Special Issue from the Team Behind Contents

SPECIAL ISSUE FROM THE TEAM BEHIND CONTENTS

IN THIS ISSUE

A LOOK BACK AT FROM BEYOND WITH CREATING BRUNDLEFLY: OSCAR- 03 BARBARA CRAMPTON 18 WINNING ARTIST CHRIS WALAS DISCUSSES HIS WORK ON DAVID CRONENBERG’S THE FLY

STEPHEN KING’S MAXIMUM RESURRECTING A MONSTER: 12 OVERDRIVE: HIGHWAY TO HELL 22 WRITER/DIRECTOR TOM MCLOUGHLIN ON BRINGING JASON BACK TO LIFE FOR FRIDAY THE 13TH PART VI

WILL THE REAL TOBE HOOPER PLEASE 15 STAND UP?

DEADLYMAGAZINE.COM ISSUE #13 1 - JULY 2016 -

Jonathan James Editor-in-Chief

Heather Wixson Managing Editor

Jordan Smith Creative Director

Derek Anderson News Editor

Patrick Bromley Kalyn Corrigan Scott Drebit Joseph Maddrey Scott Weinberg Contributing Writers

James Scott Copy Editor

2 DEADLYMAGAZINE.COM ISSUE #13 A LOOK BACK AT

FROM BEYOND WITH BARBARA CRAMPTON

by Scott Weinberg When you think of fi lms based on H.P. Lovecraft’s mid-1980s horror fame. Horror scholars will horror stories (and I’m not necessarily saying debate for ages over which fi lm is better, but you should), your brain probably focuses what’s more important is that Re-Animator on Stuart Gordon’s 1985 masterpiece, Re- and From Beyond still exist as an automatic Animator—and yes, I did say “masterpiece”— double feature. They’re both based (loosely but that’s far from the fi lmmaker’s only foray yet impressively) on Lovecraft stories; they into Lovecraft adaptations. Over the course both share much of the same cast and crew; of his career, Mr. Gordon would direct new and they both hold up after three decades as renditions of HPL’s “The Outsider”, “Dagon”, well-crafted, creative, and resoundingly gory and “The Dreams in the Witch House”—but horror fi lms that benefi t from a strong sense it was the man’s immediate follow-up to Re- of humor. Animator that still stands as one of the weirdest, wildest, and most wildly satisfying Lovecraft So in honor of one of 1986’s most underrated adaptations under the sun. horror fi lms (not to mention one of its best), we sat down with leading lady Barbara Crampton From Beyond didn’t make as much noise for a quick chat. as Re-Animator did upon its festival run and initial release, but it’s safe to say that both From Beyond was sort of a fast reunion movies have found their place in the hall of for the Re-Animator team. Director Stuart DEADLYMAGAZINE.COM ISSUE #13 3 BARBARA CRAMPTON ON FROM BEYOND

Gordon, screenwriter Dennis Paoli, producer and had time for sightseeing. I was treated to Brian Yuzna, and lead actors Jeff rey Combs a gorgeous rooftop garden apartment while and yourself all returned for another spin staying in Rome and had the cast and some on the Lovecraft wheel. How did you get of the crew over for Sunday brunches. involved in the second fi lm? Were you familiar with Lovecraft’s stories Barbara Crampton: We all worked fantastically before working on these two films? Mr. well together on Re-Animator and the fi lm was Paoli used the source material as more of well-received upon its release. Stuart wanted a “jumping-off point,” yet both movies are to give me a bit more to do in our second fi lm still considered excellent adaptations of and also perhaps to pay me back for what he very well-regarded Lovecraft tales. Did you had put me through on the fi rst! We had fi ve ever worry that fans of the original stories times the budget and much more freedom would be unhappy with the changes? than we did on Re-Animator. Stuart’s intention was to make a fi lm that was truly disturbing Barbara Crampton: I was not familiar with and wasn’t funny. He wanted a serious horror Lovecraft before working with Stuart. From fi lm. I did feel sad, however, that they didn’t Beyond is a very short story and I believe my work Bruce Abbott into the story. I thought character, Katherine, and Bubba (Ken Foree)

he did a fi ne job as Dan Cain, although it was were a split of the narrator in the original tale. clear from the beginning that this was Jeff rey Dennis Paoli wanted to make a more active Combs’ movie. movie and created a psychiatrist and a detective to investigate the original happenings. From Beyond was a luxurious and exotic experience for me. The Italian crew we shot A few key things were greatly enhanced: the with (in Rome at the old Dino De Laurentiis resonator and its effect upon people; the studios) was very attentive on set and full of squishy things one could see in the beyond; laughter and camaraderie at our long, wine- and the pineal gland. Lovecraft didn’t find fi lled lunches. It was the fi rst time I was out use for many women in his stories, so at fi rst of the country. We had time to enjoy our long I was concerned that people would fi nd my shooting schedule—I think it was six weeks— presence a distraction. The sexual feelings 4 DEADLYMAGAZINE.COM ISSUE #13 BARBARA CRAMPTON ON FROM BEYOND that the resonator instilled were a fabrication, as was the crazed character of Dr. Pretorius (Ted Sorel), who turned into a hideous monster at the end. Stuart and Dennis are now famous for taking Lovecraft’s stories and embellishing upon them with more action and characters. They stay true to the feeling and tone that Lovecraft conveyed, but their stories are really their own. Do some take issue with this? Probably. But I dare say that these guys are responsible for bringing interest in Lovecraft to the modern reader more than any other team of fi lmmakers. On another note, Stuart wanted to feature the pineal gland prominently and Dennis wanted me to bite it off . They have a fun and twisted side, which is part of this fi lm’s charm. How do you think From Beyond holds up in comparison to Re-Animator? I’ve always considered it as sort of a “bonus” movie, in that once a horror fan discovers the fi rst fi lm, they generally discover the second one. Does From Beyond boast an asset or two that Re-Animator does not? Barbara Crampton: Honestly, I can’t tell you if it holds up. I’m too close to the fi lm. What I do know is that Stuart wanted to follow Re-Animator with something that was truly depraved, disturbing, and shocking. He chose to have no humor in the movie and wanted to use a lot of slime in lieu of blood, which the ratings board had a hard time with on his fi rst fi lm. I believe they found the slime off ensive, too. Oh well.

