Danny Steinmann, American director and screenwriter (d. 2012)

Danny Steinmann: A Director's Diverse and Unconventional Cinematic Journey

Danny Steinmann (January 7, 1942 – December 18, 2012) was an American film director whose career path was as varied and unconventional as the projects he helmed. Known for navigating the disparate worlds of adult cinema, television production, and mainstream horror, Steinmann left a distinct, albeit sometimes contested, mark on cinematic history.

From Adult Films to Mainstream Production

Steinmann initiated his directorial career with a bold and unexpected debut. In 1973, he both wrote and directed the hardcore porno picture, High Rise, under the pseudonym Danny Stone. This foray into adult entertainment was not uncommon for filmmakers in the early 1970s, a period when the genre was experiencing a brief, if controversial, period of public exhibition and critical discussion. The use of an alias was a common practice to separate personal identity from the adult industry.

Remarkably, Steinmann's professional trajectory quickly diversified beyond adult cinema. He transitioned into more conventional film and television production, demonstrating his versatility and understanding of the industry's logistical aspects. He served as a production associate on Arthur Hiller's critically acclaimed and often controversial drama, The Man in the Glass Booth (1975), a powerful adaptation of a Robert Shaw play that garnered two Academy Award nominations. This role indicated a shift towards mainstream, serious filmmaking, showcasing his ability to contribute to productions beyond the adult genre.

Further expanding his portfolio, Steinmann was an associate producer for Spectre (1977), an intriguing made-for-television supernatural film conceived by Gene Roddenberry, the visionary creator of Star Trek. This collaboration highlights Steinmann's engagement with genre television and his work alongside established industry figures.

Beyond feature films and TV movies, Steinmann also exhibited a strong business acumen in the commercial sector. He notably headed a production company based in Puerto Rico, which specialized in creating television commercials for major corporate clients. His work for prominent brands such as International House of Pancakes (IHOP), Chase Manhattan Bank, and Wesson Oil underscored his capacity to manage high-profile commercial productions, further illustrating the breadth of his professional experience from niche adult films to mainstream advertising.

Venturing into Horror: Creative Control and Commercial Success

The late 1970s and early 1980s saw Danny Steinmann pivot into the horror genre, a period of significant boom for independent and studio-backed fright films. In 1980, he directed and co-wrote the horror film The Unseen, a Southern Gothic-tinged horror-thriller about a group of women trapped in an old, sinister house. However, Steinmann's experience with The Unseen was fraught with creative differences, leading to significant dissatisfaction with the final cut. As a testament to his strong feelings about the altered version of his work, he chose to attribute his directorial credit to the pseudonym Peter Foleg, a common practice for directors disowning a film due to studio interference or extensive re-editing.

Following this experience, Steinmann directed the gritty teen exploitation action/revenge thriller Savage Streets (1984). Starring Linda Blair, famous for her role in The Exorcist, the film explored themes of urban violence and vigilantism, finding its niche within the cult cinema circuit due to its uncompromising depiction of its subject matter.

Steinmann achieved his most significant mainstream recognition with the horror sequel Friday the 13th: A New Beginning (1985). As the fifth installment in the hugely popular slasher franchise, the film garnered considerable attention. While it proved to be a financial success, grossing over $21.9 million domestically against a modest budget of approximately $2.2 million, the production itself was reportedly very troubled. This challenging experience, marked by various on-set issues and creative clashes, ultimately proved to be his final directorial feature film.

Despite the commercial success of Friday the 13th: A New Beginning, the difficulties encountered during its production may have contributed to his eventual withdrawal from directing features. A proposed project to direct a sequel to Wes Craven's notorious and controversial 1972 horror film, The Last House on the Left, was announced but ultimately never came to fruition, closing the chapter on his directorial aspirations.

Danny Steinmann's Legacy: A Cult Figure in Genre Cinema

Danny Steinmann's career, while relatively brief in terms of feature film output, is characterized by a fascinating evolution from the fringes of adult cinema to the heart of mainstream horror. His work, particularly in the horror genre, has garnered a dedicated following among cult film enthusiasts, ensuring his place in the annals of genre cinema.

Frequently Asked Questions About Danny Steinmann
  • What was Danny Steinmann's most famous film?

    Danny Steinmann is most widely known for directing Friday the 13th: A New Beginning (1985), which was a significant commercial success within the popular horror franchise.

  • Why did Danny Steinmann use pseudonyms?

    He used the alias Danny Stone for his debut adult film, High Rise (1973), a common practice in the adult film industry to separate personal identity. He later used Peter Foleg for The Unseen (1980) due to dissatisfaction with the final cut of the film, indicating a director disowning the studio's version of their work.

  • Why was Friday the 13th: A New Beginning his last film?

    While the film was a financial success, its production was reportedly very troubled, marked by creative and logistical challenges. This difficult experience likely contributed to his decision not to direct another feature film.

  • What other types of productions did Danny Steinmann work on?

    Beyond feature films, Steinmann worked as a production associate on mainstream dramas (The Man in the Glass Booth), an associate producer on TV movies (Gene Roddenberry's Spectre), and headed a company that produced TV commercials for major corporations like IHOP and Chase Manhattan Bank.