Disturbing Behaviour
Jimmy Screamerclauz
M[m]: What are some of the earliest visual or sonic memories? And did any of these inspire you to start making stuff yourself? Jimmy I got into horror movies really early in life. I was about 7 years old and my afterschool babysitters owned a video store so they would constantly bring home movies for us to watch, and for some reason, they always gave us horror movies with little-to-no regard for what we were watching. I saw my first two horror movies in the same day, they were “Child’s Play 2” and “Puppet Master 2” both killer doll sequels oddly enough! But they didn’t scare us, in fact, we thought they were funny! I remember going home that night and looking at the My Buddy doll and tried to resurrect it like the kid in the movie so we can go on murder-adventures together, but the little shit just laid there! I kept trying and trying, memorizing the incantation from the film, I even painted a blood trail leaking of his nose, but alas, My Buddy never came to life and I was killer doll-less. I eventually ended up gauging his eyes out and repeatedly stabbed him in the face before hiding him in the bottom of my closet…. I wish I could say I was making this up…. I had a problem with humping things at the time too, so I may or may not have humped his mangled body, but there are just some things you shouldn’t admit to in public. Just in case I want to run for Congress someday.
M[m]: Ok so that’s visual memories, what about sonic memories? What did you hear in your early years that had an impact? And what was the first more extreme/ experimental music?
Jimmy I think the first band that really got me into “weird” music was Green Jelly. I saw the Three Little Pigs Claymation video on late night MTV when I was like 9 years old and it blew my tiny little mind! I remember getting the cassette tape for my birthday that year and it became my most played taped. I desperately wanted the full-length VHS tape as well but it was so hard to find back then, especially without the internet… and being 9… A few years later I would discover Ministry’s Psalm 69 and that started my whole industrial obsession, which then lead me into more obscure forms of electronic music as well. I kind of skipped the whole trance and house scene and got right into gabber/hardcore/speedcore first. I remember the first CD I got was Industrial Strength volume 2, which was a compilation album and opened the door to all my favorite artists like Delta 9, Nasenbluten/Bloody Fist, FUHD/Hellz Army, Lenny D, Disciples of Annihilation, etc. Look up the track “Shaftman” by the Shaftmen is you need a laugh.
M[m]:what came first your visual, written, sonic work- or did the develop together? Jimmy I definitely wanted to make movies and music around the same time, but the music was always just easier to do on my own. I remember when the first version of Fruity Loops came out and I got a copy and with a few friends we figured out how to use it on our own. There was really no training for it at the point, and the manual had all these like…. Words and stuff, big ones too, and who wants to read words when they’re no in school!! I was really into industrial music and underground hardcore techno. Stuff like Industrial Strength Records, Skinny Puppy, Nasenbluten, Ministry, Delta 9, Meat Beat Manifesto, DJ Tron, etc. so that was the kind of stuff I wanted to make. I never wanted to make “normal” or mainstream music, I don’t like “good’ music, haha, I mostly find it boring. I like originality and weird dark shit. Believe me, people are always breaking my balls about stuff I like, since my turbulent youth!
Jimmy As a kid, it wasn’t really clear to me how movies were made, like I understood there were actors, directors, cameras, etc. I just didn’t know who “made” them. I just assumed whoever directed it also wrote, shot, colored and edited it and that every once else was just sort of… “there”. So I figured if I ever wanted to make movies I had to be able to do everything too. I thought I had to write my own stuff otherwise I wouldn’t be “allowed” to make it…. Which is still pretty much my mentality today, much to the dismay of everyone I know in real life is who constantly trying to get me to animate their scripts and I’m just all like “Nah yo”. It’s amazing how many people don’t like your work anymore once you turn their animation requests down!
M[m]: tell us a little bit about how & why you came up with the name Jimmy ScreamerClauz?
