Reginald Hudlin is the director of the hit comedies House Party, Boomerang and The Ladies Man, and the writer of Marvel Comics’ Black Panther animated series, which is now on DVD from Shout! Factory.

FLICK ATTACK: So, Black Panther. Were you a comic book geek in childhood?

HUDLIN: Uh, yes, I was.

FLICK ATTACK: And even today?

HUDLIN: And even.

FLICK ATTACK: It’s okay to admit it.

HUDLIN: Yeah, I mean, it’s so funny … what I’m about to say is a “nerd conversation,” but there’s debates over geek vs. nerd, right? I always go, “I’m a nerd, not a geek, because nerds actually have sex.” So, you know, that’s how I separate myself.

FLICK ATTACK: Was Black Panther a favorite of yours growing up?

HUDLIN: I loved all comics — Marvel, DC, Gold Key — but I loved Captain America and I loved Black Panther, because I felt like they were essentially the same character. They were both these noble symbols of their nation, and I just love that idea.

FLICK ATTACK: And you have Captain America in this show, as well.

HUDLIN: Oh, absolutely. In fact, we actually took that one scene and expanded it out into a four-issue miniseries with Black Panther and Cap’s first team-up, where they fought Red Skull and the whole gang, because I just love those characters so much.

FLICK ATTACK: Having written for film and comics and now animation, how hard was it to go from one medium to another? I presume they each have their own challenges.

HUDLIN: Yeah, they all do. Switching from medium to medium, you learn so much about each one and the other. When you make a movie, you’re trying to keep someone entertained for 90 minutes. When you do a TV show, you’re trying to keep them for an hour or half of it, but really what you’re trying to do is keep it so exciting that when you get to a commercial break, you don’t turn the channel. And when you do a comic book, you’re trying to get them keep turning the page. When you get to that last panel, do you want to see what happens next? All of them is all about keeping the viewer engaged through short or long periods of time.

FLICK ATTACK: Do you have a favorite among those?

HUDLIN: No. For me, you find a story you’re excited about and find what’s the best medium for that story.

FLICK ATTACK: As a kid, did you notice that nearly all the African-American superheroes — few as they were — had to have “Black” in their names, like Black Panther, Black Lightning, Black Vulcan?

HUDLIN: For me, I was a huge Black Panther fan; there was nothing “token” about him. I just thought he was a character with a tremendous amount of integrity and stood on his own. I was not so much into Black Lightning, although certainly, perfectly fine idea. Black Vulcan the cartoon character was always sad to me, because he didn’t have any pants on. And also, the name — I mean, at least Black Lightning, that is sort of a phrase. Black Panther, there is an animal called the black panther. Black Lightning is a phrase. Black Vulcan is idiotic. It’s like Black Goliath: inappropriate. I mean, “Really, dude, Black Goliath? He can’t just be Goliath?” That’s when it all goes wrong.

FLICK ATTACK: I was surprised at how much humor there was in these episodes of Black Panther. It made me think it would work well as a feature film. Are there any discussion to do that in live action?

HUDLIN: Yes, I think it would be a great movie. There have been talks of a Black Panther movie for 15-plus years. I remember after my first film, House Party, I did a deal at Sony Pictures, who at the time had the rights to Black Panther. I remember reading some of the scripts, and they were horrible! They had Black Panther as a guy living in the projects of America. He had no idea about his African heritage. I just said, “Look, whether I’m involved in this movie or not, you can’t do this! This is evil!” Which is probably not the most politically correct way to express your opinion, but I’m not one to bite my tongue. So, yes, lately there’s been talks. That’s really Marvel’s decision and they play their cards close to vest. I wrote this miniseries and made this DVD so that whether there’s ever a Black Panther movie and whether I’m involved in it or not, people can look at that and go, “Well, that’s what Black Panther is! That’s who he should be!” and I’m happy to have succeeded in that.

FLICK ATTACK: You brought up House Party. Isn’t it about time for a House Party reboot?

