Clockwork Orange Research Paper

Clockwork Orange?

RZ: Not really, although I guess if you really followed the book you could do something different than the Kubrick film. But why bother? Kubrick's film is the only version anyone is ever going to care about, so best to leave it alone.

G&C: You have used The Munsters classic DRAG-U-LA coach, created by the late great legendary designer George Barris (R.I.P.) for your music video for “Dragula.” George was a friend of Corpsy’s, what did George mean to you?

RZ: He was an icon. George was always very cool to me over the years and let me borrow the Munsters Koach on several occasions. The last time I spoke to him was at Comic-Con back in 2013.

G&C: In the past few years we’ve lost many stars from House of 1000 Corpses and

The minute I first saw Tiny appear dragging that girl’s corpse across the screen, I was riveted to my seat, my jaw literally dropped (along with my popcorn). From that moment on I knew I was watching a horror masterpiece! What was it like working with the late, great Matthew McGrory (R.I.P.)? He seemed like such a good guy. Any set stories?

RZ: Well, as I said earlier Matt's health was poor. He was having a very difficult time walking, so I had to double him for anything that required movement. Roger Morrissey was Matt's double and he did most of the heavy lifting. I mostly only used Matt for close-ups and static shots. Very sad.

G&C: In The Devil’s Rejects, in the scene where Charlie Altamont (Ken Foree) and his sidekick Clevon (Michael Berryman) go to a chicken farm to buy some Barred Rock Chickens, they meet up with the chicken farmer who recommends chicken fucking for the sexually frustrated. The camera zooms in on the chicken farmer’s mouth, where a huge canker sore is open and festering on his lip. As a longtime vegetarian, was this your way of telling the audience about the diseases that chickens carry? Do they in fact carry Herpes Simplex 1 and 2?

RZ: I never thought about it that deeply. I just thought it would be funny and gross to give him a cold

RZ: Basically, Bill was feeling bad about the scene. It was very uncomfortable to film and he kept trying to cut the tension by joking around. So I took him aside and told him to stop trying to lighten the situation because the reason it was uncomfortable was because it was working. Horrible feelings on set are great if they help the scene. So I said something like, “Art is not safe, so suck it up and get back in there and kick ass.” How you feel at that moment does not matter. All that matters is what we get on film. That is what lives forever.

G&C: I agree with the lyrics of your song “Everything is Boring” – except for Girls and Corpses, and your music and films. You’re one of the last true entertainers in rock left today. The music world would be a boring place without you. What do you predict for the future of music?

RZ: Who knows? I think that everyone having access to everything has made everyone the same. There was a time when scenes from different parts of the country were so different. Not now. We travel a lot and basically everywhere seems the same. Same Starbucks, same Burger King, same Hot Topic, same... same...