By BRYAN CHRISTOPHER (@eviltaylorhicks)
Adam Ciolfi’s short film Filth is a black and white claymation nightmare, and I mean that in the best possible way. With a nameless, Frankenstein’s monster-like protagonist running rampant over a string of poor souls responsible for his would-be demise, Ciolfi clearly takes pleasure in sculpting all manner of grisly, clay-based gore. Today, Ciolfi talks about what sparked his love for claymation and what influences his noir style.
What inspired you to write Filth?
Film noir of the 1940’s and Bride of Frankenstein.
Was Filth your first foray into claymation? What made you dive into the medium?
I’ve been at this for 40 years, since I first saw a giant turtle chase Raquel Welsh in One Million Years BC.
How long did it take to animate and what was the biggest challenge?
One year. The final fight scene took 3 months. A logistics nightmare.
Did you always plan for the movie to be in black and white? Why or why not?
Always. Film noir just doesn’t work in color.
What made you get into film making?
Famous Monsters magazine.
Who (or what) is your biggest influence in film and why?
Ray Harryhausen. His films are the reason I started animating.
What’s your favorite movie and why?
Today it’s Mad Max: Fury Road. George Miller showed us all how to do action.
What are some underlooked films that you think more people should see?
The Night Stalker (1972), Bubba Ho-Tep, Exorcist III, Pontypool
What scares you the most?
Random acts of violence.
What scares other people but doesn’t scare you?
Being alone in a basement in the dark.
Early next year Ciolfi looks to start shooting From Hell He Rides, a take on the spaghetti westerns of the 1960’s with a horror slant. He’s hoping that both the Sergios (Leone and Corbucci) would approve. Check out weekly updates on the entire process at his blog, or on Facebook and Twitter.
