![]() ![]() When he couldn’t find the right pieces in the warehouse, he relied on a small army of his artist friends, building up a team that would eventually swell to 60 people. ![]() They were really densely decorated,” Gibbs said. Shortly after, he walked into Universal’s prop department and “took everything and just threw it everywhere.”Įvery frame of House of 1,000 Corpses splits at the seams-crammed not just with ideas and influences, but just plain old stuff. Gibbs, who had designed several of Zombie’s music videos for Hellbilly Deluxe, got a call about joining the movie’s crew in February 2000. “The script wasn’t even spell-checked,” remembered Gregg Gibbs, House of 1,000 Corpses’ production designer. The executive seemed to like it, so Zombie went home and started writing. Riding high off the success of his latest album, Hellbilly Deluxe, he was designing a scare maze for the studio’s Halloween Horror Nights when an executive turned to him and asked if he had any movie ideas. Zombie had just gone solo when Universal decided to give him a blank check and the run of their backlot. “It’s the movie equivalent of doing a haunted house.” “I know that had the idea for Corpses while working on a haunted house, which really comes through,” Martin said. It was the Marx Brothers and the Manson family chopped up and blitzed in a blender, then poured straight down your gullet as you’re held down by a late-night horror host from the 1950s and an MTV editor from the 1990s. ![]() His finished film was Texas Chainsaw Massacre but more gleeful and carnivalesque it was The Rocky Horror Picture Show but more cramped and grotesque. House of 1,000 Corpses draws heavily from the horror canon that Zombie feasted on growing up in the sleepy town of Haverhill, Massachusetts, in the years before he went off to New York City to found White Zombie and become a heavy metal god. “I had to learn everything I could about it.” You know when you realize that you and a director are on the same wavelength? I just got it, instantly,” said Eleanor Martin, a postgraduate film student in England. Several younger fans who spoke to The Daily Beast’s Obsessed professed to hunting down their own DVD copies after falling in love with it. That diehard fanbase has only grown in the years since the advent of social media and the dawn of the streaming era. “I couldn’t wait to see what else this shock rocker had in store for us.” “I just wanted to shout it from the rooftops, like, ‘This is the future of horror!’” he said. An hour and a half later, he walked out on a cloud. Keenan McClelland, who works at a comic book store when he isn’t broadcasting himself gaming, watching horror movies, or recording The Every Day is Halloween Podcast to his audience on Twitch, rushed to a midnight screening in his hometown of Orlando as soon as he caught wind of the movie’s release. It finally hit theaters in 2003, though, much to the distaste of critics-and the delight of a small slice of the moviegoing public. Punctuated by bizarro cutaways and surreal sequences, House of 1,000 Corpses very nearly never saw the light of day, thanks largely to a procession of studio executives who believed they were punk rock enough to ride, only to clutch for their pearls at the last second. ![]()
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