Words and Photo By Bruno Bayley
Stills and Artwork Courtesy of Norman J. Warren
Satan’s Slave, Prey,
Vice: When you started making films, the British horror genre was broadly in the “Hammer Horror” tradition, wasn’t it?
Norman J. Warren:
But they were a pretty direct translation of the American predecessors?
Terror (1979) Click to enlarge
And you were a Hammer fan?
In bringing horror up to date, did you ever try to inject any social commentary or was your main aim to avoid the period trappings of Hammer?
As far as making the most entertaining film possible goes, how did that affect the plot or writing process?
So is this when you changed your writing technique?
Click to enlarge
The whole video nasty thing came along after you started making films, but still I can’t believe that you had no trouble making films like these in the mid-70s for a British audience.
What was your view about the whole video nasty hysteria, as someone who had been making fairly groundbreaking horror films years before without complaint?
Nightmare in a Damaged Brain
I Spit on Your Grave
But your films were heavily sexual. The first films you directed were sex films, weren’t they?
Her Private Hell.
Her Private Hell
Did you ever have to hold yourself back from certain levels of violence, sex or gore?
Censor-wise, surely religion caused problems? Satan’s Slave must have been tough?
Was Satan’s Slave your main battle with the censors?
Satan’s Slave (1976) Click to enlarge
Satan’s Slave (1976)
So where did it go wrong? Why did you stop making films?
It sounds sort of amazing.
Bloody New Year
The original soundtracks to
, composed by Ivor Slaney, have just been released for the first time by Moscovitch Music.