Dieses Interview erschien in mindestens
zwei weitere Magazinen:
Headpress und Film Threat Video von
1995
A Trail of agony from survival
research laboratories to Nine Inch Nails
Filmmaker Jonathan
Reiss forges ahead in his celluloid investigations of twisted metal, fragile
flesh and plenty of well-placed subversion.
By David E. Williams
Through Vaughn I
discovered the true significance of the automobile crash, the meaning of
whiplash injuries and roll-over, the ecstasies of head-on collisions. Together
we visited the Road Research Laboratory twenty miles to the west of London, and watched the
calibrated vehicles crashing into concrete target blocks. Later, in his
apartment, Vaughn screened slow-motion films of test calibrations that he had
photographed with his cine-camera.
- from Crash, by J.G. Bailard
|
Despite whatever public perception has evolved
around Jonathan Reiss‘ video and film work, he‘s a pretty normal guy. Sure, his
office is decorated with blessed Tibetan skulls, glass cases filled with
hideous insects and shelves laden with serial killer documentation (plus a
nearly complete collection of Ballard first editions ) -but whose isn‘t these
days?
So how does such a seemly average Jon, the
product of a middle class upbringing and a UCLA education, devise a
machines-only world in which steel-framed and bone-encrusted inhabitants cavort
amidst tar-seeping walls? A viciously automated torture chair bent on literally
devouring its occupants? A fetish dungeon populated by leather-clad vixens
wielding cat ‘o nine tails against bare male flesh and piercing erect nipples
with hypoderm-mic needles?
THE DECENT
INTO HELL
“I tried to get a hold of him for months!“ explained
Reiss one afternoon, tooling his fashionably battered Dodge Dart through
mid-day Los Angeles traffic. “Richard Kern was one person who knew
how to self-distribute his films to a specific audience and I knew that same
audience would be interested in the work I was doing with SRL, especially Bitter Message - but I never got the
information Out of him.“ Pulling into a restaurant parking lot, Reiss added,
“But that was years ago. We did it without him.“
And from the following conversation, it became
obvious that the fiercely independent attitude that drove Reiss over the last
ten years had not diminished - but intensified.
By 1981 Reiss had already cut his teeth
producing, shooting and editing dozens of live concert videos as a part of Joe
Rees‘ infamous Target Video organization (story p. 67). A sort of punk media
collective, the grass-roots San Francisco group documented literally hundreds
of bands and artists.
Included were The Dead Kennedys, Lydia Lunch
with Teen-Age Jesus and the Jerks and early SRL performances featuring a
bespectacled Mark Pauline toying with his then-crude mechanical creations - which
Reiss, Rees and Pauline edited into Seven
Machine Performances (1982), the first SRL video release through Target.
“So I became more involved with Joe on the next
videos [A Scenic Harvest From The Kingdom
of Pain (1984) and The Virtues of
Negative Fascination (1986)],“ Reiss says. “I already had interest in the
kinds of things Mark was exploring in his first shows - the effects of
technology on society and power relationships - but the prospect of taking
elements from them and recombining them with video was something else. We could
redefine the events and emphasize specifics by removing extraneous material.
That was a big part of what we were doing at Target anyways, but with music.
Also, the SRL performances were very political without relying on words or
lyrics - much more visual, so I felt there was a lot to work with and a lot of
different aspects to the machines, other than just documenting the shows, that
could be further explored. Using them in my film Baited Trap [in 19861 as these nightmarish dream figures was part
of that idea.
“Of course none of the SRL performance tapes
are documentaries - even the first [ Seven
Machine Performances], which is relatively simplistic - but they present an
essence of what it was like to be there. They work as a horror film might, in
that you get the experience of terror without the physical danger.“
At least for the audience at home.
Leaving Target, Reiss focused on the
development of an autonomous video division of SRL, attempting to redefine each
successive video by success fully producing broadcast quality programming (The Will to Provoke in 1988) and,
ultimately, a machine “purist“ scenario devoid of human presence or meaning - resulting
in the machines-only short A Bitter
Message of Hopeless Grief (1988).
