Brian Yunza is a Director/Screenwriter/Producer known best for his work on the “Re-Animator” and “The Dentist” series. Most of his film work falls into the horror genre. Brian has also started production company, Fantastic Factory. He has worked quite a bit with Stuart Gordon and they are both big fans of H.P. Lovecraft and together they have developed several of his stories into films. Movie Mikes had a chance to chat with Brian about his films and what he has planned upcoming.
Mike Gencarelli: Can you reflect your favorite film in the “Re-Animator” series?
Brian Yunza: My favorite of the “Re-Animator” films is the first one because that not only invented the thing but it was also the first movie I had produced. Not to mention that it was the most successful. When you make a movie for the first time everything is new, every situation is unique, each challenge is fresh. Just like a first love, a first film is a process of discovery that can’t be repeated. If “Re-Animator” had turned out badly perhaps I would have buried the memory and moved on to another movie for my fond reminiscences. The sequels have a place in my heart, of course, but I am well aware that each of them had the goal of fulfilling certain expectations created by the first film.
MG:Tell us about working on “The Dentist” series? Would love to see that series continue?
BY: The first film in the series originated as an idea by the head of Trimark Pictures, Mark Amin. I agreed to develop and direct his idea and at that time my company would have also produced it for him. Mark didn’t insist on a particular story, only that the film should focus on the fear of sitting in the dentist chair, not on some fantastical or sci fi type of twist. We listened to pitches from over two dozen writers before settling on the story, and even then the script didn’t give us what we wanted. The process of working with Trimark was a very supportive and congenial one, and when I went off to Canada to produce Crying Freeman I was happy for them to make the movie without me if that worked out better for their schedule. When I returned and new writer had made some interesting improvements in the script and Pierre David had come on board to produce. I rejoined the project even though the budget had been slashed and worked on the script with on of Pierre’s executives while we were in pre production. Trimark did a great job of helping 
us find an appropriate and talented cast for the movie, and I can’t say enough about Corbin Bersen and his contribution to the film. He was more than just a lead actor, he was always there to help solve problems with creative solutions. I was insecure about The Dentist- I just didn’t know if it was going to work. I had never had such a minimalist situation for a story which led me to design the shooting of the movie more than I ever had before. It also had something I was not experienced in which was a ‘body count’. I was concerned that the killings be stylish and visual. All the sound and music was done by Alan Howarth in his studio in a very short time. Finally, when it was all over and I had seen it with a few audiences my fears were allayed and I realized that it did work and Corbin’s dentist character was truly memorable. The sequel was more difficult in many ways, not just because the budget was even smaller, but because I was unable to work with the script until the weekend before we began shooting. So, Corbin (and leading actress Julian McWhirter) would have dinner each evening after work to review and amend the scenes for the next day. The sequel is less successful than the original, but a lot of fun in its own way- mainly because the Dentist character is so much fun to watch. Corbin and I have discussed often our desire to continue the series. But we can’t because we don’t control the rights. Corbin is determined to revive the character. It was the character that introduced him to genre films and he now he loves the genre.
MG: When making “Return of the Living Dead III”, how much did you lean on the prior films in the series?
BY: I don’t think I “leaned” on the previous “Return” films at all. I admire the first one greatly, and was very aware that it was an unofficial sequel to “Night of the Living Dead”- so I wanted to respect both of those movies while doing something original. The straight forward horror of Romero’s film and the EC Comics style of O’Bannon’s film both influence “Return 3″”, but I think that the film that screenwriter John Penney and I fashioned goes its own way. Some fans were not happy that “Return 3” wasn’t as comedic as the first, but as a fan myself I find “Return 3” to be a very 
satisfying, fun horror film. I changed interpreted the underlying mythology of the living dead in a way that I felt did justice to both Romero and O’Bannon- the Trioxin gas remains as the reanimating agent, but the saliva of the living dead was able to turn victims into zombies. The studio, Trimark, insisted on only one requirement- that the movie contain “brain eating”- so I decided that the living dead ate flesh, not for the meat, but for the nerves in it, and the biggest bundle of nerves was the brain. So, you can see that I wanted to take the story a little more seriously that “Return 1”.
I didn’t draw on “Return 2” for inspiration as I thought it had been burdened by the requirement to carry on characters from the first film and to be wildly comedic. I was actually more inclined toward an ironic humor and especially the character of Julie as a living dead heroine. After making “Bride of Re-Animator” I realized that I was most interested in the character of the “Bride” and she only showed up in the third act. So with “Return 3” I was able to make that kind of character the core of the movie.
MM: Going from working in the horror genre, how did you get involved with Disney and “Honey, I Shrunk the Kids” as co-producer and writer?
