goes," What the heck?"and the teeth come flying out of her mouth and shoot across the set. That was just so hilarious.

JV: Dave DeCoteau for many years has been put down by the critics. What is your opinion of him as a director?
MB: Well, everybody's been put down. I mean, people have put down Fred. I did work for Jess Franco and everybody goes," Oh, what are you working for him for?" I loved working with Jesse Franco. I worked with Dave, I worked with Fred; I work with all these different people and everybody has their opinion. It doesn't mean that they're right. But what I love about Fred and what I loved about Dave is that they knew exactly what they wanted. They knew what they wanted. They knew how they wanted it to look. They knew how they wanted you to be. A lot of these low budget films, you go on there and my gosh, Joe, you're doing the directing. You're doing your own costuming. You're making sure that your lighting is good and that's not what you're there for. You're there to try make this thing happen, become real life and believable to the extent that you can do. There's nothing like going on a set there's the director who knows exactly what he wants and it makes the project work that much better. Dave and Fred both have that attribute that I always looked up to and admired.

JV: Since Dave DeCoteau is gay are you more comfortable doing nude scenes in front of a gay director as opposed to a heterosexual director?
MB: I felt more comfortable actually being nude in front of Dave because I didn't feel he was going to be as judgmental of me physically.(laughs) Where a straight guy is going to look at you as a straight person. But a gay guy, I felt less inhibited with him.

JV: Isn't there the factor of maybe the straight director is staring at you with lustful thoughts on his mind?
MB: No. I don't think so.Unless I'm just totally stupid.(laughter)You know it's just what you do. If they ever did they never told you. I mean look, you're sitting around ,believe it or not, and you've got fifteen guys with lights and booms and camera and reflectors and set people. You're doing a love scene and of course the music's coming over it, right? So there's somebody telling you," Alright, okay. Yeah. A little lower. Alright, flip her over. Alright, get over there. Okay, now come at it from that way. Now, go ahead and kiss." So you're not actually there goin' at it or anything. Somebody is telling you what to do. How to do it, hold it or "let's take it from this angle" and it's really monotonous believe it or not. It's not sexy at all to do. When you see them and you get excited looking at it, believe you me, it's definitely not that when you're doing it. It's not like they're closing all the doors, locking all the windows and the camera's in there just running by itself and you guys are doing what you want to do. It just doesn't happen that way.(laughter) It's completely the opposite. I don't know if anybody could ever really take a chance to look at you and go," Hey, you're hot." I don't know. It never appeared to be that way.

JV: You've worked a lot with fellow "Scream Queens "Linnea Quigley and Brinke Stevens. Which one of them would you say you're closest to?
MB: I would say they're both about equal. We would at times all go to dinner. I had been to Linnea's and she had been over my place. We'd exchange maybe a gift or two for Christmas. It was never really that close. We just all really worked well together and we liked each other on set. When they both introduced me to the convention circuit and taught me a lot, we were just all on common ground. We never competed with each other. Everybody just loved seeing us together. We all worked and struggled so hard from the very beginning that we just liked seeing each other on set because we seemed to have a lot in common as far as what we were doing and how we were doing it. We had, like, certain standards and a lot of these girls didn't.

JV: So, you don't keep in touch with either of them?
MB: No. I ask about them a lot. And people who I do speak to that have spoken to them, I tell them to say hello. I think Linnea's in Florida. I think she's there helping care for her parents. And I know is still out there working and doing the conventions. She's still very, very active.

JV: Now I usually ask this question of the actresses I've interviewed because I like to get the female perspective. When doing nude scenes do you worry that men in general will see you as a sex symbol and not see anything else?
MB: (laughs) I found that out at the conventions that that's very true. People think you are what you portray.

JV: What I mean is, I've talked to and have found you to be witty and intelligent. But other guys would only relate to you as the pair naked breasts they saw in one of your movies.
MB: That's what I fear. I never tell people in my real life what I do or what I've done if I make a new friend or if we meet a new couple. I don't ever tell anyone anything. I don't volunteer it and I don't because of that reason. I think a lot of people in just your typical, everyday society have their judgments about someone who does that kind of work. That either you're cheap or you're skanky or you're a floozy or "Oh my God, how could you do that" So I choose not to because I've been judged very critically and I think unfairly. People that have just met me and found out what I do and then all of the sudden they've got their opinion about me and want nothing to do with me. So, I've chosen not to. Now, we'll go to a restaurant that I've been going to for years and then the waiter will come up and say, " I saw you on television." And the first thing I think is,"Oh my God, he's seen my boobs." (laughter) But I don't worry about the intellect. I don't really care. I just don't want people to judge me on a lower level because that's what I've chosen to do.

