The following is an interview with Carl Crew, star of the such classic horror films as 'Blood Diner' and 'Secret Life: Jeffrey Dahmer'. It was conducted by your very own Uncle Bill, and all of it's contents are used with permission from Mr. Crew. I hope that all of the fans of 'Blood Diner' enjoy reading it as much as I did.

(Q): How did you get involved with the film 'Blood Diner'?

(A): They had auditioned many others for the role of Georgie. I met this casting director and he had me read some lines, then on a Sunday, took me to the producers house in the Hollywood Hills and audition on camera. Most people had played Georgie as a total retard, but I made the choice to play him "slow", and I guess that got me the part. I had to wait on pins and needles till the following tuesday. They heard back from Vestron in New york that I had been approved for the role. That was my first lead role and boy was I excited.

(Q): What was it like to work with director Jackie Kong? Is it any different working with a female director rather than a male director? This question has always intrigued me because it is hard for me to believe that a woman directed a film with such an exploitative nature.

(A): Well working with Jackie Kong was an experience you can be sure. We got along fairly well but everyone else on the set called her Queen Kong, and you better be careful or you would have a Kongfrontation. To truely understand her style, you must first understand that her husband Bill Osco (MONA, ALICE IN WONDERLAND X, FLESH GORDON, COP KILLERS, NIGHT PATROL, ETC)was deeply into it with her. Jimmy Maslon another producer who owns all the rights to Herchel Gordon Lewis's Blood Feast etc was also involved and whose tastes are decidedly underground. On top of this sandwhich is Dukey Flyswater or Michael Sonye the writer who originally wrote it as a straight horror movie but in concert they all changed it to a black comedy and now you might see it is unfair to call this a film totally the product of Jackie Kong.

(Q): Rick Burks (co-star; 'Blood Diner') died tragically in 1989; he was such a great actor and musician. I was curious about how you two got along on the set, since most of your scenes are together. I also wondered if you kept in touch with him after the film.

(A): Rick Burks was my friend, besides being a talented actor. He had moved from New York just before the film. We got together for many a rehearsal and had a blast, yet built a working relationship that payed off As far as being thrown into a completely vicious working enviorment Rick taught me how to laugh it all off and how to strike back double with a smile. He helped me during difficult scenes, off camera, just with his eyes, responding to my emotion which in turn helped me strike the right chord. He often used to joke about not wanting to live pass thirty. I don't know if it was self fulfilling prophecy, but I miss him and his music and very funny personality. He was on the rise to being big.

(Q): Did you ever have any problem with the gratuitous use of violence in the film?

(A): I grew up in San Francisco's Underground -Midnight Movie houses, I grew up on Night, Dawn, and Day of the dead, Eraserhead, John Waters Pink Flamingoes, Female Trouble,Mondo Trasho, Desperate Living, etc and every other midnight movie to play the circuit. Frankly the violence in Blood Diner was underdone and very badly. It was meant to be funny, a take off. Like when the slut gets her head shoved in a deep fryer, fried to a golden globe of crunchiness, then gets her head beat off with one swing from a baseball bat. Hi-larious! No I had no problems at all. I was thrilled.

(Q): I have gotten several e-mails from people about the "wrestling scene" from the film, and I was wondering if you had to take any lessons in professional wrestling before filming. Also, did you get hurt in that scene- or in any other scene for that matter.

(A): No way, they introduced me to "Jimmy Hitler" and yes I did have to practice the moves with him many times but no formal schooling was involved. He got a little camera happy in this one scene when he came down on my back. Yes I did get hurt then and had to retire to my dressing room for a bit, but came out and finished the scene. Steriods and camera happy blutos are not a good combo. I had a blast doing the scene though.

(Q): The film combines a mixture of over-the-top gore and dark humor. Being a fan of this type of movie, I was wondering how you feel about the genre.