That decade of subsisting on his wits and
personal deficit spending turned this self-described “white boy from the
suburbs born with every advantage“ into someone aware of the importance of filmmaking‘s
dark side - business.
During the production of the triptych video document
The Pleasures of Uninhibited Excess
(1990), Reiss realized his direct association with SRL was coming to a close - with
creative differences with Pauline and Reiss growing interest in doing feature
film work hastening the split.
“I’d done most everything I wanted to with SRL,
and while I‘d certainly consider future projects with Mark, it was time to do
something else,“ the filmmaker explains diplomatically.
I first met Reiss while trying to secure video
distribution rights to Bitter Message
- and his other SRL related titles - which had never really been released in
any organized manner outside of mail-order through SRL. To my dismay, Rick
Rubin‘s iconoclastic Def American record label bad decided to dabble in video
and tied up the entire SRL catalog. At the time, Reiss himself was tied up with
problems regarding the fate of his first feature, Love Is Like That. Directed by his wife, Jill Goldman, the
entertainingly bizarre romantic comedy (starring Tom Sizemore and Pamela
Gidley) had fallen into a distribution hell it has yet to escape.
I was contacted some months later by a record
company PR rep, who was seeking a director for an industrial strength, Nine
Inch Nails music video. She explained that metals-specialist Shinya Tsukamoto (Tetsuo: The Iron Man) had been the first
choice, but was unavailable - then off helming Tetsuo II: The Body Hammer - and wondered if I knew anyone of
similar interests.
I quickly found pimping to be a natural talent
- though I didn‘t tell Reiss he was a second
choice.
A TASTE FOR PAIN
The resulting video, for the tune “Happiness In
Slavery“ from NIN‘s it-took-fucking-forever-and-only-has-six-songs EP Broken, took shape in a ware house near
beautiful downtown Burbank over a perilously hot three days. But for some, the
dry heat was only a secondary discomfort.
A masochist‘s ultimate fantasy, Reiss‘ Slavery premise offers a man consumed by
ritualistic self-abuse - obsessed with the prospect of having a tormentor who
will not listen to his shrieks of pain or cries for pity. The result was ‘The
Chair,“ Slavery‘s brutally automated
antagonist. Though it appears to be the manifestation of a Nazi dentist‘s wet
dream, it‘s actually the product of Michael Burnett Productions, a local
effects company responsible for the latex-built carnage in such Hollywood tripe
as Universal Soldier. Powered by high
pressure air lines, the contraption boasts multiple spiderlike arms wielding
spinning blades, three-pronged pincers and gouging drills. The Chair is a
torture device completely in tune for the 90s: High-tech yet malignantly
Medieval. Like some La-Z-Boy Terminator, it will not stop until it completes
its task - one that Reiss‘ storyboards have outlined in graphic,
black-and-white detail. Let‘s just say that this clash of flesh and steel has
the expected out come - times ten - as servomorors beat out muscle and bone
again.
Performance artist/actor Bob Flannigan, who lay
strapped within the steel and leather confines of The Chair, is nude - save for
some smears and chunks of special makeup posing as bloody bits of skin and
flesh. Flannigan is one of the few people on set who isn‘t sticky with sweat - just
crimson-stained Karo syrup.
“The penis should be pointed down,“ Reiss
explains clinically, circling The Chair and the MBP makeup artists working on
Flannigan. “Otherwise it would appear that he was erect, and that wouldn‘t be
correct for this shot.“
Yeah, as if a horrifically tortured man smeared
with gore should have an erection in any
shot.
Eyes searching for a pair of already “blood“ -stained
hands to perform his obvious bidding, it‘s soon apparent to Reiss that the
supposedly unshakable gore gurus aren‘t up to the task of repositioning the
nonthreatening extremity. Out of the shadows appears Flannigan‘s girlfriend,
Sheree Rose, to perform the dirty deed - much to the relief of the squeamish
crew.