Most horror fans have seen Re-Animator. Word of mouth on that film is pretty good. From Beyond is usually one that people seek out because they are curious to see Stuart’s follow- up. It was probably wise to do something diff erent. It’s hard to repeat yourself and have the magic happen again. That was really so unexpected on Re-Animator. From Beyond is a more serious horror fi lm. It has a robust story, chilling visuals, and spectacular special eff ects. Many of the giants in that fi eld were just starting out and worked on From Beyond. The Pretorius suit at the end still gives me the creeps. I remember (not too fondly) how slippery it was DEADLYMAGAZINE.COM ISSUE #13 5 BARBARA CRAMPTON ON FROM BEYOND close to my body, how cold it was, and how You’ve had a big comeback in recent years maniacal Ted Sorel played those scenes at with You’re Next, We Are Still Here, Tales of the end. Not only did his entire body look like Halloween, Road Games, and the upcoming a giant phallus, but the pineal gland sticking Sun Choke. Is your career as much fun now out on his slimy forehead seemed like a tiny as it was back in the 1980s? but eager extension, searching to absorb and control his prey with his mind and body... pretty Barbara Crampton: More fun. I’m much disturbing stuff . We had a lot of zombies (yes, happier in my life now. I hope I’m wiser. I’m they are zombies) on Re-Animator and pretty enjoying the work. I’m being offered some standard stuff for makeup, but From Beyond terrific roles. Aging does wonders for your has Pretorius. perspective. I have a sense of peace and gratitude. As for me, in From Beyond I’m more than just the “bubble-headed co-ed” they called me in Note of awesomeness: Ms. Crampton Re-Animator. I’m a doctor, then a sex-crazed earned a lifetime achievement award from fiend, then a heroine. What more could an Fangoria while this interview took place. actress ask for in a role? Feel free to congratulate her on Twitter: @barbaracrampton. Where does From Beyond rank among the fans you run into? Re-Animator probably gets the top spot, but what other fi lms do fans gush about when they meet you? Barbara Crampton: It really runs the gamut, which is great. There are many fl avors for horror fans. Some like the more serious, thoughtful fare like From Beyond, or the more gory and less-seen Castle Freak. Overall, I’d say that many people tell me they have a fondness for Chopping Mall. It’s ’80s over-the-top fun and has a cool premise… killer robots! Some people may not realize that you’re quite the horror buff in your own right. What are the best scary movies you’ve seen recently? Barbara Crampton: The ones that stuck with me are:

It Follows – Great, relatable premise. The slow “followers” created so much constant tension. The Babadook – The performances from Essie Davis and Noah Wiseman really made this movie for me—especially from Davis. I felt sorry for her and was quite afraid of what she might do. The Witch – It’s so real with great attention to detail. It masterfully reeled me in after knowing the characters so well. It’s horrifying to sense what’s coming and then see it happen.

6 DEADLYMAGAZINE.COM ISSUE #13 DEADLYMAGAZINE.COM ISSUE #13 7 SLAUGHTER HIGH

Marty (Simon Scuddamore) the smoking pit, I’m afraid. SLAUGHTER is the resident nerd at school, Even by ’86, this “sins of the and as it’s April Fools’ Day, past” trope was played out. HIGH’S REPORT he’s about to get pranked And points off for making it CARD big time by Carol (Caroline five years instead of ten or by Scott Drebit Munro – 1980’s Maniac) and twenty—we can hardly feel her seven cohorts. First a sorry for our students if they Released in 1986, Slaughter bathroom tryst between Marty haven’t been given a chance High is that rare slasher that, and Carol goes awry, and then to atone for the past. A twist while trying to be another Marty is set up in the lab when at the end does help explain Friday the 13th or Halloween, a horrible explosion leaves him the nonsensical events, copies the formula wrong and permanently scarred (inside though, and bonus points are becomes a wholly unique and out). Flash forward five awarded for not including any creature—think Pieces set years, when all eight students extraneous subplots (cops at a high school instead of a receive invites to a reunion on the trail, red herrings) that college, and with students that (fi ve-year reunion? I wonder would take away from the are even older. if they’ll still recognize each main story. Doing so would other?) at the school, which only detract from the kill list Now, Slaughter High doesn’t is dilapidated and soon to be at the school, which sits at quite reach the levels of shut down for good. Instead of nine (eight students plus one insanity attained by Pieces, taking off , they decide to break gratuitous caretaker slaying). but really, few fi lms do. What it in and hang out, although So the grade is bumped up for does have in common with that naturally they’re curious where leaving the authorities out of movie is a cockeyed can-do all of the other students are. it, dammit (a lot of good they school spirit that throws logic Before you can say Prom would do, anyway). GRADE: to the four winds and cries out Night/Carrie/Terror Train/The C+ (Note: this grade does not to be heard. Incongruity is very Burning, our eight are chased, refl ect the kills, which are found big in this curriculum. So, to fried, strung up, bathed, and in the screenplay category.) celebrate the 30th anniversary mounted by an extra crispy of this twisted little go-getter, I Marty intent on exacting his DIRECTOR(S): It took three thought I would pull out my red revenge. people to bring this to the big Sharpie and mark this paper screen—George Dugdale, accordingly. STORY: No new gossip in Mark Ezra, and Peter Litten—

8 DEADLYMAGAZINE.COM ISSUE #13 SLAUGHTER HIGH and for the fi rst act they fl ail the better the movie gets. Marty earn a solid “B” for and fail, with the exception Our directors create some their work, the rest hover of Marty’s accident, which is nice shots here and there that comfortably around the “D” fi lmed in a hazy slow motion suggest at least one of them zone (just like my school that displays a creepiness you knew what they were doing. grades), including producer don’t see coming. From then Congrats, GeorgeMarkPeter, Dick Randall (Pieces) as a on, all they have to do is kill on a job pretty well done. sleazy agent, and anyone off the cast, which they do in GRADE: B else who wanders in front of quite creative ways, thank god, the camera. However, all the because the less this group CAST: While Munro and performances come across as of thespians have to thesp, Scuddamore as Carol and amusing due to the fact that