(A): I grew up in the Addams family 's attic so to speak so I was right at home. Love the genre, actually produced a movie later on called GROSS OUT which is a tribute to my midnight exploitation roots. It played the midnight theaters from here in LA to San Fran and New York for four years. It got reviews like "THUNDERINGLY GLEEFULLY TASTELESS" Kevin Thomas LA TIMES, and "A MOVIE THAT FRAT BOYS SHOULD BE FORCED TO WATCH FOR A HAZING RITUAL" SF CHRONICLE. At the CIA (California Institute of Abnormalarts) which is a muti-dimensional arts venue and circus sideshow museum, we show nonstop clips from the worst of the worst midnight movies all night long, so if you don't like the band you can wander through the museum and check out the twoheaded babies or the body of a dead clown, or go out to the movie screen and watch the torent of underground and exploitative clips etc. It's all about artistic synergy. (ciabnormalarts.com) I love the genre and will always be dear to me.

(Q): A lot of people ask about the occult underpinnings of the film. Do you think this has added to the film's cult status over the years?

(A):I have studied occult history and conspiracy theories all my life it seems. I'm not sure how much the occult aspect of this movie influenced it's cult status, i think it is so un-serious in it's treatment that it becomes a joke after a while and would leave you with no palpable feelings but it blended with the dufus aspect and didn't really stick out too much for me. When the film opened in theaters, we all flew up to Seattle for a giant screening. Vestron hasd developed a vendetta with Kong and they opened the film nationwide with no advertising. What a bunch of dicks. So thats another reason it bombed at first. My first lead role falls prey to a bunch of idiots trying to destroy each other...oh well, welcome to Hollywood.

(Q): I get dozens of e-mails every week about the film. How do you feel about being involved with a cult classic?

(A): One of the few places I get recognized is the Fangoria convention or something like. I feel that even though it bombed when it came out, the eventuality that it became a cult classic is the best thing I could have ever hoped for.I am thrilled and it was a very dear, yet hectic part of my life and I have many fond memories.

(Q): On the subject of another great film, 'The Secret Life: Jeffrey Dahmer', how did you research for the role?

(A): When I was 19, 20 and 21 years old, I was an apprentice embalmer and ended up living at the student apartment above the mortuary. For years we were on Coroners call meaning we would go out with the Coroner and scrape up bodies from crimes scenes, watch the autopsy and then close the body up after the Coroner was finished. This was a good point of reference when it came to playing the role of Jeffrey Dahmer in JEFFREY DAHMER THE SECRET LIFE. Also because I wrote and produced the film, I spent over a thousand hours researching facts on file and the interviews of Jeffrey using his words as much as possible when writing the script. Having made friends of a few of the remaining familey members who lost members to Jeffrey's rampage I found out a lot of interesting details. Our movie was the only Jeffrey Dahmer movie to be shown the Jeffrey in prison. I was flown to Milwaukee and interviewed in front of the Jeff's apartment door before it was knocked down. We did a show called Milwaukees Talking where we were interview with the familey members. Then we did Maurey Povich where it was a free for all attack Carl Crew show which I dearly loved. I pointed out all the "plants" in the audience after the show to Maury and I got them all right. (plants: actors who are put in the audience to stir things up) I used to be the debate king at my high school so I had a great big smile on my face whenever some loudmouth kook stood up and tried to set fire to everything. What a blast.

(Q): Was there ever an instance during the making of "Secret Life" where you felt uncomfortable in the role.

(A): No. When you have that much on your plate (No Pun) jumping from putting out other peoples fires and running to makeup , then coming on the set for closeups you are far too busy for any such nonsense as retrospect. Sure there were times I would get a thought about the reality of the scene but I just use such thoughts to achieve a deeper look into the character. yum yum

(Q): Many fans of your films have asked about any stories you may have for your celluloid experiences. Are there any you would like to share?

(A): Too many to count. I am at home when in production and because I enjoy it so much I have a blast and yet am very serious about it at the same time. I like to move though it and it feels so good, but totally exhausting, yet artistically satisfying.

I would like to personally thank Mr. Crew for his time , and for sharing his thoughts and experiences. Please visit the website of his club at WWW.CIABNORMALARTS.COM located in North Hollywood, California! I hope fans of the wonderful film enjoy this interview. MIW