Worst Horror Movie Directors

Widely known for his frequent collaborations with Rainer Werner Fassbinder, a creative partnership which lasted 10 years and produced over 20 films, Ulli Lommel is one of the most consistently creative filmmakers to come from the New German Cinema movement.

The son of German comic performer Ludwig Manfred Lommel, Ulli Lommel began his career in show business as a child. His second feature film as a director Tenderness of the Wolves (1973) brought Lommel to New York, where he began working with Andy Warhol at The Factory. The Warhol / Lommel years spawned several features, including Cocaine Cowboys (1979) and Blank Generation (1980), both of which were directed by Lommel and feature Warhol in an acting role.

In the summer of 2013 Lommel went for nine months to Brazil, where he wrote a book and also made a film about Campo Bahia, the official camp for the German National Soccer Team. His autobiography, entitled Tenderness of the Wolves, is due out in late 2015.

Todd Sheets is known for Dreaming Purple Neon (2016), Hi-8 (Horror Independent 8) (2013) and Bonehill Road (2017).

As a youth, he produced a number of short films on Super 8 and video. After short stints as guest auditor at Filmacademy Vienna and Filmhochschule Munich, Boll studied literature and economics in Cologne and Siegen. He graduated from university in 1995 with a doctorate in literature. From 1995-2000, he was a producer and director with Taunus Film-Produktions GmbH. Boll was Chief Executive Officer of Bolu Filmproduction and Distribution GmbH which he founded in 1992. He continued to direct, write and produce feature films until 2016. His main companies are Event Films in Vancouver and Bolu Film in Germany. A longtime resident of Canada, Boll owned the restaurant "Bauhaus" in Vancouver from 2015 to 2020. Returned to Germany and resumed filming in 2020.

Fred Olen Ray spent most of his childhood in Florida, where he was always a fan of horror movies on TV. He collected autographs of many of the actors in those films where he met Christopher Lee and Peter Cushing. His early career was filled with low-budget horror and science-fiction films, but the market eventually dried up and he switched to producing softcore "T&A" videos of the type shown late at night on Showtime and Cinemax. His films rarely cost more than $500,000, and he has written under at least 30 different pen names; he was one of the first to fill time at the end of his films with outtakes, now a common practice in other comedy films. The outdoor sets are often CGI backdrops and many sets are in his own home or near it. Ray often can share credit for his softcore film success with the late cinematographer/director Gary Graver, big shoes for him to fill while working with an excess of tattooed and body-beaded new performers in this genre.

He was only six years old when he started composing music under the protection of his brother Enrique. After the Spanish Civil War he was able to continue his studies at the Real Conservatorio de Madrid, where he finished piano and harmony. Being a Bachelor of Law and an easy-read novel writer (under the pseudonym David Khume), he signed on to enter the Instituto de Investigaciones y Experiencias Cinematográicas (IIEC), where he stayed for only two years, while he worked simultaneously as a director and theater actor. Later he went to Paris to study directing techniques at the I.D.H.E.C. (University of Sorbonne), where he used to go into seclusion for hours to watch films at the film archive. Back in Spain he began rted his huge cinematographic work as a composer, with Cómicos (1954) and El hombre que viajaba despacito (1957), and later worked as an assistant director to Juan Antonio Bardem, León Klimovsky, Luis Saslavsky, Julio Bracho, Fernando Soler and Joaquín Luis Romero Marchent, among others. He also worked at Ágata Films S.A. as production manager and writer. His first works as a director were industrial and cultural short films. However, he soon applied all his knowledge and experience to his feature directorial debut, Tenemos 18 años (1959). From that moment on all his work was supported by co-production. His Succubus (1968) was nominated for the Festival of Berlin, and this event gave him an international reputation. His career got more and more consolidated in the following years, and his endless creativity enabled him to tackle films in all genres, from "B" horror films to pure hardcore sex films. His productions have always been low-budget, but he nevertheless managed to work extraordinarily quickly, often releasing several titles at the same time, using the same shots in more than one film. Some of his actors relate how they they were hired for one film and later saw their name in two or more different ones. As the Spanish cinema evolved, Jesús managed to adapt to the new circumstances and always maintained a constant activity, activity that gave a place in his films to a whole filming crew. Apart from his own production company, Manacoa Films, he also worked for companies like Auster Films S.L. (Paul Auster), Cinematográfica Fénix Films (Arturo Marcos), the French Comptoir Français du Film (Robert de Nesle), Eurociné (Daniel Lesoeur and Marius Lesoeur), Elite Films Productions (Erwin C. Dietrich), Spain's Fervi Films (Fernando Vidal Campos) or Golden Films Internacional S.A. He acted in almost all of his films, playing musicians, lawyers, porters and others, all of them sinister, manic and comic characters. Among the aliases he used--apart from Jesús Franco, Jess Franco or Franco Manera--were Jess Frank, Robert Zimmerman, Frank Hollman, Clifford Brown, David Khune, Frarik Hollman, Toni Falt, James P. Johnson, Charlie Christian, David Tough, Cady Coster, Lennie Hayden, Lulú Laverne and Betty Carter. Lina Romay has been almost a constant in his films, and it's very probable that in some of them she has been credited as the director instead of him. In many of the more than 180 films he's directed he has also worked as composer, writer, cinematographer and editor. His influence has been notable all over Europe (he even contacted producer Roger Corman in the US). From his huge body of work we can deduce that Jesús Franco is one of the most restless directors of Spanish cinema. Many of his films have had problems in getting released, and others have been made directly for video. His work is often a do-it-yourself effort. More than once his staunchest supporters have found his "new" films to contain much footage from one or more of his older ones. Jesús Franco is a survivor in a time when most of his colleagues tried to please the government censors. He broke with all that and got the independence he was seeking. He always went upstream in an ephemeral industry that fed opportunists and curbed the activity of many professionals. Jess Franco died in Malaga, Spain, on April 2, 2013, of a stroke.