Slaughter High was filmed the screenplay, and gold baths, electrifi ed lovemaking, in England, and is fi lled with stars all around. Not for the and many other scholastic actors struggling valiantly with dialogue—oh god no, it’s as delights. And again, hats off American accents—not just run-of-the-mill as any slasher for disposing with unneeded British, mind you. Play a game has offered—but rather for subplots like meddling police with your friends and listen for distilling the spirit down to its and unrequited love interests. how many you can pick out essence. Kills, baby, it’s all Marty came for the carnage, (you should name at least four about the kills. Once we get and that’s what he provides in countries to win)! GRADE: C the gang back to the school very inventive ways. You really for the reunion, the viewer is don’t want to get to know these SCREENPLAY: Our intrepid treated to wall hammering, folks all that well, anyway. They trio of directors also penned intestinal disposal, acid talk funny. GRADE: A DEADLYMAGAZINE.COM ISSUE #13 9 SLAUGHTER HIGH

MUSIC: Harry Manfredini is anyone?), dole out a harvest of partly because of) numerous synonymous with the Friday good practical eff ects that are unanswered questions— why the 13th fi lms, with a “ki ki ki, perhaps not the fi nest the genre is the school in complete ma ma ma” here and Psycho has off ered, but are certainly disrepair only fi ve years after violin jabs there. It’s actually a gooey and enthusiastic they graduated? Does it really great score, so good that he enough to be forgiven of any need a caretaker if it’s being deemed it worthy of porting shortcomings. And hats off to demolished in a month? Why over to this production. The co-director Litten for allowing did these students start high most original touch is a catchy eff ects guy Litten a chance to school at the tender age of heavy metal song that has show his stuff . A real mensch. 25?—Slaughter High remains snippets of Marty laughing. GRADE: B+ underseen and underloved. Otherwise, we’re treated to So pull out your books, open a lot of Friday the 13th cues Slaughter High sits on a shelf, to page 86, and prepare to be smothered in synthesizer high and in a corner. Covered learned. gravy. It’s not wise to plagiarize in dust no doubt, because you in school, Harry, especially pull out your copy of My Bloody MY OVERALL GRADE: A- from yourself. GRADE: C- Valentine or Happy Birthday to I don’t know if that adds up or Me instead of taking a chance not—I suck at math. Besides: SPECIAL EFFECTS: Bountiful on a fi lm whose only goal is my school, my rules. Class they are, as John Humphreys to leave the viewer with a dismissed. (Charlie and the Chocolate smile as wide as the one on Factory) and again, Litten Marty’s jester mask (a creepy (who provided creature eff ects touch, by the way). Despite (or, for Rawhead Rex—auteur, let’s be honest here, probably 10 DEADLYMAGAZINE.COM ISSUE #13 DEADLYMAGAZINE.COM ISSUE #13 11 HIGHWAY TO HELL by Joseph Maddrey

Once upon a time horror fans. My own and Hal Needham, life narratives with no in America, horror weakness for this set to the glorious clear target audience. was King. By 1985, admittedly ridiculous symphonies of AC/ King had better luck Maine’s literary film is probably due DC. From the tongue- selling horror stories boogeyman had an to nostalgia more than in-cheek opening to to a men’s magazine impressive collection anything else… but the in-your-face fi nale, called Cavalier. of best-selling novels maybe also a touch Maximum Overdrive is Between the fall of under his belt and just of patriotic pride. I silly and self-indulgent, 1970 and the spring as many high-profi le remember how TNT brazenly obnoxious, of 1975, Cavalier movie adaptations to routinely included and righteously published nine King his name. It seemed Maximum Overdrive in dumb. Which begs stories, including like the modern-day its 4th of July movie the question: how did “The Mangler”, “The master of horror could marathons. So every a movie like this ever Lawnmower Man”, do no wrong. Independence Day, get made? and “Trucks.” I binged on Smokey Cut to 1986. The and the Bandit, Clint “TRUCKS” It might be tempting year of the first PC Eastwood, Joe Don to assume that King virus. The year of the Baker, Stephen King It all started with wrote these horror Challenger disaster. and killer trucks. TNT’s a little story called stories purely for The year of the message was clear: “Trucks”, written in money, or as breaks Chernobyl explosion. with this film, King the early 1970s. At from his serious The year of Maximum had his fi nger on the that time, Stephen work—but no one who Overdrive. pulse of beer-collar King was an aspiring has read the stories America. literary novelist with will ever make that King’s directorial four unpublished mistake. Collectively, debut bombed at the For me, the weirdest books. Those early they convey the box offi ce and suff ered thing about Maximum works (eventually world-weariness of a brutal reviews, but Overdrive is that it published as Rage, talented writer who over the course of doesn’t feel like a The Long Walk, Blaze, felt crushed beneath the past thirty years, Stephen King movie. and The Running the wheels of blue- it has developed a It’s more like a mash- Man) were dourly collar life. King was cult following among up of Irwin Allen pessimistic slice-of- desperately struggling 12 DEADLYMAGAZINE.COM ISSUE #13 MAXIMUM OVERDRIVE to maintain literary hope or levity to money.” In the end, the This time, King ambitions while barely counterbalance the project—tentatively expressed no supporting a wife and crisis. titled The Machines— reservations about two young children in went nowhere. wasting other people’s a rural Maine town “THE MACHINES” money. Instead, he that he later described When Subotsky fell on decided that “Trucks” as “the asshole of By the early 1980s, hard times a few years would make an ideal the universe.” To the King was a famous later, he reluctantly project for him as author, the town of writer and fi lmmakers sold “Trucks” to a novice director. Hermon seemed like were clambering another producer, He later explained the end of the road. to adapt his work. Dino De Laurentiis, [should insert which No surprise, then, that Milton Subotsky—a who was already a publication this he conceived “Trucks” producer known for King devotee when quote comes from, at the local gas-n-sip. anthology horror fi lms he snagged the rights. if possible], “I didn’t

