The latest iteration of “Night of the Living Dead” is not a remake, but a re-visioning, the same classic zombie film from George A. Romero except seen through the eyes of dozens of graphic artists, animators, and the like, all of whom have come together to form a moving painting and ode to George A. Romero and his lasting legacy of a zombie epic involving a group of mismatched survivors in a farmhouse one fateful night trapped wall to wall with the walking dead anxious to feast on their flesh and guts. Combing the talents of many people, Mike Schneider is an artist and curator who speaks about this latest project that brings a new dimension to Romero’s film.
Hello, Mr. Schneider, thank you for your time!
No Problem.
Where did the idea for “Night of the Living Dead: Reanimated” stem from?
The concept of reanimation was posed by Winsor McCay nearly a century back. He suggested that instead of recreating something or stretching a work beyond it’s limits that it could be given new life through artistic response. Basically, all viewers see things in a work that even the creators might not have noticed or intended. When they respond to it, they are responding as much to their experience as the visual cues. Add in the element of translation which comes from the artist recreating what they see through their own style and media and you have an approach which makes something that is new and exciting while remaining respectful to it’s origins.
For those unaware, what is the plot/concept behind “Night of the Living Dead: Reanimated”?
One group rising up to consume another… driven beings coming from all directions in countless masses… grabbing wildly and infecting what was to create more of them. Cannibalism.. Appropriation.. Transformation. The plot of the movie is Night of the Living Dead, but this same description could be used for the production itself. This is Night of the Living Dead (1968) seen through a kaleidoscopic lens of responsive artwork and animation. The story, the audio, dialog and cast all remain the same, only now they are shown as a flickering collection of artwork and animation created by artists and fans alike.
Could you fill us in on the production budget for the film?
Zero. Night of the Living Dead: Reanimated was a labor of love created by and for fans of the movie. Everyone involved did so completely as volunteers and the resulting work is shared without taking a profit. The majority of the artists even leaned heavy on found and recycled materials, freeware applications, and non-traditional media. This project is video, not film, so even in the printing/ assembly no celluloid was harmed in the process. In fact, the lion’s share of screeners etc were sent via ISO to the screening locations cutting out mail and tangibility whenever possible.
How many estimated artists were included in the making of the film?
This is a tricky question. We left the option open for artists to remain unaccredited (since some are under contracts etc which would have gotten in the way) and many artists who aren’t featured visually helped drive the production along by talking it up, suggesting it to other artists, and even booking screenings once it was completed. There are well over a hundred names accredited in the artist section but that’s only a fraction of the artists who helped make this project a reality.
How long was “Reanimated” in development?
Pre-production lasted about 4 hours and we had artists attached within days. By 2 months, we had a website, press and art to show. 2 more months passes and we had our first trailers and had releasers attached to the project (under our terms). By the 1 year mark the website was revamped and we were in post production. 16 months and we premiered the ‘complete’ first version. 18 months and we were at the final version. 2 years and we had all the supplemental together. and by 27 months in over 2 million people internationally had seen the project and it was out on DVD. This pace is thanks to completely to the horror community and so many of us working together to make it happen.
With the popularity of Night of the Living Dead, did you fear any potential backlash?
No… I was completely confident that there would be backlash… no potential about it. Still we are fans of the film and the fact that so many of us were interested in taking part gave me confidence that there was an audience out there… us. I was surprised that it’s found an audience outside of the people involved… even more so that it happened so fast. It’s different, experimental, and full of art. Nobody was surprised by the critics… but the praise… now that’s terrifying. I know that sounds weird but as an experimental artist I’m used to criticism and I have my arguments ready for debate… but nobody prepared me for the thank you’s.
The moms telling us stories of how their husbands and kids started spending their weekends together doing claymation, puppet theater, and backyard horror (entering though the simpler processes) after being marveled at the sheer number of possibilities. The teacher talking about how they’ve used works from the project side by side with the original film almost like a Rosetta Stone to teach their students how to decode styles. Not to mention the fans who feel that we’ve done something for them and given them a new experience with something they love. People will hate it… but people are full of hate so that’s to be expected. The fact that it broke through and inspired people is something I wasn’t expecting… at least not so fast. 
Have you garnered any attention from George Romero?