HUDLIN: I’ve been getting that a lot. Usually, I get people asking for a Boomerang sequel, but yes, the House Party conversation has been popping up a lot. Fortunately, I do actually have an idea, so I guess this month, I need to actually write that idea down.

FLICK ATTACK: You know, after four of those movies, Kid and Play — I still don’t know who’s who.

HUDLIN: Well, Kid had the hair.

FLICK ATTACK: And since you brought up Boomerang, how does it feel to know that there’s an entire generation of men who can’t look at a woman’s foot without vomiting?

HUDLIN: They’re looking at the wrong toes! Well, there’s also a generation of women who get pedicures all the time because of Boomerang. I’ve been complimented on both sides.

FLICK ATTACK: You’ve spurred the economy when it comes to mani-pedis.

HUDLIN: Absolutely!

FLICK ATTACK: Serving Sara: Were you a fan when you cast Bruce Campbell or was it just a case of the first actor you saw who fit into the hat?

HUDLIN: I pleaded for Bruce Campbell. I was like, “You know, man, I know it’s not your kind of movie. I just want to hang out with you.” The irony is I found the DP for House Party from watching the trailer of Evil Dead II in Times Square. I just said, “Whoever shot that is the guy I want to work with.”

FLICK ATTACK: The Ladies Man. First of all, I think Tim Meadows is a funny guy. But, if you assume that The Blues Brothers is at the top and It’s Pat is at the bottom, where would you rate The Ladies Man among the SNL movies?

HUDLIN: Wow. That’s a tough, tough thing, because … do you put Blues Brothers at the top or do you put Wayne’s World at the top?

FLICK ATTACK: I’m going with Blues Brothers, because Wayne’s World doesn’t quite hold up as well. Some of its jokes are so 1992.

HUDLIN: See, I haven’t seen either in a million years, so I’m just going to keep them safe in my shuttered memory. I loved Blues Brothers when I was a kid, I loved Wayne’s World as a young man. Where does Ladies Man fit in that pantheon? You know, I never saw It’s Pat, so I don’t know if we need to be sitting next to It’s Pat or defending the honor of It’s Pat. I can’t speak to that. It’s weird: Ladies Man is not as funny as it should be, even though Tim Meadows is hilarious. There’s a lot of funny, funny scenes in it. The greatest gift of working on the movie was working with Will Ferrell. Magnificent. Actually, I did the movie because it has a musical number in it.

FLICK ATTACK: Oh, it wasn’t Julianne Moore as a clown?

HUDLIN: That came later. Nice! That was just bonuses after I got onboard. You know, it’s not what it should be, but there are 14-year-olds who worship me because I made Ladies Man, so who’s to say?

FLICK ATTACK: More recently, I’ve seen your name in front of a lot of TV shows I watch. So I want to know which show you directed had more awkward pauses, Modern Family or The Office?

HUDLIN: Oh, wow, good one. Good, good question. Both shows are faster-paced than you’d think, but I guess The Office wins for sheer number of awkward pauses. By season six when I got onboard, they had mastered the uncomfortable double-take. The show is great because the characters feel so much shame.

FLICK ATTACK: Who would you rather work with again: Jamie Foxx or Sofia Vergara’s breasts?

HUDLIN: C’mon now. I worked with Sofia, not her breasts, so technically speaking, I wouldn’t be working with them again. But if I were to work with them, I wouldn’t ever stop.

FLICK ATTACK: I’ve got one last question for you.

HUDLIN: Yes.

FLICK ATTACK: I want you to know you made my life miserable. It was the summer of 1994. That’s when Bebe’s Kids came out on VHS. I was working at Blockbuster Video at the time, and our store had three copies, and there were always, always rented. I fielded calls all day long, people came in wanting it, and when I told them we were all out, customers every day took their anger out at me. And when they couldn’t rent it, they’d want to buy it and ask how much it was, and I’d say, “$99.95,” because that’s how much VHS tapes cost back then, and they’d get even angrier at me! So my question is, will you apologize?