Paul Wynne is known for Tail Sting (2001), Barrio Wars (2002) and Destination Vegas (1995).

A dual citizen of Canada and the USA, David DeCoteau has worked professionally in the movie business since he was 18 years old. He got his start through a generous offer from movie legend Roger Corman, who hired him in 1980 as a production assistant at New World Pictures. In 1986, DeCoteau directed and produced his first feature film for another generous film legend, Charles Band. DeCoteau has gone on to produce and direct more than 170 motion pictures over the past forty years. His passion lies in the creation of popular genre programming made for world consumption. DeCoteau's experience in creating content in countries all over the world makes him a proven choice for exceptionally challenging movie projects. He resides in British Columbia, Canada and Hollywood, California.

A 25-year veteran in the Hollywood exploitation field, writer/producer/director Jim Wynorski is responsible for over 150 varied motion pictures in a myriad of genres. Leaving behind a successful commercial business in New York, Wynorski relocated to California in 1980 and soon found himself on the doorstep of his childhood idol, B-film king Roger Corman. "The rest was destiny," recounts Wynorski, who soon found himself hired by the renowned movie mogul to cut "coming attractions" for all of the company's new action and horror films. "It was like grasshopper learning from the kung-fu master," says Wynorski, who claims his six-months internship with Corman taught him more than four years at film school.

"It wasn't long after that Corman offered me the first of many writing/directing assignments. Some distributor wanted a flick about a killer in a shopping mall," recalls Wynorski, "and Roger trusted me enough to say 'come up with something good, and you can direct it." Well, a couple days later, the director walked in with the first treatment to a film called Chopping Mall (1986), and the rest was history. From then on, Jim Wynorski turned out an average of three to five films a year as a director, and even more as a producer/writer. Throughout the 1980s came a steady stream of wild exploitation titles like Big Bad Mama II (1987) with Angie Dickinson, Not of This Earth (1988) with Traci Lords and The Return of Swamp Thing (1989) with Heather Locklear. On into the 1990s, Wynorski continued to climb to the top of the B-Film mountain with flicks like Hard Bounty (1995) starring Kelly LeBrock, Point of Seduction: Body Chemistry III (1994) & Body Chemistry 4: Full Exposure (1995) with Shannon Tweed and Morgan Fairchild and Munchie (1992), which featured the first film appearance of the then-unknown 12-year-old child actress Jennifer Love Hewitt.

As the years peeled by and tastes changed, Jim Wynorski kept hip by innovating new special effects techniques that landed the director no less than seven world premieres on the Sci-Fi Channel. His credits there include films like Gargoyle (2004), The Curse of the Komodo (2004), Project Viper and Cry of the Winged Serpent (2007).

As for the future, the 59-year-old Wynorski feels the audience for alternative cinema made away from the studio system will continue to grow thanks to new advances in Internet and Cable technologies. In fact, he is in post-production on another thriller, Vampire in Vegas (2009). "And you can bet I'll be there," he offers with a big smile, "with some really fun stuff." Jim has a huge following in the MidWest and is beloved in Franklin, Indiana, Home of The B Movie Celebration.

James Nguyen is director & creator of the successful film franchise, BIRDEMIC. Currently, he is directing SEA RISING - Mavericks. James has been in the movie business for over 20 years. His films are influenced by Hitchcock's cinema & they are often about the harms of climate change (BIRDEMIC - Shock & Terror, BIRDEMIC 2 - The Resurrection, BIRDEMIC 3 - Sea Eagle, Climate Fix, Cosmic Beauty, Miracle Tree, The Omens).

