Cult Films and the Master Director Jeremiah Kipp

by Paul Weiner

Jeremiah Kipp is a film director working primarily within the genre of horror. Holding a BFA from NYU, Kipp has worked on numerous films that have been featured in many international film festivals as well as commercial films for the Royal Bank of Scotland and Canon. His THE CHRISTMAS PARTY was met by more than fifty international film festivals including the Cannes and Clermont-Ferrand. Kipp’s work can be found online at http://www.kippfilms.com.


Paul Weiner:
How would you describe your role as a writer, director, and producer? How does your experience in each field impact the others?

Jeremiah Kipp:
I am primarily a director who puts projects together. Occasionally, I produce to help facilitate the work of another filmmaker who I believe in or write a project in order to film it. But I don’t consider myself a producer or screenwriter, rather a director who occasionally produces or writes. One project always leads into and informs the next, though, so I am sure my producing and writing has affected my directing. It is all the process of filmmaking.

Paul Weiner:
What genre of film do you prefer to work with?

Jeremiah Kipp:
I have found horror to be a flexible genre, very emotional and visceral. The roots are in fairy tales, where the heroes endure the unspeakable in the name of love or friendship, and their encounter with the witch pushes us into the realm of the uncanny. It could also be because I find the world to be an aggressive and strange place, where human beings have complex motivations. Drama can only take us so far, but horror and fantasy takes us beyond reality into something poetic.

Paul Weiner:
Do you have an ideal audience for your work or setting in which you would prefer the work to be viewed?

Jeremiah Kipp:
I know that the people who enjoyed my film DROOL tended to find CRESTFALLEN to be too mainstream for their taste; and those who loved CRESTFALLEN couldn’t make heads or tails out of DROOL.  Of course, you hope for that open-minded viewer that would be able to enjoy both films for what they are. Thinking of the audience while making the movie is critical for understanding what you’re trying to communicate to them. When I release the work, I allow the film to find its audience in its own way. They each have a life of their own.

Paul Weiner:

Describe your favorite piece you’ve worked on.

Jeremiah Kipp:
While I do not have an individual favorite piece, in the context of this interview I’d be happy to describe one movie to illustrate a point. THE CHRISTMAS PARTY is a project I made in 2003 about a little boy dropped off at a holiday party run by Christians, the kind who want everyone else in the world to be Christian too. I enjoy how the film polarized audiences. Some regarded it as a horror film, some as social realism. The French audiences took it as a satire of Norman Rockwell values, and the Christian audience viewed it as a cautionary tale. Ultimately, the film no longer belongs to me. It belongs to the spectator to interpret as he or she determines.

Paul Weiner:
What are you currently working on?

Jeremiah Kipp:
We are submitting a new movie to film festivals entitled THE DAYS GOD SLEPT, which has been described as a cinematic prayer set in a phantasmagoric strip club.

I also have a horror movie called BAGGAGE that plays out like an episode of Alfred Hitchcock Presents with a Grand Guignol twist. I was hired by horror personality Ro Dimension to direct his script. He played the tormented main character. Folks can either see the premiere screening at Monster Mania in Cherry Hill, NJ or order the movie online at http://youvebeenrobbedfilms.blogspot.com/

Beyond that, I have a new episode in the second season of the Web series IN FEAR OF, and I am in development on several new short fix and a feature, working with many of my wonderful collaborators from THE DAYS GOD SLEPT. I like to work.

Paul Weiner:
How do you feel about the use of gore in horror films, whether excessive or more tasteful?

Jeremiah Kipp:
If they push the gore to the most extreme and grotesque, a la Lucio Fulci, I find it commendable. It becomes an act of morbid excess, where everything is permitted. That is total freedom. I also admire the films of Val Lewton, which depend on a subtle tone of lingering menace lurking just beyond the edge of the frame. It all depends on what is appropriate for the movie, and if it is told with integrity. It’s middle-of-the-road stuff that just doesn’t fly, or if the gore is there because the filmmaker lacks imagination or is clearly going for a cheap thrill; it feels compromised or timid. The good movies know what they are and are uncompromising in that intent.

Paul Weiner:
How do you feel about today’s indie art scene in the context of the great commercialization that has taken place in the film industry?

Jeremiah Kipp:
Commercialization, in some ways, has stifled the possibilities of what movies can be. Some blockbuster movies these days play up as if they were two hours of watching thirty second advertisements strung together. But there is always a counterbalance. Alternative cinema provides a way to tap into other stories, and making movies has become more affordable. When the music industry as we knew it blew apart, it opened up new possibilities. I suspect the same thing will happen with movies. But it has happened before, and all art moves through cycles – all crafts, too.


Please view Jeremiah Kipp’s work at http://www.kippfilms.com/and “like” Critique Collective on Facebook at http://www.facebook.com/critiquecollective.

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