JV: During your career you've acted mainly in B movies. Have you ever wanted to break into the mainstream and become the next Meryl Streep as an example?
MB: I don't think that's possible. First of all, I don't think I'm good enough. Second of all, I wouldn't want things in the past that I've done, that I'm ashamed of, to come out and I know that they would. I think that's hindered me and kept me back from ever wanting to pursue that. I just don't think I have the ability. I don't have what it takes.

JV: Michelle, I have to debate you on that. Many people, myself included, feel that you possess a certain comedic flair that a lot of your contemporaries don't seem to have.
MB: Well, that's a real nice thing to say. (laughs) When I watch myself, Joe, I cringe. I tear myself apart. So, now I just choose not to watch. I'm really bad.

JV: Do you think there is a stigma attached to being a B movie actress?
MB: Oh, I don't know. I think truly if you didn't want to be labeled and wanted to go to do bigger and better things, you definitely could if you wanted to. You know who I was surprised that didn't do it? It was with RETURN OF THE LIVING DEAD with Linea. I thought Linea was going to be the one to make that leap and move on and up to more mainstream films. But she didn't and I don't know why.

JV: Let me throw this into the mix. Do you think it's because she did the Dave DeCoteau and Fred Olen Ray movies so mainstream Hollywood thought," Oh no, she's not a real actress."?
MB: No, I think her ability would be more of her taking her stand than it would be what she's done. I mean, look at what some of these other people have done who have gone on to be big time. I think what it is, is who you know. I think that's the key. It's who you know and how you get ahead. But you know, what I have to say and I know it for a fact is that not Linea, Brink or I ever, ever once approached the casting couch in that way. None of us ever once put out for a part.

JV: In other words, the casting couch is not just a myth and does exist?
MB: It does exist. Absolutely. It depends on how you hold yourself. If you go into a reading and if you look intelligent, act intelligent and carry yourself in a certain way, not one person is ever going to consider that you're easy. Or that you will do that. And you hear the stories about these directors and they do these readings. They'll have what they used to call "a cattle call". They'd bring in all these girls to read for these parts and the girls would come in and hang their underwear on a lamp or they'll pull a Sharon Stone thing and sit there with no underwear on and short skirts. I just cannot believe this. It just blew my mind. Is that actually true or not?

JV: You've done two movies with the infamous director Jesse Franco. What are your recollections of working with him?
MB: I really adored that man. I'd love to work for him again. He had some very different ideas about things. I liked not being the norm, you know. He had neat ideas and he was off the beaten path. He had ideas about his films and his stories. All I had to do was just go," You know what? I'm just respecting what you're doing here." I did and I didn't see where he was coming from on how he wanted to present this. As matter of fact, I've never seen any of the movies. But as I was doing them, I knew that it was not anything I was typically used to doing. And the way that he was filming, I was really trying to make sense of it all. He would change things as he went. I never really pinned him down and I never saw the outcome of any of the films. But I liked working for him.

JV: Let me ask you this, when you agree to do a project which appeals to you, the part itself or the money?
MB: Oh, the part. I go into it now with if I get paid fine. It all started way back when I had gotten my first role, the lead role in THE TOMB. After that, you just got offered a bit part here or bit part there. And then as time went on, you'd get a cameo here and a cameo there. Or you're working with super, big time retired actors who are on their way back up. You're working with the Erik Estrada's and what not. Fred told me once, he goes," You know, Michelle, you have no ego." I looked at him and I didn't know quite how to take that. I said," Are you insulting me or are you complimenting me?" He goes," You don't put certain things first like a lot of people do in this business." I saw a lot of people come in and go," Oh, well you know I've had my first lead role, so I have to have the lead all the time now." You're never gonna make it. So I just punched along and had fun. Fred called me just recently and said," Would you do this movie?" I said I'd love to. I didn't even question him. He didn't even tell me how much he was going to pay me. I didn't ask. Till he hands me a paycheck and I turn around and walk away. I mean, at one point in time when we were real busy, you wanted to make at least the minimum. You know, everybody had a minimum.

JV: But wouldn't you consider demanding the lead role to be ambitious?
MB: (laughs) No. You know what? It's your fans. It's the people that just wanna see you. It's the people who buy those VHS's and those DVD's and come to see you at conventions and will take your picture. Those are the people who are important. It's not your paycheck. It's not your role. They're gonna love you no matter what you do; if they really like you. They're just going to want to see you. That's what it's about.

JV: I discovered that during 1990's you were a body double in several films.
MB: Yeah, several times. That kind of just happened along.