HUDLIN: I think your manager should apologize. What kind of dick gets that kind of demand and doesn’t get more copies?

FLICK ATTACK: I’ll tell you what kind: corporations!

HUDLIN: Right. This corporation said, “This thing really isn’t that popular, and despite enormous evidence to the contrary, we’re going to ignore that.” That’s the story of that whole movie. It was frustrating, because Cool World came out the month before, and that didn’t work. And so Paramount said, “We’re out of this animation thing,” and I was like, “Wait wait wait! We had a movie! We had a movie!” It performs incredibly well on DVD and cable. I was at BET and they were like, “Oh, my God, we just can’t show Bebe’s Kids enough.” I still tell Paramount about it and they don’t get it. Why can’t the signal connect to the brain? There’s some kind of disconnect.

FLICK ATTACK: Well, they didn’t work at Blockbuster that summer, that’s why.

HUDLIN: This is the problem. They need more guys like you in the corporate offices.

FLICK ATTACK: They don’t ask me.

HUDLIN: Well, I’m going to quote you from now on: “Mr. Rob —”

FLICK ATTACK: Rod.

HUDLIN: “— Rod at Blockbuster told me …”

FLICK ATTACK: So, no apology? —Rod Lott

Additional questions by Allan Mott.

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Actress Megan Ward has starred in Joe’s Apartment, The Brady Bunch Movie and the TV series Dark Skies, whose complete run is now available on DVD from Shout! Factory.

FLICK ATTACK: Hi, Megan! So where are you today?

WARD: I’m at home today. I just put away, like, eight boxes of Christmas decorations in the back shed, and I feel like I deserve a cocktail or something for it.

FLICK ATTACK: Drink up!

WARD: No, it’s a little too early. But I swear, it was exhausting! So if I’m a little out of breath, that’s why.

FLICK ATTACK: I forgive you. So I was doing last-minute IMDb research and I learned that we both have daughters named Audrey, and you and my wife have the same middle name, so obviously, we share excellent, impeccable taste.

WARD: Oh, my God! Exactly! I don’t know when your wife was born, but it seems like around the time I was born, it was a very popular name. It seemed like I had no less than five friends who have the middle name Marie, so it must’ve been the trendy name of the time.

FLICK ATTACK: However, I have not had a guest role on Party of Five. So that’s where the similarities end.

WARD: Yeah. You didn’t die of a drug overdose. Didn’t devirginize Bailey, no.

FLICK ATTACK: Speaking of IMDb, it says you speak Japanese. Confirm or deny?

WARD: True! I do!

FLICK ATTACK: Say something.

WARD: No, it’s gone!

FLICK ATTACK: Oh, come on.

WARD: こんにちは。おはようございます。私の名前は Megan。どのようにですか？あなたの名前は何ですか？

FLICK ATTACK: And what’s that mean?

WARD: “Hello. Good morning. My name is Megan. How are you? What’s your name?” I grew up in Hawaii and every school offered Japanese. I had started modeling at the age of 9, so it seemed like a practical thing for me to learn. I wasn’t 100 percent, but I could read and write it. I could get around! But that was a long time ago. When I got to sushi restaurants now, inevitably, by the end, I go, “I know what he said,” but it’s far back and covered with dust.

FLICK ATTACK: Onto Dark Skies, since that’s what we’re supposed to be talking about. At the time it aired, serialized shows weren’t exactly in vogue. But after the success of Lost and 24, do you think it would do better nowadays?

WARD: Oh, my God, yes! It was completely ahead of its time. Part of its tragedy is that it was compared to The X-Files in that people felt it was ripping off X-Files. And the only way it was similar is that it involved aliens and a male/female lead. Other than that, it was a very different show and very much like all the shows that have been on now. I don’t know what it’d do — you can’t make these predictions on what will hit — but it’s very of-the-now. It’s very subversive, it’s very complicated, it involves historical events. Imagine now, people could be Googling and going to Wikipedia during an episode. Historically, it was all accurate, and that’s what made the intrigue and the twist on the story cool, and the more you knew about that, the more interesting it would be. It would be very timely to do that now.