Jimmy It was just some dumb shit I made up as a kid when I was like 11-12 my neighbor and I wanted to start a band and were making up stage names. I came up with a really long and ridiculous string of words, something along the lines of “The Alien Screaming Head From Planet yadayadayadyada” and my friend told me that was too long and suggested I shorten it to just “Screamer”. So I started using screamer for everything, then fast forward a few years when I got the internet and it was time to start setting up screen names for stuff and much to my dismay, the mostly generic screamer was already taken everywhere so I had to start inventing last names. Since I was young I would change the last name almost every month, like ScreamerDeath, ScreamerAlien, ScreamerPreMatureEjaculator, ScreamerIDontFeelLikeTakingTheTrashOutMomFuckOff etc. Then one Christmas I changed it to ScreamerClauz and by then realized that changing my email every month was causing problems, so I just left it as ScreamerClauz and then never changed it again. Fast forward more years later when I started making electronic music and needed a name to release music under, and all my screen names were already ScreamerClauz so I decided to use that. Then I started playing shows and meeting other DJs/Producers and within the scene, most people addressed each other as their real first names and their stage names as their last names. So people in the scene started calling me Jimmy ScreamerClauz so I just kept it when transitioning over to movies. Plus my real name is, Jimmy Creamer, which is just as retarded and ridiculous as my made up name, so really I’m fucked either way.
M[m]:Your first animated feature was Where the Dead Go to Die- what made you decide to switch from live action to animated? And do you think you’ll ever go back to live action? Jimmy Before WTDGTD I attempted to make a feature film called Reality Bleed-Through that was half animation and half live action and I found I was much more satisfied with the animated bits than the live action ones, so I decided to try full animation as my next project and Tainted Milk was created. I’d really like to do a live-action/animation hybrid again but haven’t thought of the right project yet.
M[m]: You mention on the commentary for Where The Dead Go To Die that you wanted to do more stories with Labby( a talking dog that gets people to do very sick things). Have you worked on these yet? Jimmy I’ve kicked around several Labby scripts since I’ve released the film, but none of them have stuck yet. Once I find the right way to use him again I definitely will! I’m experimenting with shorter stuff right now and I might try to do something quick with him.
M[m]: Still discussing Where The Dead Go To Die, you mention on the commentary that you planned it as a comedy, as the possibly one of the most deranged & disturbing things I’ve seen- do you still find any of it funny now it’s completed? Jimmy Haha oh man, I forget what I said on that commentary, I’ve never gone back and listened to it cause I hate listening to myself talk. All I know is that I have to hear about it almost every day now! The true story is that I 100% originally intended Tainted Milk to be a parody of Lassie (hence the names Labby, Tommy instead of Timmy and someone being trapped in a well). We recorded all the voices thinking we were just going to make it funny. Then the big joke at the end was that it was going to end in the most depressing horrible way possible so that you’re watching this dumb goofy light-hearted parody and then all of a sudden you’re slammed with some fucked up shit. But then after animating and editing it for a while, I realized that it was even weirder/funnier if I played the whole thing straight. So after it was done I still thought it was funny and started showing people, but literally, NOBODY thought it was funny, in fact, it mostly seemed to bum people out… I remember being at a horror movie convention and I played it for a filmmaker I knew for a few years, and then asked him what he thought and he was beat red and wouldn’t even look me in the eyes. He eventually mumbled something and walked away… He never spoke to me again… After losing a few more friends finally I was like, “alright what’s the problem?” and someone was like “how could you make that kid fuck that dog… is that even legal??” and I was shocked that people were actually offended by that. I couldn’t believe it, I would argue with them that there was worse stuff on South Park, like that episode where all the boys start jerking off dogs while yelling “red rocket!”, then the dog cums! ON TV!! Labby doesn’t even cum in my movie, and if he did, he at least had the good graces to keep his mess inside and not for all the world to see!!!..... But I digress…
Jimmy About a year later I started making Liquid Memories and I tried to make it more serious but still inject a little bit of fucked up humor here and there. Mostly the weird shit that Labby says and a few of the absurd set pieces were supposed to have a sense of humor to them, but not a flat out “comedy”. The third chapter was based on a combination of Ritual Abuse conspiracy theories and To Catch a Predator episodes. It was supposed to be the most serious of the three and was not meant as a comedy at all, but again, some of the absurd set pieces and weird dialogue were meant to have a sense of humor to them. I hope that clears it up once and for all, but it probably won’t, so whatever!
M[m]: Your animated work as a whole really pushes the boundaries of taste & shock- is there anything you wouldn’t put in a film? Jimmy Hhhmm, happy cute animals, children visiting their grandparents at Christmas time, two breasts that are the same size, dicks that aren’t erect, ice cream, the sunshine, lollipops, rainbows, and everything that’s wonderful when we’re together girl!
I am also offended by wizards and leprechauns. Magic and necromancy is satan’s candy playground and shouldn’t be socially acceptable.
