By John Campopiano
Back in 2010, Chris Nichols, originally from Massachusetts but now residing with his wife in New Hampshire, was searching for a new way to satiate his appetite for creative output after his days performing in local Boston area bands had come to an end. As an enthusiast for not just music but also film, specifically cult, horror, and genre films, Nichols launched The Trash Pile–a blog dedicated to finding, reviewing, and in some cases re-releasing obscure and forgotten films. But Chris isn’t all that keen or interested in releasing hard-to-find weirdo gems on digital platforms like YouTube (though he isn’t against other people doing it). Instead, Chris’ allegiances lie with a format that holds much sentimental value to hoards of likeminded collectors (including the founder of this blog): the VHS tape.
NEMMC spoke with Nichols earlier this autumn and asked him to rewind for us the story of The Trash Pile–the idea idea turned web show turned blog/podcast–and to share with us what motivates him to act as one of many faithful believers in the VHS format.
NEMMC: While getting to know you over this past year it’s evident that the VHS format holds a great deal of meaning for you. Can you talk about how being an advocate and podcast figure within the niche community of VHS collectors has impacted you?
Chris Nichols: For years the VHS format was something my father and I shared and spent time enjoying together (although going to the theater was just as important to us). I started collecting VHS around 1991 and for years in my neighborhood the kids and families would ask if they could “rent” the movies I owned. Back in the early days of Excel, I would print out spreadsheets with details about what was my VHS inventory. I suppose that’s what led to me searching out more and more movies that I hadn’t seen before–this is also where the podcast came into play a couple of years ago. The podcast (and our old web show) were all about starting a dialogue around movies that had somehow skated under the radar of fandom or had never received a proper release here in the states.
NEMMC: This web show sounds intriguing. What was that all about?
CN: The show was done online and it followed the format of the podcast with the addition of covering new releases on DVD and Blu-ray (as well as comic books).
We didn’t really have any guests to speak of–just likeminded friends. Mark Anastasio from Brookline’s Coolidge Corner Theatre called in once to hype their annual Halloween Horror Marathon.
NEMMC: The Trash Pile has had some stops and starts over the years. What are some of the challenges you’ve faced in keeping it going?
CN: The biggest challenge I’ve faced in the last six years of doing The Trash Pile is maintaining my own drive–having the will to do it. I’ve experienced instances of bad luck, I guess, in my personal life that has left me feeling depleted creatively. The co-host of the podcast, Jason, moved from Massachusetts to Georgia late last year, so having the ability to sync up and to record has been tricky. Really, it’s all bullshit excuses because I should just write to write, or podcast to podcast–for the enjoyment of it.
NEMMC: Can you talk about some of The Trash Pile’s limited edition VHS releases? Have you encountered any rights hurdles with talent or production/distribution houses? If so, how have you navigated those hurdles?
CN: Most of what I do is on the grey market [unofficial buying/selling/trading areas that exist outside the perimeters of authorized manufacturing channels] and my re-edits and re-releases are always of films that are not available for purchase in the States. If something has been released here [the United States] and is currently in print, I don’t touch it. In terms of the titles I’ve done small batches of, it really just comes down to if it’s a title I, personally, enjoy. The whole idea of the grey market was something that fueled my love of international and genre films. When I was in high school my friend, Jason, and I would attend comic conventions in Boston every few months in order to search for and pick up new movies. Without those conventions we wouldn’t have been able to see a lot of these films that never made it to the States by that point (e.g., VERSUS, BATTLE ROYALE, etc.) or special edits of films that were very hard to come by (e.g., the x-rated version of ROBOCOP). Of course the distribution arena has changed dramatically over the years and a lot of these once hard-to-find titles are now popping up on sites, like YouTube, for free.
NEMMC: Has the increased availability of rare and offbeat titles on places like YouTube and via other grey market retailers that are flooding the bootleg scene making your work harder and/or is it changing the focus and scope of The Trash Pile?
CN: For me, it’s all about increasing the exposure of these films. So, if there’s a rival way for people to view it (YouTube, other grey market outlets, etc.) that’s all the better. The Trash Pile was never a money or business orientated venture, but instead a way to share fun movies with people interested in seeing them.