Hacks are nothing new in Hollywood. Since the beginning of the film industry at the turn of the 20th century, thousands of untalented people have come to Los Angeles from all over America and abroad to try to make it big (as writers, producers, directors, actors, talent agents, singers, composers, musicians, artists, etc.) but who end up using, scamming and exploiting other people for money as well as using their creative ability (either self-taught or professional training), leading to the production of dull, bland, mediocre, unimaginative, inferior, trite work in the forlorn hope of attaining commercial success. Had Edward D. Wood, Jr. been born a decade or two earlier, it's easy to imagine him working for some Poverty Row outfit in Gower Gulch, competing with the likes of no-talent and no-taste producers and directors--such as Victor Adamson, Robert J. Horner and Dwain Esper--for the title of all-time hack. He would have fit in nicely working at Weiss Brothers-Artclass Pictures in the early 1930s in directing low budget Western-themed serials, or directing low budget film noir crime drama features at PRC (Producers Releasing Corporation) in the following decade from 1940 to 1946. Ed Wood is the probably the most well known of all the Hollywood hacks because he is imprisoned in his own time, and in the 1950s, Ed Wood simply had no competition. He was ignored throughout his spectacularly unsuccessful film making career and died a penniless alcoholic, only to be "rediscovered" when promoters in the early 1980s tagged him "The Worst Director of All Time" (mostly thanks to the Medveds' hilarious book, "Golden Turkey Awards") and he was given the singular honor of a full-length biopic by Tim Burton (Ed Wood (1994)). This post-mortem celebrity has made him infinitely more famous today than he ever was during his lifetime.

Wood was an exceedingly complex person. He was born on October 10, 1924, in Poughkeepsie, NY, where he lived most of his childhood. He joined the US Marine Corps in 1943 at the height of World War II and was, by all accounts, an exemplary marine, wounded in ferocious combat in the Pacific theater (a transgender, he claimed to have been wearing a bra and panties under his uniform while storming ashore during the bloody beachhead landing at Tarawa in November 1943). He was habitually optimistic, even in the face of the bleak realities that would later consume him. His personality bonded him with a small clique of outcasts who eked out life on the far edges of the Hollywood fringe.

After settling in Los Angeles in the late 1940s, Wood attempted to break into the film industry, initially without success, but in 1952 he landed the chance to direct a film based on the real-life Christine Jorgensen sex-change story, then a hot topic. The result, Glen or Glenda (1953), gave a fascinating insight into Wood's own personality and shed light on his transgender identity (an almost unthinkable subject for an early 1950s mainstream feature). Although devoutly heterosexual, Wood was an enthusiastic cross-dresser, with a particular fondness for angora. On the debit side, though, the film revealed the almost complete lack of talent that would mar all his subsequent films, his tendency to resort to stock footage of lightning during dramatic moments, laughable set design and a near-incomprehensible performance by Bela Lugosi as a mad doctor whose presence is never adequately explained. The film deservedly flopped miserably but Wood, always upbeat, pressed ahead.

Wood's main problem was that he saw himself as a producer-writer-director, when in fact he was spectacularly incompetent in all three capacities. Friends who knew Wood have described him as an eccentric, oddball hack who was far more interested in the work required in cobbling a film project together than in ever learning the craft of film making itself or in any type of realism. In an alternate universe, Wood might have been a competent producer if he had better industry connections and an even remotely competent director. Wood, however, likened himself to his idol, Orson Welles, and became a triple threat: bad producer, poor screenwriter and God-awful director. All of his films exhibit illogical continuity, bizarre narratives and give the distinct impression that a director's job was simply to expose the least amount of film possible due to crushing budget constraints. His magnum opus, Plan 9 from Outer Space (1957), features visible wires connected to pie-pan UFOs, actors knocking over cardboard "headstones", cars changing models and years during chase sequences, scenes exhibiting a disturbing lack of handgun safety and the ingenious use of shower curtains in airplane cockpits that have virtually no equipment are just a few of the trademarks of that Edward D. Wood Jr. production. When criticized for their innumerable flaws, Wood would cheerfully explain his interpretation of the suspension of disbelief. It's not so much that he made movies so badly without regard to realism--the amazing part is that he managed to get them made at all.