M[m]:Your second full-length animated film was last year’s Where Black Birds Fly- this saw you pull back a bit on the shocking side of things- was this a deliberate move or did it just happen that way? Jimmy It just happened that way, but I really don’t feel like it pulled back all that much, the violence and the carnage are about the same, it’s really just the subject matter of WTDGTD that people find so far out, specifically the child abuse angle. It’s one of the last taboo “off limit” subjects left in art. Which is a little surprising given the fact that most people in horror film circles and artist communities have some sort of darkness stemming from their childhoods. People in positions of power and fame are in the news constantly getting busted with child pornography, and if you do any research into government and Hollywood conspiracy theories you’ll see that they are mostly set up around the heads of power structures secretly being kid fuckers. Right before I made Tainted Milk I worked on an album about Satanic Ritual Abuse, which is essentially a conspiracy theory stating that the world is secretly run by an underground network of Satanic pedophiles who are systemically kidnapping children for ritualistic purposes. I watched and pulled samples from over 100 documentaries and TV specials on the subject and those stories are really what the basis for the third chapter of WTDGTD became. I’m not saying that the conspiracy theories are necessarily true, I’m just saying it’s a wacky fucking world we live in and there’s some crazy shit that hasn’t been explored on film yet.
When I made WTDGTD I never really set out to make something overly disturbing, it just sort of happened that way given the source material. Same with the second film, I just made it without really thinking about how shocking it would end up. But fear, not I have a lot more tales of human atrocities that I shall unleash on the world someday!
M[m]: Through both your animated films you have quite a current of mythology running through them and at times it reminded me of a more perverse take on the anime myths in more extreme films like Urotsukidoji & Wicked City. Are you a fan of this type of movie? Jimmy I actually know very little about Anime, I was never really a fan. My influences come more from horror films and late-night cartoons. I’ve only watched a handful of Anime films, I have seen Urotsukidoji and enjoyed it, but I can’t really claim it had a whole lot influence on my stuff. I saw Corpse Party and La Blue girl as well, but not until recently.
M[m]: Tell us a little but about how you plan & write a script, for example, what was the process with Where Black Birds Fly? Jimmy The only thing that seems to be consistent in my writing process is that I waste way too much time over-thinking shit and driving myself crazy. I also tend to write stuff I can’t really pull off on my own, so then I end up re-writing it a few dozen times while working on it as well. WBBF was kind of the worst way to write a film quite honestly haha. Like the script was 3-hours long and had all these side plots and sub-stories and a different collage of ideas, which all sounds great when you’re writing it, but then when trying to make it I realized I had to cut it down and focus more on a few ideas. So it drastically evolved and changed daily. It was really hard to explain to people so getting advice was kind of hard too. It all really burned me out, which is why it’s a year half later and I haven’t really started a new feature film yet, I’ve been trying to focus on shorter things for a little while until I figure out what I really want to do next. But even with the shorter things, I’m falling into my same habits, so who knows what will happen!
M[m]: One of your recent creations was a video for an Australian extreme horror rap project Butchers Harem & their track Snuff Porn Holocaust. The video is certainly another example of your bizarre/perverse/ disturbing animation- talk us through how you think up the imagery & how long did it take you to script/ put together the video?
Jimmy Well, in this case, the title of the track was “Snuff Porn Holocaust” so I decided to just animate something that would fit with the title! We started talking about it right after I released When Black Birds Fly in late January 2016. It took a few months to decide which track we were going to use, in fact, I started animating a lot of the opening farm stuff before we even officially decided. It’s hard to say how long these things take though because I stop a lot, change my mind and re-do things. Like there was at least 3 months where I didn’t work on it at all because I was working on Flying Lotus’ “Kuso”.
M[m]: Talking of Butchers Harem- you’ve done a few videos for their work now, and they've also done voices in your films. Tell us a little bit about how you first got in contact with them?
Jimmy Butchers Harem currently consists of mainly two guys, Bushpig & Cumblood. I found them because they both started out in an Australian Breakcore/speedcore/noise collective called “Shit Wank” under the names “Passenger of Shit” & “Shittingwhore”. Back in the early 2000s when I bought my first set of turn tables and I was at the peak of my speedcore obsession, I was blindly buying vinyl records from a company called Soundbase in Germany. Back then the Euro was brand new and was barely worth anything compared to the US dollar, so I was able to buy huge stacks of records for almost nothing. During one of these mega-buys, I picked up an untitled Passenger of Shit 12” on a label called “Global Terror”. I remember it was in a plain white sleeve with a big black and white sticker that had one of his detailed drawings of a dick with maggots on it getting pulled out of an STD infected pussy and it was squirting blood and cum everywhere, it didn’t look like any of the other records in the stack! I had just made a video called “Homicide Is a Form of Art” that had the same kind of low-budget ultra-gore filth imagery and I felt like I finally found someone else in the “scene” that was trying to do something crazy.