The basic concept of like Tales From the The mini-mogul had know if I could work King’s short story— Crypt (1972) and Vault scored big with his with actors, but Night of the Living of Horror (1973)—set adaptation of King’s I thought I could Dead with wheels— his sights on some novel The Dead Zone choreograph trucks came out of the of King’s earliest (1983), and quickly and electric knives.” author’s genuine stories and resolved followed up with fear of technology. to bring the author’s the film adaptations OVERDRIVE In a 1983 interview, monstrous machines Firestarter (1984), he said, “Machines to the silver screen. Cat’s Eye (1985) and Stephen King claims make me nervous. Subotsky optioned Silver Bullet (1985). On that he methodically They just make me “The Lawnmower the last two projects, prepared for his nervous. Because I Man”, The Mangler”, the producer forged directorial debut, live in a world that’s and “Trucks”, and a relationship with planning out camera surrounded by them. he hired Edward King himself, hiring angles for every single It’s impossible to get and Valerie Abraham the author to adapt shot in the ﬁ lm. He later away from them.” (The Monster Club) his own work to the explained to journalist King has explored that to combine them in screen. Neither Cat’s Gary L. Wood that he fear many times—in an anthology film. Eye nor Silver Bullet was trying to emulate the novels Christine, According to journalist was particularly well- Alfred Hitchcock The Tommyknockers, Bill Warren, Subotsky received, but De (another meticulous and Cell—but then offered King a Laurentiis maintained master of horror who “Trucks” remains his chance to direct, but his faith in the writer— was famously wary of bleakest depiction the author declined, and offered King actors). In his eﬀ orts of technology-run- citing “fears about another chance to to craft Hitchcockian amok, offering little wasting other people’s direct. suspense, however, DEADLYMAGAZINE.COM ISSUE #13 13 MAXIMUM OVERDRIVE

King failed. in post-production, nor scared. Not at where a little kid on a King was no longer fi rst. bike quietly surveys Early in the shoot, invoking Hitchcock. the outrageous results it became became obvious obvious Instead, he told Years later, King of a Terminator- to everyone that the interviewers that he concedes that the style Judgment Day. author was woefully had intentionally made fi lm is “terrible.” In a Personally, I’m rather unprepared to direct a “moron movie”—a 2002 interview withwith fond of the preceding a movie. He hadhad nono mindless blockbuster Tony Magistrale, hehe scene in which a killer real understanding that he likened to fifi lmslms explained how his Coke machine wipes of film grammar. ByBy as diverse as Back simple little horror horror out the samesame kid’skid’s his own confession, to the Future (1985), story became became a a entire Little League he didn’t even know Rambo: First Blood cinematic exercise in baseball team. what a “master shot” Part II (1985) and excess: “The problem was. To make matters Cobra (1986)! King with that film isis thatthat Scenes like this have more diffi cult, many of explained, “The overall I was coked out of a gleefully anarchic the crew members on feeling that I get out of my mind all throughthrough spirit that’s true to the Maximum Overdrive it is more one of kick- its production, and author… maybe not to didn’t speak English. ass, good-humored, I really didn’tdidn’t knowknow the struggling author At that point, King fell kick-ass, things blow what I was doing.” who wrote “Trucks” back on his instincts up.” He wentwent onon toto in 1972, but certainly as a writer “My idea is describe the “spirit” Thankfully, time has to the coke-fueled just to get in there andand of Maximum Overdrive a way of softening mega-celebrity author just bash away, taketake as “a combination of even the hardest of 1986. That guy was the materials that are Monty Python and and blows, and both King a runaway truck with available and put them Jack the Ripper,” and and his fans have the stereo turned up together in a hurry and suggested that the learned to embraceembrace to eleven. And there’s go on.” cast and crew had Maximum Overdrive something perversely “laughed their way to for what it is. King entertaining about The title Maximum a very scary picture.” says he particularly going on this midnight Overdrive says it all. By Critics and audiences likes the tongue- ride with him. the time the fi lm was were neither amused in-cheek sequence

14 DEADLYMAGAZINE.COM ISSUE #13 WILL THE REAL TOBE HOOPER PLEASE STAND UP? by Patrick Bromley

The year 1986 was Tobe Hooper’s last great one as a filmmaker, with not one but two movies released in theaters, each representing a diff erent facet of his directorial voice. It was the year he had his last commercial success; he would, in fact, only have two more fi lms that received any kind of theatrical release at all. The chapter of Hooper’s career that began in 1974 with the release of his groundbreaking The Texas Chain Saw Massacre came to an end in 1986 with the one-two release of the Invaders From Mars remake and The Texas Chainsaw Massacre Part 2. Following the commercial success (and, unfortunately, controversy) of his 1982 Steven Spielberg collaboration Poltergeist, Hooper signed a three-picture deal with Menahem Golan and Yoram Globus from The Cannon Group, the studio responsible for dozens of low-budget genre pictures in the 1980s. Hooper’s deal allowed him to make anything he wanted provided at least one of the fi lms was a sequel to The Texas Chain Saw Massacre. That creative free reign led to 1985’s Lifeforce, an extremely costly ($25 million) sci-fi horror fi lm that fl opped with audiences and critics alike, only recently appreciated for its technical ambition and bravura insanity. Though scaled way back in terms of both cost and scope, Hooper’s next two movies—released just a few months apart in 1986—revealed a similar penchant for oversized outlandishness. Despite making his mark in 1974 with a masterpiece of gritty, sweat-covered intensity, by 1986 Hooper was making horror fi lms that more closely resembled cartoons. And they are no less brilliant. Released in June of ’86, Hooper’s remake of the 1953 science fi ction classic Invaders From Mars is a tribute to the kinds of movies the director grew up watching as a kid. It’s a throwback before throwbacks were cool, which explains why audiences didn’t know what to make of it upon its release; although it cost $12