His previous film with Lugosi, Bride of the Monster (1955), was no better (unbelievably, it somehow managed to earn a small profit during its original release, undoubtedly more of a testament to how cheaply it was produced than its value as entertainment), and Wood only shot a few seconds of silent footage of Lugosi (doped and dazed, wandering around the front yard of his house) for "Plan 9" before the actor died in August 1956. What few reviews the film received were brutal. Typically undaunted, Wood soldiered on despite incoherent material and a microscopic budget, peopling it with his regular band of mostly inept actors. Given the level of dialog, budget and Wood's dismal directorial abilities, it's unlikely that better actors would have made much of a difference (lead actor Gregory Walcott made his debut in this film and went on to have a very respectable career as a character actor, but was always embarrassed by his participation in this film)--in fact, it's the film's semi-official status as arguably the Worst Film Ever Made that gives it its substantial cult following. The film, financed by a local Baptist congregation led by Wood's landlord, reaches a plateau of ineptitude that tends to leave viewers open-mouthed, wondering what is it they just saw. "Plan 9" became, whether Wood realized it or not, his singular enduring legacy. Ironically, the rights to the film were retained by the church and it is unlikely that Wood ever received a dime from it; his epic bombed upon release in 1959 and remained largely forgotten for years to come.

After this career "peak," Wood went into, relatively speaking, a decline. Always an "enthusiastic"--for lack of a better word--drinker, his alcohol addiction worsened in the 1960s due to his depression of not achieving the worldwide fame he had always sought. He began to draw away from film directing and focused most of his time on another profession: writing. Beginning in the early 1960s up until his death, Wood wrote at least 80 lurid crime and sex paperback novels in addition to hundreds of short stories and non-fiction pieces for magazines and daily newspapers. Thirty-two stories known to be written by Wood (he sometimes wrote under pseudonyms such as "Ann Gora" and "Dr. T.K. Peters") are collected in 'Blood Splatters Quickly', published by OR Books in 2014. Novels include Black Lace Drag (1963) (reissued in 1965 as Killer in Drag), Orgy of the Dead (1965), Devil Girls (1967), Death of a Transvestite (1967), The Sexecutives (1968), The Photographer (1969), Take It Out in Trade (1970), The Only House in Town (1970), Necromania (1971), The Undergraduate (1972), A Study of Fetishes and Fantasies (1973) and Fugitive Girls (1974).

In 1965, Wood wrote the quasi-memoir 'Hollywood Rat Race', which was eventually published in 1998. In it, Wood advises new writers to "just keep on writing. Even if your story gets worse, you'll get better", and also recounts tales of dubious authenticity, such as how he and Bela Lugosi entered the world of nightclub cabaret.

In the 1970s, Wood directed a number of undistinguished softcore and later hardcore adult porno films under various aliases, one of which is the name "Akdov Telmig" ("vodka gimlet" spelled backwards; it helps to imagine that you're a boozy dyslexic, as Ed Wood was). His final years were spent largely drunk in his apartment and occasionally being rolled stumbling out of a local liquor store. Three days before his death, Wood and his wife Kathy were evicted from their Hollywood apartment due to failure to pay the rent and moved into a friend's apartment shortly before his death on the afternoon of December 10, 1978, at age 54. He had a heart attack and died while drinking in bed.

Due to his recent resurgence in popularity, many of his equally interesting transgender - themed sex novels have been republished. The gravitational pull of Planet Angora remains quite strong.

Coleman Francis was born on 24 January 1919 in Oklahoma, USA. He was an actor and director, known for The Beast of Yucca Flats (1961), Red Zone Cuba (1966) and The Skydivers (1963). He was married to Barbara Francis. He died on 15 January 1973 in Hollywood, California, USA.

Bert I. Gordon, affectionately nicknamed "Mr. B.I.G." by Forrest J. Ackerman, produced, directed, and wrote more than twenty-five Sci/Fi and Horror features, such as The Magic Sword (1962), The Amazing Colossal Man (1957), Village of the Giants (1965), The Cyclops (1957), in addition to comedies such as How to Succeed with Sex (1970). His film, The Food of the Gods (1976), was awarded the Grand Prix du Festival International Du Paris Fantastique 1977.