FLICK ATTACK: Which was scarier for you: the alien creatures or the period hairdos you had to wear?

WARD: Um, I don’t know. That’s a really good question! Or the Playtex bra, or the girdle. I have to say, I really like the period stuff, I really like becoming a character, but you’re very limited to the person who’s doing your hair, the way the director wants it, the way the studio wants it. It was a bit of a struggle about the size of it and the shape of it. Somedays, it was great, and other days, I couldn’t believe it got so big. I just wanted them to trim it down somehow, with CGI effects.

FLICK ATTACK: You’ve been acting for 20 years now. Going back to the beginning, out of the four films you did for Full Moon Pictures — and I’ve seen them all — did any of them buy you a tank of gas?

WARD: Exactly! Well, yeah, sure! Charlie Band gave me my first job, which was Crash and Burn. And I think I had done one or two guest spots right before that. It was a feature film and a three-picture contract, even though it was just paperwork — it didn’t guarantee anything. It felt like a much bigger deal than it probably ended up being professionally, when you look back on it: “Oh, yeah, these are straight to video.” But they were all distributed by Paramount and it was great. He had quite the machine going there. He took a shine to me and really believed in me and I owe a lot to him! He gave me a bunch of movies there I feel like I cut my teeth on. Even though it was a small production, I feel very fortunate that that’s where I got my start. It was real moviemaking.

FLICK ATTACK: This isn’t much of a question, but did you know I watched Amityville 1992: It’s About Time just because you were in it?

WARD: No, but I’m really flattered!

FLICK ATTACK: And would you believe I’ve seen it three times now?

WARD: Noooo, you’re kidding!

FLICK ATTACK: No, I’m not.

WARD: Those movies are fun. Those movies are so fun. They’re genre movies: You kinda know what to expect, and it’s fun to take the ride. Even though it was a small movie, again, and there are bits that are silly, I suppose, but it’s a legacy, the Amityville series. “I’ve been in an Amityville film.” You know, that’s pretty cool, I think! I like that I can say that.

FLICK ATTACK: Is it strange that when a lot of people hear your name, they automatically picture you attached to Blossom‘s older brother?

WARD: I wish they did, because then they would’ve seen the movie! I nearly killed Michael Stoyanov on that movie, Freaked. First of all, he came from a sitcom, so he was used to this really easy work schedule. Such lazy work, let me tell you. So he was getting used to these long hours and crazy locations, and we’re strapped together the entire time. He quit smoking and was getting married as soon as the movie was done. So he was under so much pressure! I was going to be the death of him, I know. He was annoying, but he’ll admit to it. I loved him then and I love him now, but he could be a pain in the ass. There was a rule that we couldn’t be strapped together for more than 20 minutes at a time before a break.

FLICK ATTACK: Within a span of two years you worked with both Pauly Shore in Encino Man and Jeremy Piven in PCU. Did SAG’s health plan cover the therapy bills this had to have cost you?

WARD: You know, they were both really, really good to me. They were really sweet. It’s funny now to me how famous they become. Pauly was very kind. He never pulled any diva stunt with me, but we weren’t that close, either. Jeremy was so our team captain on that one. We were all kids — I mean, Jon Favreau was in it, David Spade was in it — and we were all crazy and on the loose in Toronto for two months. He was a good leader.

FLICK ATTACK: You were on General Hospital. Did your time there coincide with James Franco?

WARD: It’s funny, because my character actually introduces his character, but because I was working on something else, I couldn’t be in the scenes where he was supposed to show up.

FLICK ATTACK: You got robbed, basically.

WARD: Yeah, yeah.

FLICK ATTACK: And our 15 minutes are up.

WARD: Ohhh …

FLICK ATTACK: It was a pleasure to talk with you.

WARD: Yes! And thanks for watching Amityville! And thanks for knowing Freaked, too!