FLOWERS, ASSHOLES & WORMS
Directly inspired by Octave Mirbeau‘s
1899-penned, long-banned erotigore novel The
Torture Garden -in which twisted desires play out against the backdrop of a
Chinese garden where torture is practiced as an art form - the Slavery set features a small plot of
tangled greenery surrounding The Chair. Two PAs will spend the following 48
hours trying to keep the array of vegetation alive, but it‘ll be worth it if only
for the sake of the inherently sick joke attached. You see, within the context
of the film, the plants feed on the blood and greasy spoils of processed Chair
inhabitants - which are delivered via a metallic “asshole“ installed behind the
machine‘s pedestal.
Like some annex to the Bitter Message machine
world, the set similarly boasts a dirt floor, canvas coated surfaces and
meter-long seeps of tar emanating from the walls. As designed by Liz Young, who
not-coincidently art directed Message, the place seems like a natural habitat
to Reiss, who jokes with the crew adjusting The Chair‘s power-recliner
mechanism. Meanwhile NIN‘s Trent Reznor wanders about, videotaping the day‘s
gruesome events.
“I‘d just suggest that we see some more meaty
chunks come out, like more of a stream,“ Reznor comments after watching the MBP
team force feed a choice mix of cow brains, foam latex and assorted gore
through the sphincter-like orifice, eliciting nervously ghoulish laughs from
the crew and retching sounds from several vegetarian-looking PAs. Pausing to
watch another take on a video monitor, he confesses, “This is really amazing, I
mean, the only other videos we‘ve done have been these little Super 8 jobs. But
this - this is really happening.“
From the person who transformed a notorious
living room in a certain house on Cielo Drive in the Hollywood hills into his
recording studio - complete with a decorative American flag - Reznor‘s thrill
over the afternoon‘s events bordered on irony.
The guts are run through the sphincter again
and, much to every one‘s disgust, they have reached that magically realistic
consistency; oozing out with a seriously gross splat. Satisfied, Reiss and others begin dressing the set with
massive night crawlers - huge, slimy ones that immediately begin burrowing into
the garden‘s soft brown soil and the even softer pile of glistening offal.
“Pretty glamorous, huh?“ says Reiss jovially
with worm in hand as director of photography Gary Tieche captures the annelids
on film with his wind-up Bell & Howell camera. Tieche is a guy of Clint
Eastwood-like stature and vocalness who obviously prefers to communicate with
his camera. He just smiles, peering into his eyepiece to see the magnified
bait-worms twist amidst the blood, brains and blossoms.
PIGS TO THE SLAUGHTER
Flannigan‘s chest heaves spasmodically as he
battles a coughing fit brought on by his cystic fibrosis. Fortunately, the
actor‘s real-life obsession with confinement as sexual gratification uniquely
qualifies him for the role - making the situation less a torture than a
personal challenge. He relates the experience to an old cartoon he bad seen as
a child. Entitled Pigs Is Pigs (Warner
Bros., 1938), the toon featured an automated chair that force fed its subject -
an image that stayed with Flannigan, brewing seductively in the back of his mind
as an early influence on his S&M lifestyle.
“I‘ve always had this erotic thing about
force-feeding and being strapped to chairs, so this cartoon was always major
for me,“ Flannigan later explained. “Years later, I acquired a copy and it was
all there, just like I’d remembered it. So here I was, living out my fantasy.
“I don‘t know that Jon [Reiss] had ever seen
the cartoon, I hadn‘t even told him about it until after I read the script, but
he had seen a show I’d done a few years ago at a publication party for the
Re/Search book Modern Primitives. In
it, I was strapped to a chair and had all these clothespins attached to my
body. They were attached by wires to a system of weights that would pull them
off in order over time. Through osmosis, I think Jon picked up some elements of
that, but it‘s really amazing how it would all come together in the video.