Good question. Let me know if you find the answer. In reality, I have spoken with a number of members of the ’68 cast and crew. They are lovely people and a pleasure to talk to. Still, I’m in PA and Romero is in Canada. I’m online and he’s known for being analog (The phone calls and fax machines mentioned repeatedly in the extras on Diary’s DVD are a prime example.). When it comes to conventions, there are about 50,000 people in line trying to grab a piece of him or get him to autograph something. Power to them… he wouldn’t go to cons if he wasn’t up for that… but I’m not that kind of fan. I respect the man and his work. That’s enough for me.
He’s mentioned in countless interviews that he doesn’t look at most things done with his movies (can you really blame him?) but if he did see it… love it or hate it… I’d probably find out along side everyone else… reading it off some interview. So, we might have… but that attention hasn’t come to my attention. Of course, I’d love to hear his thoughts but I’m just as happy to hear him thinking about his next production because that means that there’s more to come.
Are you at all pushing for a theatrical release or festival run beyond DVD?
Well, I don’t really push for much. To the frustration of many and the enjoyment of others, I’m very casual. Create with the ferocity of a zombie and roll in with the class of a vampire. We’re waiting to be invited. Basically, we’re providing free screening rights to any independent or non-profit theater, art center, library, school, university, festival, comic/scifi/horror convention, zombie walk or charity event who wants it. We’re also providing free webcast/ broadcast rights to any horror hosts or public access channels. So, if you want it to hit a screen near you, request it…. you’d be surprised how many places are up for showing something with free screening rights or the good press of a charity event.
We’ve hit over a hundred screens, a dozen festivals, plenty of conventions and a slew of local tv channels in different areas. Heck if you have a data projector, some old bed sheets, and are willing to post your address with a date and time online… then your backyard is a fine venue. All anyone request it. If you represent the venue then email screenings@notldr.com… if not the the venue how simple it is and that they just have to email that address. We’ll hook them up with a screener, some posters/ art to promote it, see if any artists from the project are close enough to come out and present it, and even give them a hand announcing it. It’s that simple…. no pushing… I’m putting my energy behind facilitating people who take the first step.
We noticed the logo for the online torrent site Demonoid displayed before the presentation, can you fill us in on their involvement in the film?
As I mentioned earlier, the project is not taking a profit… so apart from doing an official DVD release (loaded with extras) with Wild Eye Releasing and all of the public screenings/ broadcasts… we are also working on an official torrent release to give the project away for free through Demonoid. This torrent should be up in the near future (With a number of people around the world hosting it from the start so it’s well seeded.) As far as I know, this may be the first feature length video production to speak and work with Demonoid for an official release format. In my opinion, things find their way online no matter what.
If you work with them, you can be proud of how you are represented there, ensure your credits are in tact, and even include any extras, extra information, etc along with it including trailers, promos, etc. There is no reason to fight because these things aren’t in competition. Lets face it, people who download are going to download and people who buy are going to buy. If you make sure you’re well represented and you share freely with people who are going to download… then you’ve got more people talking about it in public forums which means more exposure to both groups.
This idea that one will hurt the other is a pre-net way of thinking… everything is exposure… and I don’t care if you are out for a profit or not or what your motives might be… it makes sense to facilitate people seeing and talking about your work. If you don’t think people will want to own something after they’ve seen/ heard it… if you don’t think they will want to support you after they’ve experienced what you have to offer… well, then you’re just wasting shelf space, resources and time that artists, film makers and other creative people could put to better use.
What formats of animation did you feature?
Take an art supply and a Toys R Us Catalog. Now, staple them together. Ok. You’re about halfway there. Claymation (three different kinds of clay), puppets, sock puppets, barbie dolls, action figures, machninma, step motion, cut out animation, hand drawn animation, rotoscoping, oil paint, acrylic, water color, pen and ink, pencils, charcoal, crayons, conte, computer graphics, digital 2d animation, photo puppetry, Flash, 3D Modeling, legos, Furbies, pastels, oil pastels, sculpted butter, human hair, canvas, burlap, magnets, toy trucks, comic illustrations,… you get the idea. Quite literally there are times when artist’s used the kitchen sink in their process. Like the ghouls anything around which wasn’t bolted down was grabbed and used as a tool.
There are literally dozens and dozens of remakes of “Night of the Living Dead” what sets this production apart from the rest?
Well, it’s not a remake. The story is the same, the audio is the same, the cast is the same, hell the movie is the same… we’re just showing it through a new lens. It not a new movie… it’s a new experience with a classic movie.
Was it easy collaborating with various artists?