FLICK ATTACK: Well, I have to admit I’ve had a crush on you since the ’90s, so …

WARD: Aw, that’s very sweet! And now, look, we have a daughter, Audrey! —Rod Lott

Additional questions by Allan Mott.

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Although his Hollywood career now dates 60 years, James Best is best known for his role as Sheriff Rosco Coltrane on TV’s long-running The Dukes of Hazzard, a role he reprised for the animated spin-off, The Dukes, the complete collection of which is newly released as a made-on-demand DVD from Warner Archive.

FLICK ATTACK: Man, you’ve done a ton of stuff. Does it bother you that you’re primarily known for Dukes of Hazzard?

BEST: Actually, it’s a two-edged sword. Naturally, I spent a lot of time trying to prove to Hollywood and the world that I was a good actor. But I can go anywhere in the world and they all go, “KEW-KEW-KEW!” It’s good on one hand; on the other, Hollywood cannot see me or do not know that I did a lot of things before Rosco P. Coltrane.

FLICK ATTACK: In a way, though, you did Rosco so well that people couldn’t see past it. In other words, you’re that good of an actor.

BEST: It’s flattering on one hand, and on the other hand, I’m really disappointed that a lot of people didn’t know I had a career before that. That’s why I brought out my book, Best in Hollywood. I wrote my autobiography and you can buy it at my website, JamesBest.com. That book’s been selling very well.

FLICK ATTACK: Let me ask you about the new cartoon collection of The Dukes. Do you have memories of making this?

BEST: Yeah, of course we were shooting The Dukes of Hazzard at that time. They called up and said Hanna-Barbera — I love cartoons, and I had never done any work for cartoons. We went over to the animation studio —  it was very comfortable — and they just gave us scripts and we went into the regular characters as we did on the regular show. I think the cartoons were on for two years, then they took them off for some reason, but now they’re bringing them back, so now there’s a new generation of young people who will be introduced to The Dukes of Hazzard.

FLICK ATTACK: Do you think the animators made you as handsome as you are in real life?

BEST: Ha-ha! Well, when you get old, you get ugly. So don’t get old.

FLICK ATTACK: At least they made you better-looking than the dog and the raccoon.

BEST: Well, cartoons are always less than flattering, perhaps, but they did a pretty good job. I have only seen a couple of them myself, but they’re entertaining, and I’m grateful to be part of something that will be introduced to the younger generation, and they can watch without embarrassment and perhaps be introduced to the live-action version.

FLICK ATTACK: You worked with Samuel Fuller in Shock Corridor. Was he insane?

BEST: Sammy was a genius. Hollywood didn’t really realize that, but his stuff was so strong and so vibrant and so colorful. It wasn’t all smoke and mirrors like it is today. He put in actual stories that he had lived through. I loved working with him.

FLICK ATTACK: What about Jerry Lewis? There’s gotta be a story there.

BEST: Jerry Lewis? That man is a genius. He can absolutely do it all, and has. I never had as much as fun in my life as doing Three on a Couch with him and Janet Leigh. It’s just a ball to work with Jerry Lewis. He’s a total professional. He has great respect for all actors, whether they’re just doing one line or the lead. A lot of people love him or hate him, but the man has raked in a billion dollars for children, so he can’t be all bad. On the other hand, he’s less than what you’d expect at times. I told him once, “Jerry, you’re five different people and I hate three of ’em.” But I loved the other two.

FLICK ATTACK: Was it more fun working with Jimmy Stewart or Catherine Bach’s cutoff shorts?

BEST: Ha-ha! There was mixed emotion! Jimmy Stewart was my icon … and Cathy Bach was my desire. As was 25 million other people who watched the show. No, Cathy’s a sweetheart. We adore her. We were all family. She was more like a sister to all of us.

FLICK ATTACK: And you also worked with Peter Bogdanovich on Nickelodeon.

BEST: Yeah, I didn’t care for him too much, to be honest.

FLICK ATTACK: Was it because he wears ascots?