Only one film-maker can claim the title "Godfather of Gore." That peculiar but apt identification seems to be the exclusive property of Herschell Gordon Lewis. With an unusual background that included teaching English Literature to college students, producing and directing television commercials, and voicing radio and television commercials, Herschell literally - and single-handedly - established the "Splatter Film" category of motion pictures. He accomplished this by writing and directing (including the musical score) a mini-budget movie titled "Blood Feast," shot in Miami in 1963 and released theatrically the following year. As critics lambasted the primitive effects and inattention to script and sub-par acting, audiences flocked to theaters to see why friends who had reacted to the movie's fiery marketing campaign had said, "You gotta see this." Armed with boxoffice grosses, Herschell and his producer-partner David Friedman quickly decided to build onto their newly-discovered base. Herschell wrote and directed "Two Thousand Maniacs." The lead singer of the musical group hired to perform background music had a tenor voice. Herschell had written the title song, "The South Gonna Rise Ag'in." He wanted a baritone, and without hesitation he made the switch: the voice on the sound track is his. After their third splatter film, "Color Me Blood Red," David Friedman moved to California, engaging in a different type of motio0n picture. Herschell continued to grind out one success after another, with titles such as "The Gruesome Twosome," "The Wizard of Gore," and "The Gore-Gore Girls." When major film companies began to invade his splatter-turf, Herschell took a hiatus, shifting full time to his "other career," writing advertising and mailings for marketers worldwide. He became one of a handful of experts to be inducted into the Direct Marketing Association's Hall of Fame. (Author of 32 books on marketing including the classic "On the Art of Writing Copy," Herschell is often called on to lecture on copywriting, just as he is invited to sing the theme from "Two Thousand Maniacs" at horror film festivals.) Over the years, an unusual reality came into place: Herschell's old films continued to play not just on TV screens but in theatres, years after conventional movies would have disappeared altogether. The result has been renewal of his life as a film director. Thus it is that a new Herschell Gordon Lewis movie is hoving into view: "Herschell Gordon Lewis's BloodMania," produced by James Saito in Calgary, Alberta, Canada and planned for 2015 release. Both the producer and the director encapsulate their opinion of "Herschell Gordon Lewis's BloodMania" in a single word: Enthusiastic.

Born in Portland Oregon, Roth was the son of Judge Phillip Roth a renowned jurist with over 35 years on the bench. He started writing short stories when he was 10 and at age 14, he got his first taste at filmmaking working at the Wilson High School cable channel. He graduated from Lewis and Clark College in 1982. After a brief attempt to go to Law school and a stint working for an international manufacturing company. In 1984 Roth went back to his childhood love of filmmaking, Directing and writing a number of action features in his home town of Portland (Honor Betrayed, Bad Trip and Fatal Revenge). During this period, he even loaned his office to then struggling filmmaker Gus Van Zant making his critically acclaimed opus, "Mala Noche." Moving to Los Angeles in 1989 he founded UFO, a production and distribution company. Since its foundation, Roth with his partner Jeffery Beach has produced written and directed over 120 feature films and series to date that have been distributed by Universal, 20th Century Fox, Warner Brothers, Sony, Paramount, Columbia-Tristar, Blockbuster and various other US and International distributors such as RTL, Gaga, M-6, Telecinco, BskyB and Canal Plus to name a few.

Roth was also one of the earliest innovators in digital special effects. In 1990 Roth began using PC hardware and software solutions to create digital special effects for feature films. Up to his point almost all digital special effects had been based on far more expensive main frame technology coded for SGI and Cray computer systems. Two Sci-fi features in the early nineties, Prototype X29 and APEX written and directed by Roth opened up the use of PC work stations in features. APEX, an alternate future- science fiction was released theatrically in over 100 theatres by Republic Pictures in 1994. This was almost unheard of for an independent film, with an under one-million-dollar budget to receive a theatrical release, let alone a science fiction relying on digital special effects. Roth's innovation with PC digital applications such as with Lightwave 3-D software was quickly adapted by James Cameron's Lightstorm Entertainment to allow him the digital horse power to create the massive special effects required in Titanic. Up to this point movies such as this had relied on the use of far more expensive main frame softwares with limited numbers of qualified animators. This breakthrough in this digital glass ceiling is what has ushered in the massive use of digital special effects we see today.

During nineties Roth with his partner continued to write, produce and direct many films out of their Los Angeles based company. In 1999 UFO partnered with a German publicly traded company Advanced Media and set up operations in Sofia Bulgaria to take advantage of a highly skilled work force at reduced budgets. This move became a key factor to Roth and his partner further growing the company and founding their own Studio.

In Roth's nearly 20 years working in Bulgaria, he has become an expert in feature, series and commercial in the Bulgarian market making it his business model to attract producers and directors from all over the world. To further establish his foothold in the Bulgarian film community, Roth has built one of the largest studios and back lots in Bulgaria, only 2nd to NuBoyana Studios. While NuBoyana was a product of privatization, Roth's studio in Dolna Malina known as UFO Film and Television Studios was built on derelict farm land, entirely financed by international equity funding. In addition to the studio, Roth has also established one of the most prolific special effects houses from the catalyst of his first studio started in 1989 in Los Angeles. This makes his VFX companies some the longest continuous running in the world. Since opening his VFX operations in Sofia in 2002 it has been re-branded CinedigitalFX.com.