NEMMC: I’m fascinated by your work involved with the release of THE MURDER OF SGT. MACKLIN (1993). Can you talk about the experience of both discovering and, ultimately, releasing it on VHS?
CN: Like a lot of video collectors, I try and visit weird thrift stores and yard sales, year round. You’re never guaranteed a hit every time, but it’s all about the thrill of the hunt. As far as finding THE MURDER OF SGT. MACKLIN, I was visiting a church book sale in southern New Hampshire when I saw the film while poking through any banana boxes stuffed with analog. I had never heard of it before, though that wasn’t a new thing as there’s always going to be something you’ve never seen before–but MACKLIN was different.
I’m a sucker for ghost stories, so, the film seemed like one that was worth the .75 cents. After taking the film home I looked for whatever information was available about it online, but couldn’t find a damned thing. I then looked up information on the director, Bob DuBois, and learned he was still around and living in the same Colorado town where he shot the film. I sent him an email and began a back and forth with him about how much I enjoyed his subtle little ghost story. I’ve always believed that no film should be lost and forgotten, so I asked Bob if I could do a small batch release of the film, and he agreed.
NEMMC: What do you think the value is in chasing down and re-releasing films considered by some to be lowbrow or trashy? What excites you about this flavor of cinema?
CN: It all comes down to one thing for me: entertainment. As I said before, I don’t think any media should be lost or forgotten, so a lot of what I’m doing (reviewing, watching, re-releasing) is an effort to not let a movie be forgotten. Believe me, there are a plethora of titles that I wish I hadn’t wasted my time on, but I know that there is an audience for each and every one of those films regardless of whether or not I like them all.
NEMMC: Jumping off my last question, what is the value for you of collecting and distributing films on the VHS format?
CN: There will always be a new movie waiting if you continue to dig into past releases that may have missed the digital boat. There are a lot of solid digital distributors putting out titles for the first time on DVD and Blu-ray. However, there are still thousands of films that haven’t seen the light of a commerce shelf in decades and unless there is a push from fans a lot of these movies could cease to be. That’s really what collecting/distributing is all about to me; making sure that the right entertainment finds the right person. Life’s too short not to be entertained.
NEMMC: Do you think the VHS format will ever experience a resurgence the way vinyl has been experiencing over the last decade?
CN: That’s a tough question as a big part of the modern renaissance in vinyl can be attributed to, in my opinion, the fact that production of turntables never really stopped altogether. Manufacturers like Denon, Pioneer, Yamaha and Sony never ceased production on their turntables. It wasn’t long after VHS stopped being produced that the production of VCRs slowed. For a few years the DVD/VCR combo sold moderately well, but finding that option in stores is not an easy task nowadays. A VHS resurgence would require a company to start manufacturing new players, similar to what Crosley is doing with turntables. If we get to that point I believe you’ll see VHS again.
NEMMC: What does the future hold for The Trash Pile? What are some of your goals going forward?
CN: Honestly, I’m not sure. 2016 has been a ridiculous year for me due to a number of life-changing events, so, doing anything creative like podcasting and generating more VHS output seems like a real challenge for me emotionally. I have been focusing on doing some manufacturing of VHS for directors and distributors who want their titles on an analog format. For example, I just did a batch of VHS for an awesome indie film currently hitting the festival circuit called, MUTE, by A Color Green–a production company out of New York. And I’ve also had directors ask me to give their films a VHS release, like Jason Stephenson, who ask me to release his film STRIP CLUB SLASHER earlier this year. His film is now part of The Trash Pile catalog. That was a really fun project because I had the chance to reuse ‘Strawberry Shortcake’ pink clamshell cases for the release.
Chris Nichols and The Trash Pile project are a fun and creative insight into one of the many different ways in which collectors and VHS enthusiasts are keeping the format alive while simultaneously introducing or re-introducing the public to a variety of largely forgotten films of yesterday. Those of us who share their passion hope that Nichols can keep the creative juices flowing and continue to expose us to more analog craziness in 2017 and beyond!
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