影片被剪去了导演认为最精彩的血腥恐怖镜头，他嗜好血腥就如影片中的魔鬼嗜好鲜血一样，或许剪去的血腥镜头就是本片最值看之处，因为影片本身就是以血腥为看点。虽然片名是“House of 1000 Corpses”（千尸屋），但你不要想到会看到如中国的关于尸体的片子里，那些蹦蹦跳的僵尸，本片里的尸体涂满了彩色颜料，更像是一群小丑——实际上，因为文化背景的不同，本片除了血腥镜头外，作为鬼片的恐惧感并不适合中国观众，大胆的人更不防把它当作小丑闹剧片来看。
In subsequent years, during which time he moved first to Ohio then to Pittsburgh, he did mechanical work on automobiles, body work then custom airbrush painting of his designs on cars, motorcycles and vans, and built hot rods. An accomplished self taught musician and composer, he also played guitar, while singing and composing music when with several rock bands (which experience made him acutely aware of the shortcomings of so called “teamwork” as opposed to being entirely self-reliant). Again determining to get involved in the art field, he decided to attend the Art Institute of Pittsburgh. While attending that school he received numerous awards, acclamations, scholarships and honors….all of which, coupled with the encouragement of his instructors, reinforced in him the idea that he would be successful as a full time free lance artist.
Initially he did artwork as a freelancer for many prominent corporations such as Disney, U.S. Steel, etc. Though earning a good living, Dorian felt inhibited by being subjected to the requirements, constraints and dictates of others with their concepts which left him with no opportunity for self expression nor an outlet for the ideas that lay within him and that demanded a forum. In his spare time he did a few experimental paintings which were seen by and caught the eye of a comic book publisher who immediately commissioned him to paint several covers while giving him free rein as to designing them. One thing led to another and soon Dorian was painting covers and fully painted stories for many major publishers in that arena. Still, his most successful ones were those in which he was allowed freedom to create his version of the characters and scenes. Dorian, though achieving “overnight success” yet felt constrained by the situations and dictates of character representations, desiring above all to break free and do his own completely creative work. He has always been appreciative of the comic book industry for spreading his images and name among their public and , in effect, not only paying him to paint the covers, but through them and conventions, really advertising him as an artist and his work at the same time. Such exposure has prompted individual commissioned work, numerous magazine articles featuring him such as publication of his art in National Geographic, and gallery exhibitions of Dorian’s creative paintings in university expositions, as well as New York, Chicago, Los Angeles and Europe among others. His trend setting art books, published in Germany, set record sales in Europe, the UK and elsewhere and remain popular. His original paintings have been sold to collectors throughout the globe.
Always looking forward to new challenges in the art field, Dorian’s unique approach to art has arrived at an opportune time when there appears to exist a generational void clamoring to be filled and with the popularity of the internet there exists a compatible medium for dissemination of his art. It seems today’s youth are less avid followers of the greats who established Fantasy Art as a popular movement some years ago, but in Dorian’s work find instead a different perspective and a refreshing new light in that area….perhaps an aspect that is a bit beyond fantasy. When asked to describe his art, he coined a term that best describes it as “Pseudo-Realism”
古堡。然而，居住在这里的是一个令人心惊胆战的大家族，他们全都是精神病患者一般，还自称“菲尔弗莱”。 
