Blood Tulips (2019)
Director(s): Randy Kent and John Luksetich
Writer(s) Bouvier and John Van Harlingen (original story)
Jeffrey Tung (screenplay)
Starring: Johnson Cooley, Katie Kline, Bouvier, Marty Hrejsa, Thom Rachford
A woman travels to Holland in search of her missing sister who may have been forced into prostitution in the infamous Red Light District of Amsterdam.
In a new interview in the series leading up to Horror-on-Sea Film Festival, I got a chance to ask Blood Tulips co-directors Randy Kent and John Luksetich a few questions about what we can expect from the film.
Q. You co-direct the new mystery horror-thriller Blood Tulips has been selected to play at Horror-on-Sea. Can you tell us what we can expect from the film?
RK: You can expect something unusual that’s for sure. It is our tribute to the 70s giallo films so it has a certain “European” flare to it in the look and the performances. I think you will be fully entertained by what is on screen.
JL: Definitely a throwback to the 80s style horror films with a flare of quirky unique comedy that makes the slasher film a mixed genre category leaving the audience wandering if they should laugh or cringe. Blood Tulips deals with such heavy issues as the Holocaust and human trafficking in an entertaining format creating awareness to these serious global issues.
Q. The script was written by Jeffrey Tung, based on an original story by Bouvier who appears in the film and John Van Harlingen. What first attracted you to the film when you read the script?
RK: I’ve always loved horror films and have done others in the past but there was something different about this one that I was intrigued by it. So we met with Bouiver and her husband, John (who unfortunately passed away earlier this year before seeing the final version of the film) and they expressed the desire to shoot a lot of this on location in Holland so that was an immediate plus for us. The chance to shoot overseas was something we couldn’t pass up.
JL. I agree about the opportunity to shoot in Holland. It definitely added an air of authenticity to the film and gave us a unique travel experience I will personally never forget. When Randy asked me to join him on the project I loved the challenge it offered for us to make this film on a budget, that forced us to become very creative stealing shots whenever we had the opportunity to do so such as the real red light district shots in Amsterdam. That was suspenseful in and of itself since we heard of others filming there who were caught and getting thrown in the river by pimps. No worries – Randy and I remained dry.
RK: But we did get some kind of substance in a cup thrown at us by a girl who saw our camera (it was hidden in a jacket). People say that the girls will throw their urine at cameras trying to steal pics but it didn’t hit us so we have no clue if it was.
Q. What were some of your influences for the look and style of the film?
RK: Without a doubt Dario Argento, Mario Bava and the 70’s/80’s giallo films. Our temp score was various tracks from Suspiria (1977), Tenebrae (1982), Deep Red (1975) and the like. You can completely hear the influence in the score of that stuff and I think it adds to the creepy, odd fell we are going for. As for visuals, the same. A lot of in camera zooms and pans. Even added a slight 16mm film grain to the film version to give it that texture.
Q. Where there any elements of the original script which were adapted during filming?
RK: Because we were on a very tight budget and schedule and also because the Holland shoot we could not do any prep work on, there was quite a bit adapting and changing along the way. Small stuff mostly but it pretty much sticks to the script. The biggest thing that was changed in the editing room was the Black Tulip Killer’s dialogue. He had a lot more dialogue in the script. We did shoot it all but then realized that having him say less kept him more mysterious. The “less is more” ideal you want in your cold-blooded killers. His presence is scarier without the words. John (who plays Black Tulip Killer) was completely fine with that.
JL: Thanks Randy since I was Black Tulip. Looks like it’s not only Black Tulip’s victims who get slashed but also his lines. Actually I totally agreed with Randy. It builds more suspense having him talk less and creates more of a presence. There were several dialogue lines that were trimmed making the dialogue more impactful. The “Less is more” concept Randy mentions is a good way to look at Blood Tulips.