JV: For someone who is a name actress, even if it is in the B film genre, why would you do something as anonymous as being a body double for someone else?
MB: Because they asked me to.(laughter)

JV: Oh, they asked you to. Well, that puts it all into perspective, Michelle.(laughter) Now, one of the actresses you body doubled for was the late Margaux Hemingway in INNER SANCTUM.
MB: She was mean. She wasn't very nice at all. I'm doing this scene with Joseph Bottoms, making her look all hot and I asked to take a Polaroid with her and she refused. She said no. I thought, "You bitch."

JV: I understand you recently can out of retirement to do a movie called BLACK REIGN?
MB: If you want to call it that. I've just been asked to come out and play. We'll see where it goes. I'm not counting my chickens before they hatch.

Jeff Ward said," Hey, it's been sixteen years. I want to make this movie complete. Would you want to do this?" I said, "Yeah, I'd love to. I'd love to make this happen for you." I told him," I'm older now." He goes," That's fine. We going to go ahead and have you be in current time telling a story. We're going to reflect back throughout the movie. You're talking to your daughter." I said," Okay, are you sure you wanna do this. You haven't seen me in a real long time. I'm aged. (sings) 'Cause the old grey mare just ain't what she used to be." And he said, "No. Really. Fine This is great if you just do this, this is all wonderful." I said,"Okay. Fine." He flew me out there and we worked so hard for one solid day and night, and got her done. I hadn't worked in so long that I didn't know how much I missed it. And I thanked him. And I thanked him. And I thanked him.

JV: Let me ask you this, of all the movies you've done, which is your least favorite and why?
MB: You know what I did? Well actually, I never was on film. But I worked for this union film, a movie Grace Jones did. We were treated so badly and fed cold, stale McDonalds food. We didn't even have a trailer .Your sitting in the wardrobe trailer on the floor in down town Los Angeles in the middle of the night and sitting in make up for like twelve hours; they're not even getting to you. And I took off my wardrobe and my wig and I left. That's the first and last time I ever left a set.

JV: Now you've been in a few union pictures. Except for that one bad experience, on a union picture wouldn't you be more likely to get your own trailer or not have to carry anything because they have people to do that?
MB: No, you probably had a trailer that you shared with everybody else. You never really got your own room. if that ever happens you're really, really lucky. No one ever carried your stuff. You know what I didn't like was that when you're on a union film, you're not allowed to help. When I'm working, if the lighting guys are breaking a set and moving to another, if I'm just sitting around and have nothing to do, I'll hustle a sand bag. I'll hustle an apple box. Or I'll help clean up or something. And they refuse to let you do anything like that. You just have to sit and be a bump on a log on a union film. You're not allowed to leave your area. You have to do what they tell you to do and just sit there till you're needed. Where on anybody else's films they love a helping hand and you can keep busy.

JV: Doesn't doing the supposed grunt work take away from the glamour of being an actress?
MB: No.(laughs) And you know what's more fun than anything? On a wrap, having bought a case of beer and you're sitting around drinking with the grips. Just sit down have a cold beer and relax after it's all done, talk and reflect; just kind of taking in what we've done for the day.

JV: What else do you do when you're not acting in a film?
MB: I love to run. My husband and I own a parking lot maintenance and repair company and I'm the office manager. And that takes up my time. My daughter did until she finally grew up and spread her wings. Now she's going to college.(feigning sorrow)She doesn't need me anymore. I cook. I clean. I do everything every normal, average American household person does. The business is run out of my home, so I have an office that I find myself in most of the time. And when I'm not there then I'm vacuuming or dusting or cooking or making tuna salad. You know, real exciting.

JV: Since you've been in the industry for so long, Michelle, have you ever had any inclination or desire to stretch out and maybe produce or direct your own film?
MB: No. Do you know what those people have to go through? And the different personalities you have to deal with? Forget it. No way. Not only that, but they put all of their time and effort into the filming, dealing with the people, getting the money, putting it together and then they have to go into post production and edit the thing. And then you gotta get it distributed. You really have to have some good connections and people you trust. Especially if you're going to have a European market and not get ripped off. No. It's a huge, huge undertaking. It was never attractive to me.

JV: Aside from the up and coming BLACK REIGN are there any more film projects in the future for you.
MB: I just did one for Fred called VOODOO DOLLZ. It's set in girls school and I'm a campus bitch and we sacrifice young virgins. Yeah, there's no nudity or anything in it.

JV: In other words, we won't be seeing you in movies on Life Time, right?
MB: No, not anytime soon. It was a Fred project. You know, like those bikini movies that he does? He had a whole other slew of 'em and had me in on of them in a small, little role.

JV: When the fans look back on your career, how would you like to be remembered?
MB: That if you had as much fun watching my films as I had as much fun making them, then that's all. That's how I want to be remembered. That's all I can say.