I don’t make too many assumptions so that helps a lot. I made sure I was clear about the details which were critical and left them enough room for everyone to make it their own. I think that’s the key to working with any artist. Decide what you’re going to define and define it clearly… everything else leave up to them. If you’re looking to hire a hand then call them a designer and pay them by an hour. If you’re looking to work with an artist then let them be an artist… the results are more interesting, the interaction is more fun, and everyone can claim ownership of their involvement. Between curated shows, mass collaboratives, workshops, public arts projects, etc, I’ve worked with a few hundred thousand people… and I gotta say it’s really that simple. If you want to control everything then go away and do it all yourself. If you want to work with artists, embrace the chaos and the people who court it.
How was the audience turn out at the Comic Con?
They filled the room to start but lost some to the last trolly out. Still, the people who stayed stayed late with rapid fire questions. Luckily, it was the last event of the night… so instead of 90 minutes like most panels/ screenings… they let it roll to a stop and go strong for over 3 hours. Can’t ask for more then that.
What was the experience working with Count Gore De Vol for the presentation?
The Count is great. His history with NOTLD goes back to being the first to show it uncut on tv way back in the 70’s. He was also the first to host us on his show, Creature Features (countgore.com). Since Count Gore showed us we’ve shown on dozens of other horror host shows such as Friday Night Fright Night with Count Victor Von Scary, World of Weird Monster Show with Undead Johnny, Schlocky Horror Picture Show with Nigel Honeybone, Monster Madhouse with Karlos Borloff, Alternative Realities with Dr Sigmund Zoid, and will be features on other shows including Manor of Mayhem with Remo D and Late Night at the Horror Hotel with Rob Dimension.
This is a whole community of marvelous, passionate and creative people who put their better sense aside to share their love of horror with their local communities. In fact, many of them are open hosting other movies if offered. They can’t pay for them but they are happy to share their audience and present your work with a pun, a smile, and a familiar face.
Why do you think “Night of the Living Dead” continues to gain such a mass influence on America so many years after its release?
Well zombies are like adjectives… they can stand in for anything. He, she, it, they, zombies… it’s all the same thing. Each give some details about what you’re talking about but just enough to face you in the right direction. They are really defined and informed by the words and things around them. It’s just one of ‘those things’. Let’s extend the metaphor of the deadies to media… all it is is giving something a new life in a new motif. South Park’s ‘Simpson’s did it’ speech that goes into how the Simpsons just took that idea from other shows is really apt here.
You can throw Hamlet in a lion suit and call him Kimba or Simba and you got yourself a new movie. Hell, dead people coming back, their moans driving someone crazy, and a mix of murder and suicide taking people out while the wolves are at the door… if you can’t imagine that being turned to a zombie flick then I’ve got a bridge to sell you. Night, indirectly added a word to our vocabulary… and gave us characters without all the messy character development. It’s a good film which is accessible and presents an even more accessible idea. There is a brilliance to that which can’t be contained.
What advice do you have for aspiring artists and animators out there?
Put money aside because nobody is going to pay you to make your art (particularly not when you’re starting out). At best, they will hire you to make their art for them using your hand and skill. If that’s something you’re into then welcome to the world of design. There is nothing wrong with that. You can even be both an artist and a designer… but you have to realize and accept they aren’t the same thing.
If you want to do something then do it… don’t flinch… don’t make deals with yourself… because anything which holds true to an idea is exciting… considering how much watered down non-sense there is out there. Then accept that no matter what, most people won’t like it, nobody will be as passionate about it as you are and you will have times when you’re left talking to the walls. If you’re cool with all that… then welcome to the field. If you want to work with me on a project drop me a line ( shenlon@hotmail.com ) and we’ll make something interesting together.
What’s the most important thing you’ve learned since directing this film?
Well, I curated it. I don’t believe you should direct artists… because it takes away from their art. I had a ball doing it and would love to do it again. Hell we’ve got an art show without an address or a set date.
Where can fans look for you and “Reanimated” next?
Reanimated will go where it’s requested… so that’s up to them. The next project, Unseen Horror, is already underway. With that, we’re taking a similar approach to visualizing old time horror radio dramas. I’ve also been working on a near constant stream of short horror comics with different artists and we’re currently doing a segment for Bill Plympton’s Guard Dog Global Jam. Still, generally speaking, fans of the work should look forward to be invited to take part in it. So bust out whatever material you’re working in and drop me a line.