Roth lives full time in Sofia with his wife, Ekaterina and his four children; Natasha 30, Aaron 22, Elayah 13 and Roxanne 8. Natasha and Aaron having immigrated from the United States and Elayah and Roxanne born in Bulgaria. In addition to his vibrant schedule of work, Roth still actively ski races at an International level, training and racing with members of the Bulgarian National Ski Team and in addition is currently recognized as the number 1 ranked Master Wake Surfer in Bulgaria.

Self-described schlockmeister Larry Buchanan was born Marcus Larry Seale, Jr. on January 31, 1923. Orphaned at an early age, he was sent to a Baptist orphanage. After graduating from high school in Dallas, the 18-year-old turned down a scholarship to study the ministry at Baylor University to accept an apprenticeship in the props department with 20th Century-Fox Studios. Fox eventually signed Marcus Seale to an acting contract, renaming him Larry Buchanan, the name he would keep for his entire professional life.

Buchanan studied filmmaking in the Army Signal Corps, which made him want to become a director. Back at Fox he played bit parts, most notably in the Gregory Peck western The Gunfighter (1950). However, his creative interests lay elsewhere. In the early 1950s he satisfied his desire to become a director by helming religious documentaries for evangelist Oral Roberts. He also gained experience as an assistant director on The Marrying Kind (1952), directed by the legendary George Cukor.

Buchanan left behind acting for production, taking a job as a writer on The Gabby Hayes Show (1950). In 1951 he directed his first film, )The Cowboy (1951)_, which was nominated for a Peabody Award. Buchanan would never again taste critical praise, as he segued into directing low-budget exploitation fare intended for the grindhouse circuit, the drive-in or straight-to-television. In the late 1950s and 1960s he directed movies for drive-in exploitation specialist American-International Pictures, churning out such celluloid travesties as Attack of the Eye Creatures (1967), In the Year 2889 (1969) and Creature of Destruction (1968). With some of the lowest-rated films to chart on the Internet Movie Database, Buchanan gave legendary Z-movie "shlockmeister" Edward D. Wood Jr. a run for the roses for the title of "Worst Director Ever." In her NY Times obituary of Buchanan, Margalit Fox wrote: "One quality united Mr. Buchanan's diverse output: It was not so much that his films were bad; they were deeply, dazzlingly, unrepentantly bad. His work called to mind a famous line from H.L. Mencken who, describing President Warren G. Harding's prose, said, 'It is so bad that a sort of grandeur creeps into it'."

Buchanan directed a series of low-budget films in the early 1960s addressing such topical and taboo issues as sex (Under Age (1964)) and racial relations/miscegenation (Free, White and 21 (1963), High Yellow (1965)), themes that were perennial grindhouse circuit favorites. He also solidified his reputation as a hack with a spate of ultra-low-budgeted remakes of AIP science-fiction potboilers, including Zontar: The Thing from Venus (1967) and Mars Needs Women (1968), a film whose succinct title, at least, is a classic of sorts.

The year after president John F. Kennedy was cut down by sniper bullets in his hometown of Dallas, Buchanan exploited the event by writing and directing a fictionalized account of the "judicial reckoning" of J.F.K.'s alleged assassin, The Trial of Lee Harvey Oswald (1964). He had been in Dallas to shoot a striptease-film at The Carousel, Oswald-killer 'Jack Ruby''s Dallas strip joint, which was eventually released as Naughty Dallas (1964). The Oswald picture was the first of what would become a lucrative vein for Buchanan: biopics and docudramas that limned the lives of everyone from Janis Joplin to Jesus, with Pretty Boy Floyd, Jean Harlow, 'Jimi Hendrix', Howard Hughes and Jim Morrison thrown in for good measure.

In the late 1960s Buchanan relocated to Texas to continue his film career, helping to boost the Lone Star State's film industry. His movies were made with budgets under $100,000 (a figure that approximates about 1/30th of Marlon Brando's daily wage on Superman (1978) and 1/20th of Robert Redford's daily haul on A Bridge Too Far (1977), to provide contrast with contemporaneous Hollywood budgets). Due to their low costs and the well-developed drive-in and grind-house circuits of the 1950s through the 1970s, almost all of Buchanan's movies finished financially in the black. His production overhead was minimal, as he typically was a picture's director, producer, screenwriter and editor.

In 1996 he published his memoirs, "It Came from Hunger: Tales of a Cinema Schlockmeister." In his memoir, Buchanan called his style of independent cinema "guerilla filmmaking." Classifying Buchanan as a genius of his genre, Rob Craig said on Horror-Wood.com: "Buchanan wrote or adapted prime pieces of pulp genre fiction on assignment, filmed them as best he could given his resources, and offered the results to the world with no apologies, nor any revisionist strings attached."