DEADLYMAGAZINE.COM ISSUE #13 15 TOBE HOOPER million to make, only a third of was intentional. That’s not to Part 2 may have puzzled its budget was earned back say that Invaders From Mars horror fans even more than in theaters. From the opening is some sort of “bad” movie Invaders From Mars because titles that whoosh towards on purpose—the proto- it carried the Chainsaw brand the screen to Christopher Sharknado—but just that the and audiences were expecting Young’s marching score to the silliness didn’t happen by Hooper to repeat what made obviously fake backdrop skies accident. Tobe Hooper is too the original movie so brilliant. and outdoor sets, Hooper tries often dismissed as a director It’s more of a traditional to faithfully recreate 1950s who couldn’t quite realize his “horror” movie than Invaders, sci-fi invasion movies rather vision or who let his movies reveling in all the grue and than send them up. This is his get away from him. He knew gore (courtesy of Tom Savini) “kids’ movie,” more silly than the movies he was making, that Hooper avoided the fi rst it is scary and often shot at and they were the movies he time, to the extent that the low angles to refl ect the way a wanted to make. Invaders movie was released unrated in young person sees the world. From Mars has its share of ’86. Anyone who had missed problems—the pacing drags, Hooper’s transition into bigger, Whereas Lifeforce had the ending disappoints, and broader filmmaking, but more than its share of camp the lead performance by returned to see Texas Chainsaw value, it played those 2 because they wanted elements with a totally more Leatherface, was straight face. Invaders in for quite the surprise. From Mars, on the Except for the title and other hand, leans into some recognizable its campiness with characters, the two full-bodied abandon— movies couldn’t be more the performances by diff erent. character actors such as Louise Fletcher and But therein lies its James Karen are big, brilliance. Part 2 takes broad, and funny, and everything we love about while the visual and the original movie and creature effects from turns it upside down. It’s John Dykstra and Stan funny instead of scary, Winston, respectively, the violence graphic are excellent, there’s still instead of implied. a fake, rubbery quality to Whereas the first film them that lets us know is rife with righteous what we’re seeing is just post-Vietnam anger and pretend. abandonment, the sequel takes on capitalism of It’s a side of Hooper 1980s Reagan America that audiences hadn’t by turning the Sawyer seen much of prior to family (yes, now they have Invaders From Mars. He has Hunter Carson (son of co-star a name) into cooks who win gone on record as stating that Karen Black and screenwriter awards by turning people into he thought what he was doing L.M. Kit Carson, who wrote chili and feeding them back to with the original Texas Chain The Texas Chainsaw Massacre the community. The sets are Saw Massacre was funny Part 2 for Hooper) is stiff even more elaborate—most notably and was somewhat surprised by child actor standards—but the Sawyers’ underground when audiences didn’t see it it is, more or less, the movie lair—the photography is more the same way. By the time his Hooper intended to make. colorful, and the performances other two Cannon productions (by the likes of Caroline came around, Hooper made Released just two months later, Williams, Dennis Hopper, sure people knew the humor The Texas Chainsaw Massacre and Bill Moseley in a star- 16 DEADLYMAGAZINE.COM ISSUE #13 TOBE HOOPER making turn) are much, much and outlandish sensibility reared his head once before bigger. Gone is the country that would defi ne the next 20 in 1977’s Eaten Alive, but that house of Texas Chain Saw or years of Hooper’s work, from production was so contentious the recognizable suburban Spontaneous Combustion and and the finished film so domicile of Poltergeist; like The Mangler through “Dance compromised that audiences Invaders From Mars, Part 2 of the Dead”, one of his had either forgotten that side climaxes in a subterranean contributions to Showtime’s of the director or missed it lair that looks and feels like Masters of Horror anthology altogether. Hell. The majority of Hooper’s series. Even Hooper’s remake movies center around “the bad of The Toolbox Murders, By 1986, he had already proven place”—whether it’s the titular heralded as his return to the he could terrify audiences both location in The Funhouse, gritty brutality of his 1974 as an independent creator and the haunted residence of debut, actually has much someone within the studio Poltergeist, or the funeral more in common with Texas system. With the creative home in Mortuary—but both Chainsaw 2. The madness freedom afforded him by Invaders and Texas Chainsaw that marks so much of his Cannon, Hooper was able to 2 ramp up extreme visuals of filmography is present, but realize and embrace all of the their respective bad places, there’s a wide-eyed cackle other things he wanted to do making them look just as running through his movies as a fi lmmaker: demonstrate nightmarish as they’re meant that began with Lifeforce and wild imagination, be comic and to feel. They go big. It’s where crystallized with his pair of silly and weird and satirical, Hooper’s heart truly lies. releases in 1986. and to take big swings and risk missing big. Never in his 40+ In this way, his fi lms for Cannon That year may have defi ned year career did Hooper swing are all very much of the same the director’s legacy, but it bigger than in 1986. For those piece (and may, according wasn’t the fi rst appearance of of us who count him among to comments the director this type of Tobe Hooper. The our favorite fi lmmakers of all- has made, been fueled by a Hooper who made Invaders time, it might have been the substance abuse problem). From Mars and The Texas best year ever to be a Tobe They share a theatricality Chainsaw Massacre Part 2 had Hooper fan.

DEADLYMAGAZINE.COM ISSUE #13 17 CREATING BRUNDLEFLY: OSCAR-WINNING ARTIST CHRIS WALAS DISCUSSES HIS WORK ON DAVID CRONENBERG’S THE FLY