Jimmy So I threw on his record and it was like nothing I ever heard, there was one track called “Brutalize My Penis” which was just people screaming in angry Australian accents “Brutalize My Penis! Stick your fist up your fucking asshole!!” over hardcore beats with hi-pitched screeches in between and synth lines that sounded like they were played by The Residents on children’s pianos. It was great! Then I remember going on his Shit Wank website and clicking on some of his other projects and that’s when I discovered “Suicidal Rap Orgy”, which is the group that eventually became Butchers Harem, and it blew my mind even more! It was angry avant-garde gore rap over top of heavy industrial acid beats with like 10 MCs screaming the filthiest shit you could imagine as loud as possible. Back then they had a few girls in the group who would say even more horrendous shit than the dudes! It was the perfect “gutter slime” music, something so out there and disgusting that people can’t even process it most of the time. I immediately started showing everyone I knew, but of course, nobody got it! It takes a special kind of maniac to appreciate this sort of stuff.
Jimmy Around that time Myspace was first becoming a thing and I finally found a way to contact him. I was getting ready to put out a new 12” vinyl and I wanted to make it a compilation record so I contacted him to see if he would do a track for it, and he surprisingly agreed. So we became internet friends after that and traded some releases back and forth through the mail. When I started making Tainted Milk I asked him to do voices and he was cool about doing shit. Then more time passed and WTDGTD was just about to come out and he told me he was about to release a new Butchers Harem album and then the idea clicked.
Jimmy “Yo! I should do a music video for one of the tracks!!” he loved the idea and sent me the album and said I could pick any track I wanted. I obsessively listened to it non-stop for a month, trying to take it all in. Around that time I contacted Cumblood for the first time and told him I wanted to do this video and we struck up a friendship as well. So I just started animating gore setups, much like the new video not even completely sure which song it was going to be for at first. I eventually settled on “Clinical Sodomy” mostly because I could use a hospital setting and it gave me somewhat of a direction to go in. When it was done we just threw it up on vimeo not really even knowing if anyone would see it, and somehow it got over 200,000 views in a week. It was the biggest response I ever had to something and it was perfect timing because WTDGTD was just about to come out and it gave me some much-needed exposure. Vimeo eventually deleted it and it since has this weird second-life of people re-uploading it for as long as they can until it gets deleted again. There’s no really no way to gauge how many people have seen it at this point.
M[m]:Going onto discuss your sonic work- what equipment do you use to create your work?
Jimmy From the very beginning on my musical escapades, I’ve been using “FL Studio” as my main DAW package. In the last few years I started getting more into MIDI controllers too, I have an Axiom 49 keyboard, a full-size Novation Launchpad, an Icon Icreative pad, a Korg Kaoss Pad and Korg Nanopad2. The unfortunate truth is they all pretty much do the same thing though, so I really don’t NEED them all, but sometimes I like to plug them all in any way and watch all the little lights so I can analyze if they are blinking in some sort of deus ex machina Morse code communication pattern that can help me unlock the secrets of the universe... Haven’t found any secrets yet, but that doesn’t mean they aren’t there, man!
M[m]: Much of your sonic work is reliant on pretty disturbing samples- are you constantly collecting samples? Or do you just look for them when you decided the theme of a track? Jimmy I have a huge collection of obscure films and wackjob documentaries, I also have an obsessive interest in the paranormal, aliens, true crime, gross things and generally anything off-putting and wrong. So whenever I’m watching anything I always have a notepad opened and whenever somebody says some kind of sample gold I note down the time code and go back for it later.
M[m]:You mention having a collection of obscure/ odd films & doc- please select of few of your favs, and explain why you like them?
Jimmy Cooking With Huck Botko – This is a crazy underground compilation of shorts made by a dude named Huck Botko. Each short is shot in documentary style with Huck making some kind of dessert for an upcoming family holiday, except that he taints the food in some horrible way and then films his family unknowingly eating it. Each short gets progressively worse and it's shot in such a way that you’re never really sure if it’s real or not.