Buchanan was completing the editing of his last movie at his home in Phoenix, Arizona when he died on December 2, 2004, two months shy of his 82nd birthday. He considered "The Copper Scroll of Mary Magdalene," a story based on a Gnostic interpretation of Christ, to be his finest film. The man who had turned down the chance to become a minister had been working on the film since 1972. Returning to his roots, the film had became the goal of his career, and was an expression of his artistic as well as religious passion.

Buchanan was survived by wife of 52 years, Jane, by his sons Randy, Barry, and Jeff, and by his daughter Dee.

With all due respect to the man himself, it is hard to think of any horror filmmaker who made movies that were as cheap or as ridiculed as Jerry Warren's. Whether making shoestring quickies like The Incredible Petrified World (1959) or Teenage Zombies (1959), or mangling Mexican imports, Warren could be counted on through the late '50s and early '60s to deliver the lowest common denominator in horror. Warren said that he grew up with the same natural inclination that every other kid growing up in Los Angeles had: He wanted to get into the movie business. He first pursued this ambition by playing small parts in such '40s films as Ghost Catchers (1944), Anchors Aweigh (1945) and Unconquered (1947). A producer made a big impression on Warren when he said, "In this town, producers are the ones that have it all". Warren subsequently took the producers' plunge in 1956 with the horror adventure Man Beast (1956).

Bill Rebane was born on 8 February 1937 in Riga, Latvia. Bill is a director and producer, known for The Giant Spider Invasion (1975), Blood Harvest (1987) and Twister's Revenge! (1988). Bill was previously married to Barbara J. Rebane.

David L. Hewitt was born on 18 December 1939 in San Francisco, California, USA. He was a director and writer, known for Willow (1988), Gallery of Horror (1967) and Superman IV: The Quest for Peace (1987). He died in 2014 in the USA.

Furst started his career in television, portraying a wide variety of characters in dozens of network and cable series, before gaining recognition for his role as the original Lucas Hood in Cinemax's Banshee. He then expanded to supporting and roles in films like The Magnificent Seven, The Founder, Terminator Genisys and Focus. For his work in I Love You Phillip Morris, Variety wrote of Furst's ability to make a large impact with just a few scenes in the article entitled 'Not Nominate But Definitely Memorable.' Furst made his directorial debut with the horror feature 30 Days to Die, distributed by Lionsgate. His second feature, Starve, premiered as an official selection at the Stiges Film Festival. His early success with independent film garnered the attention of Universal Television, which commissioned Furst's directorial services on over a dozen Movies of the Week for their various networks. As of 2022, Furst has produced 37 movies. You Might be the Killer premiered at the Fantastic Film Festival, and Alice was nominated for the Grand Jury Prize at the Sundance Film Festival. Furst is the president of Curmudgeon Films. My Sister's Keeper was the first film produced under his banner, starring Abigail Breslin and Cameron Diaz. In 2018, he produced You Might be the Killer, starring Alyson Hannigan. Furst then went on to work on the cult franchise Tales from the Hood, producing Part 2 and Part 3. The son of actor Stephen Furst (Animal House), Griff lives in Los Angeles.

Although it is very unlikely that his admittedly cheap-'n'-cheesy films will ever be acknowledged as true works of cinematic art, producer/director/screenwriter Al Adamson did, nonetheless, make a slew of entertainingly trashy low-budget exploitation features for the drive-in market throughout the 1960s and 1970s.

He was born on July 25, 1929, in Hollywood, California, the son of actress Dolores Booth and actor/director Victor Adamson who, appropriately enough, specialized in shoddy B-grade - and lower - Westerns in the 1920s and 1930s, both as an actor and especially as a director. Adamson's first foray into filmmaking was helping his father as director and producer on the film Halfway to Hell (1953). In the mid-1960s, he founded the prolific grindhouse outfit Independent-International Pictures with fellow producer/distributor Samuel M. Sherman. Adamson cranked out flicks in every conceivable genre: scuzzy biker items (Satan's Sadists (1969), Hell's Bloody Devils (1970), Angels' Wild Women (1971)), grungy Westerns (Five Bloody Graves (1969), Jessi's Girls (1975)), smarmy softcore porn sex comedies (The Naughty Stewardesses (1973), Blazing Stewardesses (1975)), funky blaxploitation films (Mean Mother (1973), Black Heat (1976)), ridiculous science fiction dross (the gloriously ghastly Horror of the Blood Monsters (1970)), two Jim Kelly martial arts/action outings (Black Samurai (1976) and Death Dimension (1978)), lurid horror fare (Dracula vs. Frankenstein (1971), Brain of Blood (1971), Nurse Sherri (1977)) and even a tongue-in-cheek softcore porn science fiction musical (Cinderella 2000 (1977)). Moreover, Adamson served as producer for both the exciting Fred Williamson blaxploitation vehicle Hammer (1972) and the acclaimed made-for-TV drama Cry Rape (1973). The casts of Adamson's films were made up of oddball but enthusiastic amateurs and faded professional thespians whose careers were on the wane, including Kent Taylor, Russ Tamblyn, Lon Chaney Jr. and the ubiquitous John Carradine. Adamson frequently gave his wife, Regina Carrol, sizable parts in his films. Moreover, he was a mentor for future schlock feature directors Greydon Clark and John 'Bud' Cardos. He was also instrumental in launching the career of ace cinematographer Gary Graver. In addition, Adamson kept fellow top cinematographers László Kovács and Vilmos Zsigmond employed in the early days of their careers.