On August 15th, Cronenberg brought Anyone who has seen The Fly, Walas was 1986, 20th Century his own wildly The Fly understands known for his highly Fox unleashed David evocative ideas to that it’s Seth’s own ambitious eff ects work Cronenberg’s The mainstream audiences blinding sense of on fi lms like Raiders of Fly on audiences with The Fly, in which ambition, coupled the Lost Ark, Enemy everywhere. Centered he cinematically with a raging jealousy Mine, and Gremlins, on a genius scientist, examined how of his journalist which might be his Seth Brundle (Jeff Seth’s obsession girlfriend, Veronica best-known effects Goldblum), whose with destroying and Quaife (Geena Davis), work considering teleportation recreating the flesh that ultimately seals how engrained in experiments take a relates to our own his fate. Throughout pop culture the titular horrific turn when sense of humanity Cronenberg’s characters became he becomes fused and identity as living reimagining of after the film was with a house fl y after beings. After all, if George Langelaan’s released in 1984. teleporting inside we can be broken short story, we see Reflecting on both his own invention, down into atoms, Seth evolve into a The Fly and Gremlins, The Fly remains one does that make any monstrous insect, Walas discussed the of the best science of us more than mere leaving very little separate approaches fiction films ever, organic material with traces of humanity he took on the two and quite possibly is a conscience? in his wake. The man vastly different Cronenberg’s finest behind that incredible projects. directorial eff ort from a Cronenberg never transformation is Chris career that now spans shies away from Walas, who, along “There is a huge over fi ve decades. the chance to ask with his talented team difference between the hard questions, of practical effects the sensibilities of A masterful storyteller which is just one of artists, brought to life The Fly and Gremlins,” who challenges the many reasons the Oscar-winning explained Walas. “The viewers time and The Fly resonated designs and creations Fly is a reality-based time again with with moviegoers that turned Goldblum tale; it’s our world thought-provoking nearly 30 years ago, into the now iconic with our problems explorations of the and continues to be fly/human hybrid and characters that human condition, celebrated by genre monstrosity. feel real. It’s tragic and, more specifi cally, fans to this day. and painful as well the concept of fl esh, Prior to working on as shocking and 18 DEADLYMAGAZINE.COM ISSUE #13 THE FLY repulsive. In The when he was first designs as we could became much more Fly, our work had to asked to collaborate in an eff ort to defi ne asymmetrical, the maintain a deeply with Cronenberg the design approach visual imbalances emotional and visceral on the film. “I was as immediately describing something reality. What we did approached by Stuart as possible. The going wrong as had to somehow seem Cornfeld, the producer, original script has opposed to simply possible in the real in September of 1985, a much simpler something changing. world. We couldn’t with the show starting transformation. It’s We struggled trying have Brundlefly shooting in early really just a messed to fi nd the right visual sprout big wings December, so the up human that goes approach, and it and fly away; it’s project was already through a head wasn’t until David not biomechanically a go and well behind transformation and decided on a look feasible.” schedule. One of the that’s the way we for the final version first things Stuart started the design of Brundlefly that “Gremlins, on the told me was, ‘Look, phase, with most of we could then work other hand, is almost I know you creature the designs having backward through a ’50s TV sitcom guys need six months’ a cleaner, more the stages of makeup. world, where we were prep on a show this balanced look. It was Once the fi nal image importing cartoon involved. We have really when Stuart of the Brundlefl y was characters into a three… maybe.’ So Cornfeld told us to decided on, David comic book world we had to hit the look at it as a “cancer” was happy to let us that really didn’t make ground running on this movie that everything work out the details much sense anyway, one.” became much clearer. and run them past and the puppet nature We needed to show him for approval or of the characters had “Because of the tight the twisted pain that changes. He had its own sort of reality, schedule, my crew the character was his hands full trying so it didn’t have the and I swamped David going through.” to pull together the same gravity of The with as many and as production quickly.” Fly. Yes, the Gremlins varied a selection of “After that, our designs are scary monsters, but they are also mischievous and fun at the same time. So I would say the difference would be that with The Fly, we had to be careful not to go too far, and with Gremlins, we simply could never go too far.” And despite the fact that Walas wasn’t a stranger when it came to demanding production schedules and the need to defy the odds on delivering stunningly intricate effects work, even he initially thought The Fly was a nearly impossible project DEADLYMAGAZINE.COM ISSUE #13 19 THE FLY Walas also discussed I’ve ever worked with Seth’s final attempt had turned into a how the immense an actor who has had to genetically fuse big ugly puppet, so amount of makeup to deal with as much himself with Veronica to make Brundlepod he and his team were on a film. He must to save his humanity. something entirely tasked with creating have been horribly Of course, his plan diff erent visually was never seemed to uncomfortable, is thwarted and going on dangerous phase Goldblum, but he never really we witness the ground.” the unfortunate soul complained.” “Spacebug” mutate who would have to into the ghastly “I decided to keep the suff er underneath the While Goldblum “Brundlepod” head of the Spacebug considerable amount was able to portray creature, a grisly (as we called the of prosthetics for Brundlefl y throughout mess of insect post-Jeff version) and hours at a time. “From 90 percent of the and technology the arms so that we the time we fi rst had film, there is a point intertwined. could at least maintain Jeff for molding, we in the third act when some visual continuity only had a month and the insect finally Walas discussed the and hopefully the a half until shooting overcomes his approach to the latter sympathy. I drew up started, so it was a humanity, which meant versions of Brundlefl y, a very quick sketch mad panic to create all Walas and his team saying, “Brundlepod that combined these of the makeup pieces had to come up with was a challenge, elements with several and get them pre- convincing puppet mostly because we of the cooling fi ns of the telepod as well as a bunch of tubes and wires. It was a very simple sketch and I sent it back to my shop and told the guys to make it look something like that.” “It was mostly Jonathan Horto n and Howie Weed that built the cosmetics of the puppet. It was essentially a rod puppet with an animatronic head that was operated from below the stage painted, and another creations that could had run out of time. through three slots mad panic building create the illusion of My crew had been in the fl oor. The slots his full suits. Plus, a human-sized fl y, but racing just to keep were disguised and the we lost a week for still had the ability to up with the shooting fog from the telepods shipping to Toronto, connect emotionally schedule, but towards covered them from so everything was with audiences. That the end of the shoot, view. It’s difficult to done in very little time. version of Brundlefl y things caught up to us. tell in the film, but Fortunately, Jeff was became known as I tried to imagine what the Spacebug has an angel to deal with. the “Spacebug”, and Brundlepod could green metallic eyes He understood what it eventually evolved into possibly look like. It and at the producer’s took to make the stuff an even more horrifi c was a bit daunting, as request, we repainted work and he had the version of itself called we had already asked them blue for a fi nal, patience of a saint. I the “Brundlepod”, the audience to accept more pathetic look,” don’t actually think which was a result of that Jeff (Goldblum) added Walas. 20 DEADLYMAGAZINE.COM ISSUE #13 THE FLY The one unfortunate puppets for that a practical eff ects fi lm; not won the statue aspect of being a scene.” something always since the category special effects artist winds up on the for “Best Makeup” is that you often have “It was also the stage cutting room fl oor.” had been added in some of your best when Brundle climbs 1981 and Rick Baker work lost forever on the rooftop and Something that deservingly took if key moments or fi nds himself having to probably soothed home the award for An scenes are cut from a bite off a new insect Walas’ heartbreak American Werewolf in movie, and that was leg that emerges from over losing so much London. something Walas his side. That never of his team’s hard experienced According to firsthand on The Walas, “That was Fly. the heyday of practical makeup “We lost a great effects and the deal of work when Academy had very a number of scenes uncertain feelings were cut from about prosthetic the film,” Walas work in general. explained. “There So for The Fly to was a stage of be nominated was makeup that was quite a surprise, completely cut especially because out and it was my company was our favorite stage of made it in, so a lot work on The Fly was located in the San makeup that included of our work went out that their tireless Francisco area rather a full suit, which made right there. Then, there contributions to the than in the Hollywood it that much more of was a mechanical film would garner area. When they a loss. It’s also the head, which we called not only an Oscar announced that we stage with the ill-fated the “extendo” head nomination, but also were the winners, I monkey-cat, when that had the jaws that a win in 1987. This just really wished the Brundle combines swung out and a way was a monumental whole crew could have a cat and a monkey to make room for a moment for both been there because into a hideous mutant large, transparent, Walas as well as for every one of them and in disgust, kills it. mechanical fl y tongue. horror films, since deserved to be.” We built four diff erent But that’s all typical in a genre movie had