“I‘ve always liked the idea of machines doing
something to me - submitting to your
fate. I‘ve also always been interested in time-based autoerotic sadomasochistic
events for pleasure. Whether it be clothespins attached to me with dripping
water filling a container, building up enough weight to pull it off, or locking
myself up in handcuffs and waiting for a block of ice with the key inside to
melt so I can get out - they‘re all mechanical things I have no control over.
The Chair is exactly like that, but it‘s the ultimate. It‘s a suicidal final
act. It‘s programmed to do certain things without even a person there to appeal
to - you‘ve made the decision to be there.“
Of course one fundamental difference between the
activities depicted in the Slavery
video and Flannigan‘s S&M expertise is that the experience is inherently
false, without real danger or pain.
“It wasn‘t a turn on,“ Flannigan admits. “With
the crew, the fact that filmmaking demands you to break events into tiny
segments - but it was an act that mirrored some real feelings and experiences. I
think I scared some people on the set because I could imagine what it would be
like to have metal claws tearing at my flesh - I could imagine that pain and
and perform appropriately. It was fun to see their reactions - that was real.“
Since completing Slavery, Flannigan (also the subject of an upcoming Re/Search profile)
has put this ability to work by acting in director Michael Tolkin‘s feature, New Age. In it, Flannigan graphically
demonstrates his affinity for pain with a bed of nails.
SNUFF FILM JITTERS
The MBP team of Luke Khanlian and Dave Doupis
are still dabbing Flannigan with faux gore of gelatin, mashed bananas and food
coloring - promising Reiss that ten more minutes would ensure their work‘s
authenticity. The director relents. After years of documenting live SRL shows
with combat photography techniques that often put his crew and collaborators in
the midst of barely controllable, flame belching, metal behemoths bent on
destroying one another, Reiss appreciates the relative safety of “makeup
effects“ as opposed to bodily harm.
A crewperson mutters that they feel as if they
are working on a snuff film. In an abstract sense, they are - making Reiss‘
calm professionalism and smiles seem even more curious. But the feeling prompts
others to take drastic measures.
One hulking production member confronts me in
the bathroom, demanding that I give him the film in my camera. He claims that
he‘d been caught in several of the shots I‘d taken of the set and that he
couldn‘t allow people to know that he had been associated with such a heinous
project. Fortunately, he wasn‘t a complete idiot and relented to my careful
rebuttal - asking only that I send the
negatives and any prints including his ugly mug to a certain Van Nuys address,
presumably for a hasty destruction. No problem, I lied, realizing it was time
to leave.
AFTERMATH
As finished, Happiness In Slavery is at best reprehensible and repellent,
garnering strong reaction from all who see it. Entertainment trade papers ran
reports about it being a hit among record execs and those few civilians lucky
enough not to rely solely on the panty-waists at MTV for access to new music - as
the FCC regulations-less cable channel is apparently too preoccupied with the
oh-so-alternative likes of Aerosmith to make room for the clip. Most
entertainingly, a friend tormented director Oliver Stone with a copy -
prompting him to run about the office clutching his genitals while demanding
that it be turned off.
Keeping in contact with Reiss in connection to
this story, I last saw him peering into a video monitor while working on a
video for the Gothic-metal group Danzig - which followed clips for the groups Mindbomb
and Proper Grounds. In one scene, a woman encased in a patent leather corset
tortures a cadre of men with a whip, her stiletto heels and plenty of harsh
looks. She appears to have the sadistic gusto of a professional.
Turning to me, Reiss pointed at the dominatrix
and said, ‘That‘s my wife, Jill. Did you recognize her?“
Somewhat shocked, I adrnitted I hadn‘t.
“She really got into the role, but now every
body probably thinks we‘re into that stuff - like we have this complete subterranean room
at home full of bondage gear.“
Yeah, right next to the blessed Tibetan skull
collection.
|