Interview: Robert Tinnell
Producer - Surf Nazis Must Die


Assistant Director John Bick by Dawn Wildsmith's floating head

1. Where did you get introduced to Peter George?

Peter and I went to Columbia College together in LA - as did many of the other crew members. We were only a few months out of school. I don't remember exactly how I met Peter. But somewhere along the line at school we ended up in the same crowd. And I liked him. Right after graduation I was production managing a couple of Fred Olen Ray pictures and I brought Peter in - and he worked like a dog. That's when we really started becoming better friends. After we finished the second picture Peter called me right before I went off screwing around all over the country for a few weeks and told me he wanted to do this film. And he had the money. I knew Peter was dependable and I knew we'd have fun. As I recall I actually read the script when I was in a motel room in Sonora, TX. I was traveling around with some people - just kind of partying and enjoying myself - and we broke down and were stuck there for a week. Anyway, that's the way I remember it...

2. The storyline is somewhat controversial. Did this cause any problems with raising money?

No. Peter raised the money privately. We did, however, film under the title CRIME WAVE just because we didn't want any hassles.

3. How long did it take to make Surf Nazis Must Die, including pre-production?

Well, as I recall we did a sort of pre-pre-pro and then the regular pre-pro. First we were in a little office out in North Hollywood or thereabouts. Then we moved to an industrial complex. Rented a space in an industrial park and set up shop. Had an office, built an editing room, stored props, etc. I didn't answer, did I? I guess we were in pre for six weeks or so. We shot for eighteen days. Then Peter went to Hawaii to shoot the surfing and that took three days.

4. Who thought of the claw and other random weapons?

As I recall the script actually called for them.

5. What was your favorite/least favorite memory from the making of the film?

There are actually a lot of good memories. I had good friends on the show and shooting went pretty well. The best memory - other than the good times in the editing room - would probably be this spontaneous football game that we played one night after shooting. It got pretty wild and at one point I thought Peter was really hurt. It was a cathartic thing - and fun as hell. The low point? Probably when Peter wrecked the boat near the end of the show. Really messed us up... In fact, if you watch when Dawn Wildsmith is beheaded you'll see it isn't the real boat. It's a little boat I rented from UHaul. I think if you pause you can even see the U-Haul logo!

6. How was your relationship with Troma?

Remains great to this day. I won't speak for Peter though I imagine he'd agree but, for me, Troma was straight up. In fact, I spoke to Michael recently about a friend's film. And Lloyd is a great guy. We made money. Wish I could say that on all my films.

7. What were peoples' reactions to the movie?

It was weird. I mean, the Today show, Entertainment Tonight - huge coverage for a film that cost less than $200k. And most critics hated it, though Duane Byrge at The Hollywood Reporter put it on his Ten Best LIst. But it played all over the country and did a great business. I think some Troma fans were annoyed that it wasn't more graphic or gross-out or funny or whatever - but the truth is we were an acquisition. Troma didn't come in until after the picture was finished. Of course, they were very influential in the promotion and marketing and did that brilliantly. Another aspect to consider is that the Troma mystique was at that time still very much in its infancy.

What I find so fascinating is that we got our asses kicked by critics when the film came out - but then years later we started getting all these good reviews. Particularly after the quake. It was never as bad as people said it was initially.


Peter George behind the wheel of the boat... Robert Tinnell to the right in the tye-dye.

8. Have you had any interesting encounters with fans of the movie?
On occasion you'll meet someone who just is crazy about it. Which is cool. It's a great thing to be associated with something so notorious. But on the other hand, I have to say that it feels like another person produced that movie. It was so long ago and I've lived what feels like a bunch of different lives since then. But on the other hand, it was a very, very good experience. I'm grateful that Peter asked me to participate. And I'm glad that after all these years we still pick up the phone and laugh and reminisce and discuss the idea of a sequel - and there's absolutely no bad blood or anything. We've stayed friends and we respect each other. I wish all my professional relationships were that solid...

9. Would you have done anything differently had you directed the film?

God, it's hard to say. I was heavily involved in the film creatively - worked on the script, worked in the post-production, directed second-unit - so I guess there's a lot of how I felt aesthetically at the time in there. We were all channeling stuff - ONCE UPON A TIME IN THE WEST, THE LONG GOOD FRIDAY, - stuff like that. But in the end it's Peter's picture. If you know him, you'd know what I mean. I'm not sure if I'd done the picture it would have been as successful. Peter was a surfer and he had a vision for this thing. I would've probably been too caught up in coverage and technical stuff and not capture the sort of magic he did.

Whatever you think of the film - love it or hate it - I will assure of this: Peter George is a true artist. He works from the heart - not from any sort of preconceived notion of what sells or of flashy camerawork. Nothing like that. He makes films for himself. Years later, when we made YOUNG GOOD MAN BROWN, Peter was even more obsessive, more driven. There's a signature to his work. I've told him before his films are like dreams in a way. He twists reality to suit his purposes...

Thanks to Robert Tinnell for the pictures and Mike Anderson for scanning them!

For more information on Robert Tinnell, visit:
 www.theblackforest.net    www.thewickedwest.com   www.feastofthesevenfishes.com