I made only one more sexploitation film called Loving Feeling the following year in color and in cinemascope and by that time the censor had relaxed. My film did run into trouble, however, even though most of my nudity was only shown from the rear. And of course the guy still had to keep his pants on in bed or else you had to cover him with a sheet. If you had a bare breast you couldnt show the nipple. But still, the censor was very particular about what you could put on screen. NJW: If you were to see HER PRIVATE HELL now, it would seem innocent, naïve and really, it was never that bad.

SHOCK: The BBFC have always been notorious for their hatred of horrorbut what were their views on the sexploitation film? How much could you show without getting your figurative knuckles rapped? So while it was still pretty far from being a great film, it was unique and box office wise it was an amazing hit, which did me a world of good, I assure you! It was also one of the first sex films to really tell a coherent story. So when Her Private Hell came along, it suddenly became this enormous hit and I think that it was because it was homegrown. NJW: Yes, it was! There were of course many films like it around from Germany and Sweden, sexploitation films we called them then and still do, but none really that were made in England. SHOCK: After your initial short film experiments in the mid 60s, your first feature length picture was 1968s A PRIVATE HELLa naughty film, no? So then, in honor of this being New Years Eve, SHOCK gives you this chat with the man behind the extremely odd BLOODY NEW YEAR, the extremely cool Norman J. Warrens roots were in short films and eventually included, as many European genre directors early credits did, soft core porn comedies but it is with horror and dark fantasy that we concern ourselves and that put the charming director on the small stretch of the cult film map he now occupies.

Inseminoid by Larry Miller