SOS & 20 Minutes to Go! – This was two VHS compilations of recruitment music videos made by a religious sex cult called “The Children of God” later renamed “The Family”. They were a crazy group of wackos who used to go out and practice “flirty fishing” which meant they’d find dudes to fuck and then after you shot your unholy load they’d start preaching about Jesus to try to get you to join their group, and it worked! So this compilation has a bunch of their insane music videos like “Did Charlie Make a Monkey Out of You?” about evolution being bullshit, “Mother Let Me Live” a romantic balled about not getting an abortion, “Kathy Don’t Go To The Super Market Today” about people getting 666 microchips implanted in their hands by the devil, and a whole bunch more!
Deception of a Generation – A 2-hour recording of late 80s Christian public access where two paranoid weirdo’s go through children’s cartoons and toys to point out all the hidden satanic messages. At one point the preacher claims he met a girl running around a church parking lot yelling “Mommy Jesus isn’t the master of the universe, He-Man is!!”
Crazy Dave Tape Trilogy – a series of insane “video mixtapes” made by a group of guys from Ohio. They basically find the best/sickest/craziest clips and edit them together in rapid fire assault-style, it’s so quick and nutty your brain can’t even process what its seeing most of the time. Volume 2 is my favorite.
Goddess Bunny Documentary – The Goddess Bunny is a dwarf drag queen who was stricken with polio at a young age and appears incredibly frail and grotesque. But he/she is also an underground LA actor and performance artist in the cult art scene. A lot of people probably saw the famous “Tap Dance” video that’s been going around for years. This documentary follows him around (both in and out of drag) and is a fascinating look into his life. He apparently banged a lot of famous people over the years too
Heaven’s Gate Recruitment Tape – Come on I couldn’t NOT list this one. It’s basically just two hours of Marshall Applewhite talking in extreme close up about how the world is ending and why you should kill yourself to get onto the UFO. As much as I love my boy Applewhite, this is pretty hard to sit through, after about 5 minutes his words mostly stop making sense and it just sounds like a wall of gibberish sounds. But still, you need to see it at least once, and then cut your dick off and kill yourself because life is meaningless and aliens are god.
By Satan Possessed – Probably the most “well produced” documentary about satanic ritual abuse (it was made by HBO after all) but it also has some of the best quotes ever. My favorite sample of all time came from the opening line of this doc “I was impregnated by father who was costumed as the devil”
Jimmy Unarius Cult Tapes – a series of VHS tapes produced by the Unarius UFO cult in the 80s/90s featuring one of the leaders “Arch Angel Uriel”, who was over 80 in most of these videos, claiming to be a psychic medium to an alien race that would soon return to earth to collect all their followers. In one of them, called “The Ballad Of Anabel Lee”, Uriel claims to channel an old black slave named Anabel Lee, who recalls her life on a plantation and as she tells her story her followers reenact it for us….. While most of them are in black face makeup…. There was a documentary about the cult recently called “Children of the Stars” but if you want the real deal track down the video tapes. I’m not even sure how many there are honestly, I have 12 of them and I can’t even be positive that’s all of them…
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David Icke’s “The Reptilian Agenda” – 6 Hours of conspiracy theorist David Icke interviewing South African Zulu shaman Credo Mutwa going over the entire history of mankind being secretly enslaved by a shapeshifting reptilian race from the draco star system. At one point he claims him and friend collected a dead gray alien from a crashed space ship and after they consumed its flesh they went on a 3-day psychedelic trip. Pretty wild stuff! If 6 hours aren’t enough, tack on David Icke’s “Revelations of a Mother Goddess” where he interviews ritual abuse survivor Arizona Wilder, who also says she was banged by reptile creatures.
Frat House – an unreleased Todd Phillips documentary, who also directed the GG Allin doc and then later went on the make the Hang Over films, about fraternity hazing. It was produced by HBO but then shelved due to complaints from the college campus’ it was shot on. The only way to see it is to track down the mostly finished workprint cut that still has a timecode on it. One of the guys named “Blossom” is the perfect epitome of fraternity meat head fuckwits. At one point he claims to make applicants bite the heads of live mice as part of the initiation, and if you don’t do it YOU’RE NOT A FUCKING MAN BRO!! Another interesting side note is that both Huck Botko and Andrew Gurland from my first selection worked on this film as well. They also went on to co-direct a movie called “Mail Order Wife” which is also pretty odd and funny.