BEST: No, he ate before the cast did, on a silver tray, and rode up and down in front of everybody on his white horse. Napoleon, you know. As far as I’m concerned, he did one good movie. That Moon thing. Paper Moon. That was a brilliant piece of work.

FLICK ATTACK: And your paths have crossed before with Burt Reynolds.

BEST: Oh, yeah, I worked a lot with Burt.

FLICK ATTACK: Was it true you were an uncredited co-director on a couple of his films?

BEST: Yeah, what happened is I taught motion picture technique for 30 years. Burt sat in on my classes, so he knew I knew what to do with the cameras. I didn’t get credit for my part, but I also helped with rewrites on Gator and with Hooper. I should have gotten credit, I guess, but I was very grateful to work with Burt. I made a lot money with Burt.

FLICK ATTACK: Speaking of Hooper, I have this mental picture of Hal Needham directing with a bottle of beer in his hand. Is that correct at all?

BEST: Ha-ha! I never saw him do that. We’ve been friends for all these years. Hal was a wonderful stuntman. He jumped out of a Piper Cub without a parachute onto a guy on horseback. He said, “I gotta do it again. My mom wanted to see it and she wasn’t here.” His mama came to the set and he did it again!

FLICK ATTACK: That’s crazy.

BEST: He’s crazy!

FLICK ATTACK: Who was harder to work with: Flipper or Jan-Michael Vincent?

BEST: Jan-Michael Vincent. He ticked me off, to be honest with you.

FLICK ATTACK: Out of all you’ve done, what’s been your favorite project?

BEST: Well, working with Jimmy Stewart was a heavenly blessing. I’ve really enjoyed my career. The good Lord worked overtime for this ol’ country boy. I had so many wonderful times. You can read all about it my book, Best in Hollywood. You can get it at my website, JamesBest.com. And you can get that cartoon, too! I autographed the first 500 or something like that.

FLICK ATTACK: I’ll be sure to point that out.

BEST: That’d be great. —Rod Lott

Additional questions by Allan Mott.

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Scream queen Tiffany Shepis is the recent star of Dark Reel, Night of the Demons and the new comedy Trade In, in which she plays a lesbian used car saleswoman.

FLICK ATTACK: Correct if I’m wrong, but it looks like in this year and the next, you have about six films coming out … every other Tuesday.

SHEPIS: I think it’s seven, man, to correct you. I’m a pretty lucky girl. They keep me working in this crazy horror genre of mine, and now the genre of used car movies.

FLICK ATTACK: You don’t do many comedies, do you?

SHEPIS: Certainly a lot of my horror movies end up being comedies, not often by choice! I stay very true to my horror roots, but it’s definitely been fun for a change.

FLICK ATTACK: So how does one prepare for a role as a lesbian car saleswoman?

SHEPIS: You become a lesbian car saleswoman. Method all the way! It was easy. Who can’t appreciate a beautiful woman? For the car salesman part, you have to go to all sorts of smarmy routes to get people to buy a car nowadays.

FLICK ATTACK: Do you think you could even sell a runaway Prius?

SHEPIS: You know, I think I might. I was pretty good at my pitches! We actually shot on a working car lot in Tucson, Ariz. I would talk shit to the guys and say, “Aw, I can do this better than you — here, watch, watch, watch.” And I was pretty good! I think I found my niche! I might quit movies and sell cars.

FLICK ATTACK: But that would be our loss.

SHEPIS: And then what would you have to do every other Tuesday?

FLICK ATTACK: Is it true you were engaged to Corey Haim?

SHEPIS: I was very good friends with Corey Haim.

FLICK ATTACK: And this was his last role, right?

SHEPIS: I think so. He was on our set a whole lot. We had no intentions of having him in the movie; he was just kinda there to hang out. At one point, somebody got smart and said, “Hey, why don’t we put him in it?” and I was like, “Ding ding ding, stupid.” So they wrote in a part for him and it turned out to be a really weird, creepy, bizarre dream sequence.

FLICK ATTACK: Obviously, you were good friends with him, but could you even tell him apart from Corey Feldman?

