When it comes to indie horror films as of late, Jed Rowen is a name to look out for. He recently has teamed up with a trio of filmmakers in director Marcel Walz, writer Joe Knetter, and actress (and WorldFilmGeek Hall of Famer) Sarah French on a number of films. Having appeared as a masked killer in Blind and its sequel Pretty Boy, Jed takes on one of his most daring roles yet, a member of the crazed Birdy family in Brute 1976, which after a brief theatrical run has hit Digital this week from Cinephobia Releasing. 

WFG: Jed, thank you so much for talking about Brute 1976. What a fantastic movie that pays homage to such classics as The Texas Chain Saw Massacre and The Hills Have Eyes. 

JR: Well, thank you. I consider Brute 1976 to be one of my very best movies. I’m very proud of it. And super proud that people can bring it up in the same breath as TCM and The Hills Have Eyes. Those movies have always been anthems to me as an actor. 

WFG: You play quite the character of Daisy, who is some aspect can be said to be a meshing of The Hitchhiker and Leatherface. What was your interpretation of the character when you were cast?

JR: The Hitchhiker and Leatherface! I love that. Never really thought of the character as a combo of those two. I had actually thought of a couple of characters when I was trying to figure out Daisy. What came to mind was Chop Top and Jame Gumb, also known as Buffalo Bill, the freak if you remember from Silence of the Lambs. 

I thought a lot about Daisy. It’s a crazy character but I wanted to center myself in a thoughtful backstory about where I thought he was coming from. And yes, Daisy is a ‘he.’ Some reviewers and others who have seen the film have called him trans but he isn’t. He’s a cross-dresser like Gumb, among other things (don’t want to give too much away). They both have grisly fantasies they play out about being a female. But both maintain being male. 

The Chop Top element, which, by the way, is one of not only my favorite movie characters of all time, but also the writer Joe Knetter’s, played into the character as well. I think predominantly so in the year, 1976, that the movie takes place in, and what had been going on geopolitically. Chop Top, if you remember, was ranting and raving during his monologues in TCM2 about Ho Chi Minh from his obviously traumatic experiences in Vietnam. I thought about this year as a signifying sign of the times to explain yet another casualty from that war, Daisy. Daisy was probably several years removed from combat, maybe he was there in the mid to late ‘60s or very early ‘70s. But the PTSD and horrors he saw in Vietnam only festered in his shattered psyche along with, I’m sure, abuse he suffered from his demented family and God knows what else. Coming from a poor and rural family, Daisy was also of the demographic who was drafted into that war. By 1976, Daisy was completely out of his mind.

Of course, none of this is in the script, but to answer your question, hopefully not too long-windedly (haha), these are the things I thought about preparing for the role of Daisy. When Joe Knetter reads this interview, he’ll probably be wondering what the hell I’m talking about. 

WFG: Having seen Blind and Pretty Boy this year, one thing is clear. You definitely work well with the trio of Marcel Walz, Joe Knetter, and Sarah French. What was it like working with them on this film?

JR: I’ve been in, count ‘em, six movies so far with this powerhouse trio. All of them have been wonderful experiences, and each film is so unique and memorable in so many ways. The whole thing reminds me of being in a little theater company, something I did years ago as an actor. In theater, you’d work with a lot of the same actors, and the director and writer and producers were usually the same, too. Like an ensemble. Even all the colorful wardrobe reminds me of all the fun costumes we’d use in all the different plays. I think that’s what makes it so special. You’re not a hired gun, you’re part of an ensemble group that performs in different shows in like an extended season. 

And Joe and Marcel are like the perfect yin and yang! They complement each other magically. Marcel takes Joe’s crazy characters and stories and creates this rich tapestry of sets full of colors, lights, and elaborate costumes. 

I hope they cast me in the next one. Let’s make it a Lucky 7 guys.

WFG: You share the screen quite a bit with another great performer in Gigi Gustin, who plays the kidnapped Raquel. You even get to bring a sense of shock value when it comes to one particular scene with her. What’s even more crazy is that it felt so real. What was it like working with Gigi and having that sense of chaotic chemistry?

JR: Gigi is a fantastic actress and a really cool person. I thought she was astounding in our scenes and throughout the movie. I thought our chemistry was just smoking, and it was just effortless and fun working with her. 

She takes her acting very seriously, and she’s also a filmmaker. A total warrior. 

WFG: Do you have a favorite kill scene of the film? I think one in particular will stand out and that involves a power drill that is unforgettable and even made me cringe and that’s right after seeing another KWF film, Garden of Eden. 

JR: Haha, my favorite kill scene is the same as yours. In terms of why, why let’s just keep it a surprise. Actually, the surprise and arguably this signature gore scene has been censored unfortunately in many of the releases. But the good news is you can see it uncensored in all of its splendor in the physical DVD/Blu-Ray release through Vinegar Syndrome that’s available now. Thank goodness. 

WFG: If no one has heard yet, there is a sequel coming in the form of Brute 1986, which I am personally excited about. Are you involved and without giving away too much, can we expect something on the same level of Brute 1976 or are we going to see something more amped up in terms of the violence?

JR: Yes, I am in Brute 1986, that’s certainly not a spoiler because my character has been featured in Fangoria and a few other places, and the movie is on imdb. I can’t say too much, of course, wish I could as I’m so excited about this movie. 

I go back and forth with which one I like more, ‘76 or ‘86. But I just can’t really decide. They’re both great, and I think they are my two finest horror movies, and I’ve done a lot of genre movies. 

‘86 had a bigger budget, and you could say there is more production value. But hey, we sure had a lot of production value and amazing locations in ‘76. Like I said, I go back and forth. But I’m pretty positive that ‘86 is definitely going to be a serious crowd-pleaser. 

WFG: Are there any new projects on the horizon for you that you can talk about?

JR: Another movie of mine, A Blind Bargain, is making its way through the festival circuit. It had a great premiere at Frightfest in London, and back here in Portland at the H.P. Lovecraft Film Festival, it won Best Feature. It stars Crispin Glover and a bunch of other great actors. I played the character of Logos, which was a total blast. 

It also takes place in the ‘70s. Isn’t that crazy being in two movies that are almost simultaneously released that both take place during that decade!? 

It was directed by Paul Bunnell who also directed The Ghastly Love of Johnny X, which I’m also in, playing the role of Sluggo. Paul is a super-talented director and, being in Johnny X and A Blind Bargain, I often say I’ve been in two once-in-a-lifetime movies. A Blind Bargain is wrapping up its festival run and hopefully will be out soon everywhere you watch movies.

WFG: Brute 1976 is now on Digital from Cinephobia Releasing. This one is sure to please horror film fans, especially with its homage to 70s genre classics. Jed, it’s been a pleasure and I am looking forward to seeing more of your work as it comes. 

JR: The pleasure was all mine. Thank you so much for all your great work supporting and following indie movies. 

A Special Thanks to Jed Rowen for making this interview possible.