Al Adamson's life came to a brutal and untimely end at 66 when he was murdered by his live-in contractor, Fred Fulford, on August 2, 1995.

Cinematic jack-of-all-trades Rick Sloane will never win any special awards for his admittedly cheap'n'cheesy low-budget independent movies, but he nonetheless deserves some respect for weathering the storm of lots of harsh critical notices and cranking out a sizable number of films throughout the years. Rick was born in 1961 and grew up in Los Angeles, California (he even attended Hollywood High School). He started making fake movie trailers as a teenager and originally planned on being an animator. Sloane was inspired to become a full-fledged filmmaker after seeing the hilarious 70's drive-in exploitation schlock parody "Hollywood Boulevard" at age eighteen. Rick went to film school at Los Angeles City College, where he was told by several instructors that he was the least talented student in their classes. Sloane's debut feature was the lame horror slasher spoof "The Movie House Massacre," which he made when he was twenty-one years old. This was followed by the campy sci-fi outing "The Visitants." Rick achieved his greatest notoriety with the atrocious "Gremlins" rip-off "Hobgoblins;" this horrendous dud was famously mocked on the cult TV show "Mystery Science Theater 3000." Sloane really hit his stride with the crudely amusing "Vice Academy" flicks; he wound up making six movies altogether in this particular series (these pictures were made popular by being shown all the time on the late-night cable TV program "USA Up All Night"). "Good Girls Don't" rates highly as Rick's best-ever cinematic venture to date; it's a surprisingly sweet and charming female buddy comedic romp that's funny and touching in equal measure. After an eight year hiatus from filmmaking, Rick Sloane made a comeback with the less than eagerly anticipated belated sequel "Hobgoblins 2."

Don Dohler was born on January 27, 1946 in Baltimore, Maryland. Dohler became interested in fantastic films at a very young age (Dohler was a longtime reader of the popular horror magazine "Famous Monsters of Filmland"). He began making 8mm shorts at age 12. Dohler also published a "Mad" magazine type spin-off called "Wild" in his teen years. Dohler's initial forays into filmmaking include the stop-motion animation short "Mr. Clay" and the sci-fi effort "Pursued." Both films won awards from the amateur filmmakers club the Washington Society of Cinematographers. In 1972 Dohler launched the movie magazine "Cinemagic," which had an eleven issue run which lasted until 1979. Dohler made his feature length debut with the enjoyably cheap "The Alien Factor." Don's follow-up films were a pretty eclectic bunch: the creepy horror offering "Fiend," the gloriously gaga "Nightbeast," the goofy "Galaxy Invader," and the outrageously gruesome "Blood Massacre." After a regrettably lengthy absence from movie-making, Dohler bounced back with the belated sequel "Alien Factor 2: The Alien Rampage." In addition, Don served as both writer and producer on the straight-to-video fright flicks "Harvesters," "Stakes," "Crawler," and "Vampire Sisters." Moreover, Dohler was managing editor of the newspaper the Times Herald. Don Dohler died at age 60 of cancer on December 2nd, 2006.

Paul Ziller has directed over 50 feature films and MOWs, plus various series episodes. He is experienced in all genres: drama, sci-fi, action, family, mystery, and romantic comedies. His directing style reflects his love for collaborating with cast and crew, and his experience as an editor and writer gives him a unique skill set to shoot demanding shows on tight schedules, always delivering above expectations. Having spent nearly a decade directing for the Syfy Channel has made Paul particularly skillful in this technical and visually creative realm.

Ray Kellogg was born on 15 November 1905 in Council Bluffs, Iowa, USA. He was an assistant director, known for Gentlemen Prefer Blondes (1953), The King and I (1956) and The Giant Gila Monster (1959). He died on 5 July 1976 in Ontario, California, USA.

Phil Tucker was born on 22 May 1927 in Kansas, USA. He was an editor and director, known for Broadway Jungle (1955), King Kong (1976) and Dance Hall Racket (1953). He died on 1 December 1985 in Los Angeles, California, USA.