Ever so often a B-movie comes along that goes beyond its modest budget and genre trappings to do something more, something unexpected, something prophetic and just sometimes even better than the films it predicts. The virtually unknown Mindwarp (1990), directed by Steve Barnett, is one of these movies. Showing a debt to author William Gibson and pre-dating films like *The Matrix* (1999), directed by Andy and Larry Wachowski, unlike the *The Matrix*, *Mindwarp* does not fall prey to romantic triteness. Whereas *The Matrix* naively suggests that the global-everyman (or nondescript-mannequin as played by Keanu Reeves), could fight and change the system, *Mindwarp* realistically posits that ideals put into practice are more apt to fail than they are to succeed. *The Matrix* remains at its best, like *Star Wars* before it, a cultural event, and at worst, a hackneyed intellectual hodgepodge told and sold with martial arts and leather trench coat cool. *Mindwarp* conversely is never easy to swallow. Hiding its compelling story in high-concept gore, the film features the legendary talents of both Angus Scrimm and Bruce Campbell. With its supergroup cast, you would expect that the film would be as well known as Scrimm’s and Campbell’s respective calling cards, *Phantasm* (1979), directed by Don Coscarelli, and *The Evil Dead* (1981), directed by Sam Raimi. Yet the film has yet to even see a proper DVD release. And it needs one desperately along with a commentary from its director Steve Barnett. For now Mr. Barnett, who is no longer directing but is working as a vice-president of post production at 20th Century Fox, has kindly answered a couple questions here.

Interview follows:

How did your involvement with *Mindwarp* come about?

After editing trailers and features for Roger Corman’s Concorde Pictures, I directed BACK TO HOLLYWOOD BOULEVARD for him in 13 days. Rodman Flender, the executive on that film, recommended me to the producers of MINDWARP. This was the first movie for Fangoira Films and they needed someone who could bring it in on time and looking like a real movie. I had a pretty good take on the material, and I took a chance in telling them that the script was a terrific yarn that fell apart in the second half. I guess they agreed, since they hired me. I worked with writers Mike Ferris and John Brancato (aka Henry Domonick) and the producers to get the story working better in the second half and then beating it to within the confines of the very limited budget. My wife had turned me on to William Gibson cyber-punk, and this show fit into that world very neatly. Ferris and Brancato created a wonderfully twisted world (five different worlds actually) filled with bizarre and memorable characters. I managed not to screw it up too badly.

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