Q. Did you experience any issues during filming?
RK: Oh gosh where to start! We had very little money to do this. If I told you the actual budget you would be shocked. John and I are good at taking a little and making it go a long way but this was a different animal because of the on-location stuff and the special effects. I would say the two biggest issues, and issues every director has, is time and bodies to help on set. We had a great crew but it was small (even smaller in Holland) so we had to do a lot of the work ourselves on top of producing, directing and starring in the film. And so did everyone else. They all were great and pitched in to help get it done.
We had our main location here in LA which was a garage at an apartment building across the street from where Bouiver lives. We shot all the brothel scenes there. We shot there for 2 days and the next day the manager (who we had permission from) told us we had to leave because the neighbours saw all these scantily clad women hanging around and thought we were shooting a porno. So halfway through our shoot we lose our main location. As luck would have it, right around the corner Bouiver had another neighbour who happened to have a building with a vacant apartment and he saw the bind we were in and let us shoot there. And it’s the classic story of that location was 10 times better than what we had! It actually saved us from going to a massage parlour to shot the hallway scenes of the brothel cause that location had a hallway. But for about 2 hours we were not sure what we were going to and when this new location was secured, everyone pitched in and help move locations so we could stay on schedule. So issues arise but they can be solved with great people helping.
JL: Issues? No. none at all unless you include running through Amsterdam with a knife chasing Bouvier as real crowds watched us wondering if I was really trying to kill her. Sneaking into a tulip field shooting the dream kill sequences in the garden while families walked by watching the mayhem. Filming with Go Pro and Canon under our jackets in the red-light district in Amsterdam finally getting caught by one hooker who threw something (water?) on our camera man. Having Bouvier going up to people in the public asking her to find her sister wondering who the hell she was and if it was for real. Shooting at the Queen Mary till the security busted us and shooting in San Pedro a death scene in the alley – all in the public under severe time constraints. Getting a jewellery vendor at a real open market to let us film our actress selling his jewellery on the spot with no forewarning. And for me personally performing several stunt fighting scenes with a severe neck problem that wouldn’t allow me to bend my neck at all without severe pain. Other than that everything was so EASY…
Q. What were some of your favourite moments during filming?
RK: I would say definitely the shooting the Holland stuff. It’s such a beautiful country and people and no matter where you pointed the camera on an exterior shot, it will look good. By the time we left, the entire town (Delft was our key location and it doubled for Amsterdam for most of it) knew we were the film crew from America doing a movie there and were excited by it. It was so much fun.
JL: Ditto Filming in Holland was a unique experience itself; the windmills, historic streets, friendly people, the Red-Light district, and the food!!! For me stealing several high production value shots (i.e. Queen Mary, San Pedro, Holland Red Light District, Tulip Gardens, etc.) was quite a thrill to achieve.
Q. In addition to directing you both also act in the film, Randy playing the role of Jaap and John playing the role of the Black Tulip Killer. Can you tell me a little bit about your character in the film?
Rk: He is an American artist who moved to Holland because of the art scene there and eventually opened a small café. He has his fingers on the pulse of the city. His place is the transplant café and that’s where he and Oliver (a British man) meet and became best friends.
JL: Black Tulip Killer is not as crazy as he seems. He doesn’t partake of the human trafficking women. He’s more into the money side of things and though he is a killer – its out of necessity – not the thrill of it. And ends to a means. No emotion for, or against, murder – just business as usual. Black Tulip Killer believes he is a step ahead of most of his competitors in this nefarious world he thrives in and is willing to do anything to keep his business private and profitable.
Q. What sort of preparation did you do for the role?
RK: Honestly, I didn’t have a lot of prep time for the acting side of it. Too many other duties to take care of. I literally learned the lines on the plane flight to Holland because we were shooting the next morning. This project came up so fast and I normally would not have put myself in it, but because of budget and efficiency sake I had to do the role or it would have to be cut entirely.
