The Driller Killer
"The emergency call is in your hands."
Plot
The Driller Killer follows Reno Miller, a struggling New York City artist who becomes increasingly unhinged as he faces mounting pressure from his art dealer to complete a series of paintings while simultaneously dealing with financial troubles and the constant noise from a punk rock band living upstairs in his apartment building. As Reno's mental state deteriorates, he begins experiencing violent hallucinations and becomes obsessed with a portable power drill, which he eventually uses to murder homeless people on the streets of New York City. The film documents his descent into madness as his relationships with his two female roommates, Carol and Pamela, become increasingly strained, and his artistic vision becomes intertwined with his violent impulses. Eventually, Reno's killing spree escalates as he targets the band members who have been tormenting him, leading to a bloody climax that blurs the line between his artistic expression and homicidal rage. The film ends ambiguously, leaving viewers to question whether Reno's actions were real or manifestations of his psychological breakdown.
About the Production
Shot in approximately 3-4 weeks with minimal crew using guerrilla filmmaking techniques, often shooting without permits. The drill used was a real Milwaukee 1/2" Magnum drill modified for safety. The punk band featured was an actual New York punk group called The Roosters. Many scenes were shot in condemned buildings, adding to the film's gritty authenticity.
Historical Background
"The Driller Killer" emerged during a particularly turbulent period in New York City's history, when the city was grappling with severe fiscal crisis, rising crime rates, and widespread urban decay. The late 1970s saw Manhattan, particularly areas like Times Square and the Lower East Side, characterized by abandoned buildings, high unemployment, and a thriving underground culture that included punk music, experimental art, and avant-garde filmmaking. This environment provided the perfect backdrop for Ferrara's exploration of urban alienation and artistic desperation. The film also arrived during the golden age of American exploitation cinema, when low-budget horror films were flourishing in drive-ins and grindhouse theaters across the country. The "video nasties" moral panic in the UK, which would later see "The Driller Killer" banned, reflected growing concerns about media violence and the accessibility of graphic content through home video technology.
Why This Film Matters
"The Driller Killer" holds a significant place in horror cinema history as one of the most notorious entries in the exploitation genre and as a key film in the "video nasties" phenomenon that shaped home video culture in the 1980s. Its controversial status in the UK, where it was banned for nearly two decades, made it a symbol of the censorship debates surrounding horror films and contributed to discussions about artistic freedom versus social responsibility. The film is also notable as an early work by Abel Ferrara, who would later become established as an important independent filmmaker, with "The Driller Killer" showcasing themes and stylistic elements that would characterize his later, more critically acclaimed works. Its raw, documentary-like approach to horror influenced the found footage genre that would emerge decades later, and its New York setting contributed to the city's reputation as a character in urban horror films.
Making Of
"The Driller Killer" was made during the height of New York City's fiscal crisis in the late 1970s, with Ferrara and his small crew taking advantage of the city's urban decay to create an authentic backdrop for the film's dark themes. The production was extremely low-budget, with Ferrara often serving as director, writer, and star while also handling many of the technical aspects of filmmaking. Many scenes were shot without permits, with the crew having to quickly set up and break down to avoid police intervention. The apartment building used for Reno's living space was an actual Lower East Side tenement that was in the process of being condemned, adding to the film's gritty realism. The punk band sequences were filmed during actual performances, with real punk audience members who were unaware they were being filmed for a movie. The special effects, particularly the drill killings, were created using a combination of prosthetics, tubing for blood effects, and careful camera angles to maximize impact while minimizing actual danger to the actors.
Visual Style
The cinematography of "The Driller Killer," handled by Ken Kelsch, is characterized by its raw, documentary-like quality that captures the gritty urban landscape of late 1970s New York City. The film employs extensive use of available light, often utilizing street lamps, neon signs, and the natural illumination of the city to create an authentic, unpolished visual style that enhances the movie's sense of realism and urban decay. Kelsch frequently uses handheld camera techniques to create a sense of immediacy and unease, particularly during the murder sequences, which are shot with a visceral, almost voyeuristic quality that places viewers uncomfortably close to the violence. The color palette is dominated by muted tones and the harsh artificial lighting of the city at night, with occasional bursts of vivid red during the drill killing scenes that emphasize the graphic nature of the violence.