Jimmy Radio Werewolf on Wally George – This is a hard one to explain, basically Radio Werewolf was a crack-pot band of gothic neo-nazi Satanists who played a mixture of goth rock industrial neo-classical shit, they were led by Nikolas Schreck and one time they appeared on a west coast talk show hosted by Wally George and it’s just one of the funniest, cringiest, most ridiculous things ever. At one point Nik jumps up and demands the crowd fall to their knees and worship a creature named “Grimsley” and Wally George calls him a pinko-panty waste.
Hell House – Another insane religious documentary that I’ve sampled the shit out of over the years. It shows the construction and opening of a Texas Halloween “Hell House”, which is a Christian version of a haunted house where they try to scare you out of being gay and shooting up your school.
M[m]:thorough-out both the artwork for your sonic work & in your animation you use the face of cult leader Marshall Applewhite- what is it you find so appealing about him?
Jimmy He was a philosopher and a teacher, a poet and an intellectual, a spiritual guide and a down-to-earth go-getter... He also cut his dick off so he could keep himself pure and not be tempted to fuck dudes so that after he killed himself he would be transported onto a UFO and finally be accepted by our ever-loving alien overlords… Who apparently don’t like to fuck... What’s not to like??
M[m]: Your most readily available album is Planetary Evacuation Recruitment tape( another Applewhite reference) - which appeared on Unearthed music/ MVD Audio. Over what period of time where these tracks recorded?
Jimmy I worked on my Ritual Abuse album on and off for a few years and by time it was done I had a lot of leftovers or half-finished tracks that I really had no plan for. When I sold WTDGTD to Unearthed they asked if I also wanted to do an album and help them launch a new music label, so over the course of a month or so I went through all my leftover tracks and finished them and then compiled them into the album. I don’t really have any plans for another all speedcore album, but I’ve been working on an album of bizarro industrial dance music that utilizes the same sort of obscure offensive samples and morbid sense of humor.
M[m]: Along with your own films you’ve gone on to score quite a few underground horror films- what attracts you to a project? And how do you go about writing/ arranging the soundtrack?
Jimmy 99% of the time its friends/cohorts who need to me to do something for them. I pretty much never seek out any sort of film work, I mainly prefer to just work on my own crap. When it comes to other people’s films I usually just record them a large pile of moody music and then let them figure out where it’s going to go, mostly because that’s what they ask me to do. When it comes to my own stuff I do it on more of a scene by scene basis and try to capture the certain mode I’m trying to achieve.
M[m]: I believe you’ve performed live more than a few times- what are you live shows like, and what do the involve?
Jimmy Before WTDGTD I use to tour quite a bit, but it was always a weird confusing mess, mainly because nobody really knew what to do with me. I used to strip down to my underwear and cover myself in fake blood with a paper bag mask over my face and then mix my tracks off my laptop using Traktor. When the club permitted it I would also bring a DVD full of visuals I cut together, a collection of the most disgusting clips you can think of from splatter movies, obscure porn, alien autopsy, traces of death etc. all smashed together in rapid fire style. I didn’t even do it to be shocking, I genuinely thought people would enjoy it, but problem was that I was mainly getting booked at raves where I would play in between happy friendly trance/house/jungle music, and then I would come out and play 350bmp deathcore with samples about the devil and large screens of overlaid poop-porn. I mostly scared the shit out of everyone but not in that fun Halloween horror movie kind of way, more in the “we’re on psychedelic and don’t want to think about this kind of shit!” kind of way. I remember one Halloween I played at a trance rave in a rented out church basement and about 15 minutes into my set you just saw the faces of 200 tripping kids descend into complete and utter horrid despair, and then they all ran for the door at once (and tore down the screens on their way out). The rave was over after that, and the parking lot turned into a cuddle-puddle of crying half-naked 17-year-old candy kids yelling “that wasn’t plur man!! That wasn’t plur!! What the fuck bro!! Call my mom I want to go home!!” Then I didn’t even get my $20 DJ fee, even though I felt like I earned it!
M[m]:: So what’s lined up next for you? And any more full-length films or albums in the works?
Jimmy I’m trying to experiment with some shorter stuff for now until I figure out what the next “big” project is. I really want to try a more episodic approach and maybe do some kind of mini-series, but it’s all still up in the air right now. I still fool around with music now and then but not sure when I’m going to start compiling it into albums, I’m way more focused on films for now.
Thanks to Jimmy for his time & effort with the interview. You can find out about everything Jimmy wise on his website, and also buy his films & music direct. Here’s the link