BY: After making “Re-Animater”, Stuart Gordon (director of “Re-Animator”) and I were having a BBQ at my house and decided that we should make a movie for our young children. I recalled imagining myself to be smaller than a blade of grass as a kid, riding on an ant, and how exciting that would be. Stuart immediately saw it as a Disney movie and we quickly came up with the idea of an inventor who shrinks his kids. We were able to get a meeting with a development executive at Disney and on a plane ride back from Rome (where we were shooting “From Beyond and Dolls”) Stuart and I wrote out the whole story on a legal pad and pitched it upon arriving in LA. Surprisingly Disney loved the idea and immediately and put it into development. For the next year we worked on the project making set designs and storyboards, casting and special FX. We built all the sets in Mexico (full sized since there were no digital FX back then). Unfortunately, a few weeks before shooting Stuart had health problems and had to bow out.
MG: What was the most challenging film you have worked on?
BY: That’s almost impossible to say because there have been so many difficult ones. But, I would say that the first film I did in Spain, the one that kick off the Fantastic Factory and demonstrated whether the idea of producing genre films in Spain using Spanish crew and talent would work, is one of the candidates for most challenging. That was “Faust: Love of the Damned”. One that would top “Faust” is the one I just finished, “Amphibious 3D”. Shooting in Indonesia with 
Indonesian crew and some Dutch key personnel, doing it in 3D and having lots of creature FX and CGI- well that was incredibly challenging. The guys who built the 30 foot long sea scorpion lived in the middle of the island of Bali, worked on the floor and had never been on a movie set before. But the main thing that made the production difficult was the collapse of the financing in the middle of the production. This is one of the main reasons for disorganization and insanity on a movie set: the lack of a solid financing structure. Everything is in flux. It is like building a house with a faulty foundation. However, maybe by challenging you don’t mean difficult, but, well, “challenging”. In that case certainly “Re-Animator” qualifies because it was the first movie I produced, and it was immensely challenging to try to do something one has never done before. Or “Honey, I Shrunk the Kids”. Designing a movie for a mass audience with the Disney tradition to live up to is pretty challenging. Or how about “Beyond Re-Animator”? Making a “Re-Animator” movie that isn’t a complete failure when the only other person on the set that has an inkling of what we are trying to achieve is Jeffrey Combs. Shooting with a completely Spanish crew with mostly Spanish actors and trying to live up to the expectations of the fans was seriously challenging. You know all the movie productions have been involved with been very challenging, and a lot of that has to do with the goals we set for ourselves. One each one I try to raise the bar as high as I possibly can – and that’s the challenge.
MG: Do you think you will ever continue the “Re-Animator” franchise?
BY: I have been doing my best to continue it. After my years doing the Fantastic Factory I came to LA with the plan to get financing for a trilogy of “Re-Animator” sequels that would continue and bring the saga to a close. It was kind of shocking to be to not find a strong desire to participate at places like Lionsgate and New Line. Well, even then the business was changing. I continued developing the stories for the three films, and at one time thought that we had the financing in place for the first of the trilogy, “House of Re-Animator”. That was to be Herbert West in the White House. Stuart Gordon was going to direct and William Macy agreed to play the re-animated president. I wanted to have Dan Cain come back so we could have a good confrontation between him and West. But, the financing fell through. Then 
Obama got elected and Stuart lost his enthusiasm because he enjoyed the idea of using some of the irony in the film in political satire. The political angle to me was less interesting because I am of the opinion that politics works fine in sci-fi, but horror is more the domain of psychology and religion. At present I am actively developing a script for “Re-Animator Unbound”! It is the story of what happens after Herbert West’s adventures in the White House and he has gotten black ops funding for an experimental project. For the first time he has a fully equipped laboratory. Once I get the script in order I will try to get Jeffrey Combs to agree to do it and, one way or another, get the financing for it.
By the way, Stuart Gordon is presently presenting his adaptation of “Re-Animator” into a musical comedy- entitled, believe it or not…”Re-Animator :The Musical”. It is really entertaining and should be a big hit.
MG: Tell us what other upcoming projects are you woking on?
BY: I am currently working with The Little Film Company’s Robbie Little on the financing plan for “The Men”, a sci-fi thriller by Dan O’Bannon (“Alien”, “Total Recall”) which Stuart Gordon will direct. The script is really great, about a woman who discovers that all men are aliens – so you can see that even though it is a thriller it will have a good dose of irony. It is a project that I worked with Dan on way back twenty years ago so I am really thrilled to be seeing it finally get going. Of course, I am working on “Re-Animator Unbound!” I am developing a 3D immersion film called “Necronauts” based on the short story of the same name. And I just finished co-writing with John Penney a pretty wild script called “The Pope”. Mainly I am working on arranging for a financing facility for making another label, or line, of films.