SHEPIS: Yeah, I could!

FLICK ATTACK: How does Trade In compare to Used Cars?

SHEPIS: Oh, totally different ball game, man. We did the best that we could with not a lot of money. There’s about 100 writers on this thing and a lot of people in the pot, and a lot of cool Arizona actors who had a knack for improv. Sometimes it works, sometimes it doesn’t, but I think they got a cool little comedy out of it.

FLICK ATTACK: And you have Ron Jeremy.

SHEPIS: He’s quite the asset to have in your movie. It’s such a strange industry, the horror world, because it crosses over into comic book fans, porn fans and some of the sci-fi fans all the same. It definitely works to have him in your movie.

FLICK ATTACK: With vampires and zombies playing themselves out, what do you think is going to be the next great horror fad? And please say “sexy naked killer robot ghosts.”

SHEPIS: I absolutely think it should be sexy naked killer robot ghosts. That or tentacled sex monsters. Tentacle sex, that’s where it’s at. I don’t know what horror fans want anymore. Some horror fans will go buy every movie that has “Camp” in the title. Others want thinking man’s horror films and want something different and new. And then you have horror fans that don’t want any remakes at all, but get pissed when something’s original!

FLICK ATTACK: What’s it like to stand next to Kane Hodder, and is it scarier to stand next to Julie Strain?

SHEPIS: I certainly think I’d be more scared of Julie. That’s a big woman and certainly looks like she could beat me. But she’s the sweetest lady on the planet. Kane, I met when I was 15. I grew up knowing Kane, so to me, there’s zero scary about him. They’re all pussycats, all these horror guys. You won’t find another fan of the genre more than Kane.

FLICK ATTACK: Name one other Shakespearean adaptation that’s better than Tromeo and Juliet.

SHEPIS: Oh, shit, there’s none! Tromeo and Juliet is in a class of its own, man. My first movie and what a cool first movie to be a part of. I was a big Troma fan and in my opinion, it was their best film since Class of Nuke ‘Em High.

FLICK ATTACK: Have you ever had a moment during shooting when you paused, took a step back and thought, “Wait, that’s just not right. That is fucked-up”?

SHEPIS: Not particularly. I’ve been desensitized working on such weird shit. I mean, I have no problem killing a whore in the woods … but killing a baby isn’t my cup of tea. Even the hardened horror idiot in me has some boundaries. That’s not to say I won’t be killing babies in my next movie. This shit changes every day.

FLICK ATTACK: Since you work on multiple projects all the time, have you ever accidentally done nudity on a movie that didn’t call for it?

SHEPIS: No, but that’d be a very lucky production! They’d be, “Whoa, we’re not paying you for that!” I’d be like, “Oh, sure you are!” No, but I have been confused talking to directors on the phone. I read a lot of scripts on the plane and then I’ll get a call about getting through a script and scheduling. “Oh, yeah, that thing was awesome! I can’t wait to be involved! That scene is going to be awesome!” and they’re like, “What scene? What are you talking about?” And I’m like, “Oh, shit, now how do I back off and tell them their movie was crappy and I’m not going to do it?” So I’ve had those! Fortunately, not too many of them. You gotta remember, I’m still just a stupid actor. We fuck up a lot.

FLICK ATTACK: Do you have a favorite among all your projects?

SHEPIS: You know, I’ve got two current favorites. My all-time favorite was always The Hazing. I get possessed by Brad Dourif. I loved that movie. It was very much like a Night of the Demons — huge fan of the original, huge fan of the remake — like a fun, ’80s throwback popcorn movie you see with your friends and have a good time. Really big fan of The Frankenstein Syndrome, which is not out yet. It’s obviously close to me. I produced it, I starred in it, it’s very different than my other stuff. And another one coming out Feb. 15: Bonnie and Clyde vs. Dracula.

FLICK ATTACK: Love the title.

SHEPIS: Love the title, love the movie. And if I do say so myself, I’m pretty fucking phenomenal in it. —Rod Lott

Additional questions by Allan Mott.

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