Paul Morrissey
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Yet to single out Murphy as the film-maker’s alter ego is to miss the point that everyone in Love can be read as fragmented versions of the director; from the young child named Gaspar whom Murphy cradles like Joe Dallesandro in Flesh (Warhol winks are everywhere, not least in a prominently displayed Frankenstein 3D poster) to the art gallery owner played by Noé himself in a fright wig, and of whom Murphy becomes insanely jealous.
Still, there's something endearing about Åkerlund and his cast's eagerness to appall, a quality that places Spun not so much in the tradition of druggie movies like Trainspotting and Requiem for a Dream as Andy Warhol and Paul Morrissey's Heat and Trash.
Norrington and Goyer don’t really explain the power struggle in the vampire world between the governing body of full-blooded vampires (headed by that undead icon of Eurotrash cinema, Udo Kier, whose credits include Paul Morrisey’s “Blood for Dracula”) and the ones, like Frost, who’ve been turned.
Only Lovers Left Alive (2013)
Directed by Jim Jarmusch
influenced by Blood for Dracula (1974)
Themes
(Untainted blood is rare commodity in the modern world — rather like virgin blood in Paul Morrissey’s Blood for Dracula.)
The other art house movie on the Nasties list, Paul Morrissey's Flesh for Frankenstein , at least has the benefit of being deliberately and enthusiastically trashy, splashing around in horror movie iconography, even if it was in a hugely satirical manner.
The Mortal Instruments: City of Bones (2013)
Directed by Harald Zwart
influenced by Blood for Dracula (1974)
Themes
Well then, you’re finally ready for Re-Animator or Evil Dead 2 or Dead Alive or The Vampire Lovers or The Devils or American Mary or Splice or Blood for Dracula or Cemetery Man.