JL: I had more time than Randy fortunately. I was able to watch several films with killers similar to Black Tulip then put in a back story, my own family being wiped out by some gangsters in the same business and how I end up taking revenge against them, leading me into the business itself. The tulip was my sister’s favourite flower before they killed her that’s why I lay it upon my dead victims.
Q. Are there any elements of the character which you feel reflect some of your own personality?
RK: Being afraid of conflict and getting into a fight. There is no way in heck that I would do what Jaap does in this film, but to be one of the heroes you have to step up.
JL: No I definitely would not kill anyone unless it was self-defence or to save my family or friends. I am pretty much the opposite of the Black Tulip Killer unless cornered in a position with no way out.
Q. Did you make any changes to the character from how it was written in the original script?
RK: In the script, Jaap is Dutch (hence the name. But on top of producing and directing and scheduling the Holland stuff, I wasn’t about to attempt a Dutch accent. There just wasn’t enough time. And it probably would not have been a good accent either. So that’s why Jaap is American instead of a Dutchman if people question it. It makes it all the more fun to watch I think.
JL: Same as Randy. I was unable to have the accent Black Tulip required and I didn’t want to perform an accent that was close enough to reality. And as mentioned earlier, we kept Black Tulip more silent – menacing.
Q. What makes Blood Tulips stand out as something different in the horror genre?
RK: The weirdness of what is happening I think. Not to spoil but we open this movie with footage from the Holocaust. So it’s just very oddly entertaining with a quirky group of characters leading the way
JL: Weirdness is probably an understatement with the two sisters communicating telepathically and many of the absurd characters. It’s a quirky form of horror that we feel many will find interesting to say the least.
RK: And hopefully get the humour in it all.
Q. What do you hope people take away after watching the film?
RK: The message of what John and Bouiver wanted to say is very clear towards the end – to honour the millions of Jews who were treated so horribly by the Nazis and their possessions were ceased from them during that time. And now all these years later their goods have still not been returned to the rightful owners. That’s kind of a deep message for what’s supposed to be a fun horror film but that’s what we are trying to say. Hopefully if just one person comes away with that fact and does some research, they can pass that on and someday we can make things right.
JL: Also it’s a film to acknowledge the horrors of human trafficking that still goes on today and the need to draw attention to the plight of these young innocent women.
Q. Do you have any other projects which you are currently working on?
RK: Yes. John and I are in development on a film called Capone’s Kidd that we hope to shoot next year. It’s a Western meets Film Noir project with factual characters and it will be a lot of fun. I’m working on three projects for a streaming service called BLK Prime.
A previous film we did together called, Shadow of the Monarch, is available on most VOD platforms as well.
JL: Working with Randy on Capone’s Kidd is exciting and the film will require a lot of travel and it’s a period piece which is very exciting. In addition I’m working on several scripts to have Randy partner with including Loose Ends Down. A story similar to The Professional (1994). It’s a young woman with Special Needs being taught by a hitman to take care of business instead of being a victim.
Q. If someone was looking to direct their own film what advice would you give them?
JK: It’s the classic saying of, “just do it!” Don’t wait for someone to give you projects. Cameras and editing software are so cheap now that there is no reason not to go out and shoot something. Eventually you’ll need to have more money and bigger crews in order to up your game but if you’re just starting out, you need to hone your craft and learn what to do and what not to do. We learn on every single project we do so that never stops.
JK: If you are going to direct, learn what your crew and cast experience. Take an acting class and learn lines, rehearse and act on camera hitting marks. Learn to use a DSLR and sound equipment while filming actors. Edit a short film, learn pacing and creating mood for your film. Write your own script to be filmed. Only once you understand the different positions will you really know how to work with your crew and cast and they will respect your for having empathy for their position.
Blood Tulips will be playing at Horror-on-Sea on Sunday 19th January at 10:30 hrs
You can find out more about Horror-on-Sea and purchase tickets for the festival here:
Published in various websites, Philip is a reviewer who is best known for his interviews and media coverage of independent projects including; films, books, theatre and live events. Always on the lookout for something different to cover!