Innovations
While "The Driller Killer" was made with minimal resources and technical equipment, it achieved several notable technical accomplishments given its extreme budget constraints. The film's practical effects, particularly the drill killing sequences, were accomplished using innovative low-budget techniques involving prosthetics, tubing for blood effects, and carefully choreographed camera movements that maximized impact while ensuring actor safety. The production team developed specialized rigs for the drill that allowed for realistic-looking penetration effects without actual danger to the performers. The film's distinctive visual aesthetic was achieved through the use of high-speed film stock processed at a discount lab, resulting in the grainy, high-contrast look that has become characteristic of the movie's style. The sound recording techniques employed during the punk band performances captured the authentic energy of live music in small venues, using minimal microphone setups that nonetheless delivered clear, dynamic audio.
Music
The soundtrack of "The Driller Killer" is notable for its authentic representation of the New York punk scene of the late 1970s, featuring performances by the actual punk band Tony Coca-Cola and The Roosters. The band's music, characterized by its raw, aggressive sound and anti-establishment lyrics, serves as both a diegetic element within the story and as a sonic representation of the urban chaos that contributes to the protagonist's psychological breakdown. The film's score, composed by Joe Delia, uses minimalist electronic elements and dissonant tones to create an atmosphere of growing tension and unease, often punctuated by the distinctive whirring sound of the power drill itself. The sound design during the murder sequences is particularly effective, with the high-pitched whine of the drill mixed with screams and the wet sounds of violence to create a visceral audio experience that was particularly disturbing to audiences of the time.
Did You Know?
- Director Abel Ferrara starred in the film under the pseudonym "Jimmy Laine" to distance himself from the acting role and emphasize his directorial position.
- The film was banned in the UK as one of the "video nasties" in the early 1980s and remained unavailable there until 1999 when it was finally passed with cuts.
- The punk band featured in the film, Tony Coca-Cola and The Roosters, was a real New York punk band that Ferrara discovered playing in a local club.
- The film's controversial poster art, featuring a man being drilled through the head, caused it to be seized by UK customs officers during the "video nasties" moral panic.
- Ferrara has stated that the film was partially inspired by his own struggles as an artist in New York City and his frustration with the commercial art world.
- The drill used in the film was a real Milwaukee 1/2" Magnum drill, though the "blood" effects were created using theatrical blood and practical effects.
- The film was shot on 35mm film but processed at a discount lab, resulting in its distinctive grainy, low-budget aesthetic.
- The original cut of the film reportedly contained more graphic violence that was trimmed to secure an R rating in the United States.
- The film's title was reportedly inspired by a real incident Ferrara read about in a newspaper involving a construction worker who had gone on a rampage with a power drill.
- Despite its reputation as an exploitation film, Ferrara has maintained that "The Driller Killer" is a serious examination of artistic pressure and urban alienation.
What Critics Said
Upon its initial release, "The Driller Killer" received largely negative reviews from mainstream critics, who dismissed it as gratuitous exploitation fare lacking artistic merit. Many reviewers focused on the film's graphic violence and controversial subject matter rather than its thematic elements or visual style. However, over time, critical opinion has evolved significantly, with contemporary film scholars and critics reevaluating "The Driller Killer" as an important work of independent American cinema. Modern critics often praise the film's atmospheric depiction of 1970s New York, its commentary on artistic pressure, and its influence on later horror filmmakers. The film is now frequently analyzed in the context of Abel Ferrara's broader filmography, with many critics noting how its themes of urban alienation and moral ambiguity would recur throughout his career.
What Audiences Thought
"The Driller Killer" initially found its primary audience among grindhouse theater patrons and later among home video enthusiasts during the early VHS boom. Its controversial reputation and inclusion in the UK's "video nasties" list paradoxically increased its notoriety and demand among horror fans seeking banned or extreme content. The film's cult status grew significantly during the 1990s and 2000s as home video releases made it more accessible to audiences who had been unable to see it during its period of censorship. Modern audiences often approach the film with an appreciation for its historical significance as an early Ferrara work and as a time capsule of late 1970s New York City. Horror film conventions and revival screenings have introduced "The Driller Killer" to new generations of fans, many of whom appreciate its raw, unpolished aesthetic in contrast to contemporary horror productions.
Film Connections
Influenced By
- Taxi Driver
- The French Connection
- Italian giallo cinema
- Herschell Gordon Lewis films
- Repulsion
- The Texas Chain Saw Massacre
- John Cassavetes films
- 1970s New York punk scene
This Film Influenced
- Maniac
- Henry: Portrait of a Serial Killer
- May