DEADLYMAGAZINE.COM ISSUE #13 21 RESURRECTING A MONSTER: WRITER/DIRECTOR TOM MCLOUGHLIN ON BRINGING JASON BACK TO LIFE FOR FRIDAY THE 13TH PART VI by Derek Anderson In 1985, Jason Voorhees was dead. Friday went off and wrote a treatment at Hollywood the 13th fans still fl ocked to witness A New Forever cemetery.” Beginning in theaters that April, and while the box offi ce numbers would justify a sixth fi lm, McLoughlin’s time among the tombstones paid many moviegoers were less than pleased by off , as he completed an extensive screenplay the lack of Voorhees behind the hockey mask, treatment titled Jason Has Risen. From the pining for the return of Crystal Lake’s former fi rst appearance of a frantic Tommy behind the camper who only wanted to make mommy wheel to a closing scene of Jason’s hockey proud. mask fl oating on the surface of Crystal Lake, the treatment provided an in-depth look at And so, Paramount Pictures searched for their McLoughlin’s unique vision for a new Friday Dr. Frankenstein, someone who could bring the the 13th fi lm. It was funny, it was frightening, hockey mask monster back to life. As someone and it cemented the fi lmmaker’s spot behind who grew up on Universal Monster movies and the camera for Part VI. fi lmed his fi rst feature in a mausoleum, Tom McLoughlin turned out to be exactly the bolt “I basically skipped right past Part V,” of lightning the studio needed to get Jason McLoughlin said. “I picked up where things left back on his feet. off in Part IV and Tommy was a kid and he was institutionalized, and now, after all these years, “I said, ‘Well, if you’re going to do a sixth one, I he’s gotten out. If you saw Part V and you were can’t take it seriously,’” McLoughlin explained. still looking at it as a chronological piece, it “‘We’ve got to have a sense of humor about still made sense. We actually tried to get John it. I just want the whole genre looking at itself Shepherd to play Tommy so there would be a in a more satirical way for those who catch it, continuation, but I did not want to approach the and then for people who just want a slam-bang ambulance guy [Roy Burns] being Jason—all horror movie, I’ll do that, too—make it more of that I didn’t make part of the mythology. I like a ride.’ I really wanted to bring a diff erent really wanted it to be Tommy just going back fl avor to it, kind of like what I had done with One because he needed to see that he [Jason] was Dark Night in terms of being more gothic. So I dead—another little borrowing from The Bride 22 DEADLYMAGAZINE.COM ISSUE #13 FRIDAY THE 13TH of Frankenstein, when the old guy wants to go Paula and Sissy’s crimson cabin interior was down and make sure he sees The Monster’s revealed—there was still one scene in particular burned bones so he can sleep at night after that McLoughlin and his crew had to trim to losing his son. So again, I borrowed—or stole please the MPAA, and not because of gore, [laughs]—a lot of those infl uences.” but due to its disturbing nature. “Jason really became like the classic horror “The biggest ironic thing of all was that the monsters. Dracula did not want to be undead. most old-school gag kill, which was the killing He even had a line about that: ‘To die, to really of the Sheriff [David Kagen], where I had him bent backwards, got the most responses from people—a completely bloodless kill. Also, that was picked on more by the motion picture rating board than anything else in terms of it being too horrible, and we had to take a few more frames off [laughs]. And they let a lot of the other shit go, which is amazing, so go fi gure.” Similar to poor Sheriff Garris, many of Jason’s victims were killed at night, requiring McLoughlin and company to adopt a Dracula- like sleep cycle while fi lming. But rather than succumb to the grind of the graveyard shift, McLoughlin and his cast and crew—who were all relatively in the same age group—enjoyed be dead, that must be glorious.’ Frankenstein’s working with each other until the sun spilled monster sure as hell did not want to be brought over the horizon, and they even spent time back as body parts. Wolf Man hated what he together on their weekly night off . was, so Jason would have been fi ne staying in that coffi n, but this son of a bitch Tommy “We were on six-day weeks, so that meant six brought him back, so he’s going to go get this days a week of [shooting] all night and then kid. And anything that’s in his path dies.” we would wrap literally on Sunday morning. You would sleep all day Sunday, so now you’re In addition to imbuing Jason Lives with a gothic up and it’s Sunday night. What do you do? style and self-aware humor, McLoughlin also We found a club in Atlanta. We were down strove to populate his slasher story with likable in Covington, Georgia, so it was about a people and palpable tension, two elements that 45-minute drive, and there was a club that weren’t always present in a subgenre known ran all night, so we would dance all night and for going heavy on the gore and light on the then sleep all Monday and go back to work character development. on Monday night. We were all basically in our late 20s, early 30s, so it was a really fun peer “I tried to just embrace all of those old-school group experience. We were this mystic family horror movie rules so that it really did have a of vampires that did stuff at night while the hero, heroine, villain, and hopefully characters rest of the world slept.” that you liked, so that when they died it’s like, ‘Oh shit, I liked her. I liked Paula.’ Or, ‘Cort was The cast and crew’s hard work on an funny, why did he have to die?’ As opposed insomniac-like schedule was fi nally put before to, ‘Yeah, kill the bitch,’ which is something I an audience during a test screening of Jason never particularly liked about slasher movies, Lives at Paramount Studios, and McLoughlin just getting off on watching some woman get saw fi rsthand whether or not the fans would tore up.” embrace his take on the beloved Camp Crystal Lake killer. And while Part VI didn’t rely on buckets of blood—not counting the moment when “The fi rst screening was at Paramount Studios DEADLYMAGAZINE.COM ISSUE #13 23 FRIDAY THE 13TH for a recruited audience. Basically, they went “I didn’t want you to see much of anything of out and said, ‘Do you want to see the next him other than that he was in a long coat with Friday the 13th?’ And they were like, ‘Shit, long hair. At the end of the movie, you see the yeah!’ They lined up sometime in the morning caretaker talking to him, and he says, ‘Oh, yeah, for a 7:00pm screening at Paramount. And of I’ve been taking care of her really good, sir, like course they were out there all day in the sun you told me. I’ll make sure nothing happens drinking and smoking—they were toasted and to your wife’s grave or his grave.’ And then ready to go, so when they packed that theater, some money’s put into the caretaker’s hand there was a rumbling that sounded like San and he bows his way out of there, and then Andreas. Once the movie started, they went you see Jason’s father staring down like he into one wall of noise, only rising up when senses there’s something wrong, that maybe there was a kill. And they talked, they were just his son isn’t down there [in his grave]. Then it insanely noisy. I couldn’t hear the soundtrack, was going to be a move-in on his eyes, that I don’t know how they could hear anything, were going to look deadly cold, like a shark’s but they just really, really loved it.” eyes, and then that was going to dissolve into Crystal Lake, where you would see Jason “Part of me was thrilled that they were so into hanging underneath.” it,” McLoughlin continued, “but the other part of me was like, ‘They’re so fucked up, I don’t know if the movie’s good or not. They’re just happy to be here watching a Jason movie.’ So when it was all done, [producer] Frank Mancuso Jr. came over and said, ‘That was great. But we need three more kills.’ And I said, ‘Wait a minute, I’ve got thirteen kills. I really wanted that. I had thirteen kills for Friday the 13th.’ And he said, ‘Nobody’s going to be counting. We need to kill three more people.’ While McLoughlin went out of his way to add a bit more carnage to the movie after the test screening, a scene featuring Jason’s father, Elias, had already been cut before fi lming ever began. Incorporating Elias onscreen (something that to this day has still never been done) would have been a game-changer for the franchise’s “And did he [Jason] move or did he not move?” future, but looking back, McLoughlin believes McLoughlin added. “There would be that sense that leaving Jason’s mysterious father out of that maybe his father has some slight psychic the picture was the right move. ability or senses where his son actually is at that point. I just wanted to leave it on that “I really wanted to explore as many things in ominous note. And Frank Mancuso said—and and around Jason as possible. Of course, the in retrospect, I think, very wisely—‘Look, we history of him and his mom was apparent, but just did a movie where we took the audience to what was his father like? At that time, I had a whole other place with somebody imitating this image of a super-powerful guy like John Jason, and now we’re bringing him back, and Barrymore’s Svengoli, who was tall and thin, I don’t want them to think at the end of the with ugly, weird hands and long stringy hair— movie that the next one’s going to be about Raymar in One Dark Night kind of embodied Jason’s father.’ Jason was back and he was that. So I carried that idea over for Jason’s going to stay.” father, that there was something about him. He wasn’t necessarily anything supernatural, but Jason Lives would go on to take in nearly $20 was he a minister of some sort of cult group? million on a $3 million budget. The movie’s What was he?” success led to an inevitable Part VII, and while McLoughlin did not return to direct the follow- 24 DEADLYMAGAZINE.COM ISSUE #13 FRIDAY THE 13TH up fi lm, he was involved in early discussions when people saw my Friday, it hit at the right about the movie, which was originally planned time, when that was the one you discovered to pit Jason against the dream haunter from and Jason was cool and almost Terminator-like Elm Street. as a monster. Those were all things I intended, because I thought, ‘I’m bringing him back “Frank Mancuso said, ‘Would you be interested like Frankenstein. A bolt of lightning brought in doing another one?’ And I said, ‘Well, I would Frankie to life, so why not Jason?’” have to fi gure out something unique like I did for this. I don’t know what that would be.’ And he went, ‘All right, Jason versus Freddy.’ I said, ‘Isn’t Freddy with New Line [Cinema]?’ And he said, ‘Yeah, we would have to work that out, but what do you think?’ And I went, ‘Well, Frankenstein versus the Wolf Man, sure!’” As Friday the 13th and A Nightmare on Elm Street fans know, the two slasher icons would not go head-to-head until 2003, but the idea of Jason meeting someone from another franchise got McLoughlin thinking of another potential crossover. “He [Frank] came back after about a month and said, ‘Nah, New Line’s just not going to give up Freddy, so that isn’t going to fl y.’ And I said, ‘Well, while we’re in that ballpark, what about Abbott and Costello Meet Frankenstein? Paramount has Cheech & Chong. What about doing a Cheech & Chong and Jason movie? And he said, ‘I don’t know about that, I think that’s going to be more comedy than horror.’ While it would have made quite an intriguing horror comedy, Jason never stalked Cheech & Chong through their scented haze, and McLoughlin moved on from the Friday the 13th franchise to helm the romantic fantasy Date with an Angel. Ironically, McLoughlin also became a story editor on the non-Jason Friday the 13th TV series and also directed an episode of Freddy’s Nightmares in 1988 before continuing his long career as a thought- provoking writer and director. And like the man who brought it to life, Jason Lives has enjoyed an increasing appreciation over the past three decades as the fi lm that recharged the Friday the 13th franchise—and had a hell of a lot of fun in the process. “Over the years, it has been embraced the most,” McLoughlin said, “and I think it’s because of the humor that it still works as an entertaining piece. But just in terms of the ages DEADLYMAGAZINE.COM ISSUE #13 25 EMPATHY FOR THE DEVIL: SEEING THE RED DRAGON THROUGH WILL GRAHAM’S EYES IN MICHAEL MANN’S MANHUNTER by Kalyn Corrigan In the opening shot of sits next to him uncomfortably which allows him to put Michael Mann’s 1986 cult in a business suit and looks himself in the mindset of the hit Manhunter, the audience out at the ocean, waiting for killers he hunts. This trait helps is immediately positioned in a response to his proposition. Will bring criminals to justice the serial killer’s shoes. Seen Jack knows what he’s asking more quickly than the average through the fi rst-person POV, of Will isn’t fair, but with detective, but it comes with a the camera captures feet a murderer known as the personal setback. Although he slowly ascending a darkened “Tooth Fairy” on the loose is gifted with a skill that makes staircase into the bedroom of slaughtering families, he has him a valuable asset to the a sleeping woman. Because of no choice but to bring in the federal government, it is one this introduction to the movie, best to solve the case. The man that has also cursed his soul. the viewer is instantly forced they’re looking for is operating Every time Will opens himself to see the world through on a lunar cycle, which only up to thinking like a serial killer, the killer’s eyes. As a result, leaves them a few weeks to he slips a little further into the empathy for this devil has find him before he strikes darkness that inhabits these already started to conjure again. As Will’s wife, Molly crazed men’s minds, losing and will continue to fl ourish (Kim Greist), and adopted son, a little more of himself in the throughout the story, as the Kevin (David Seaman), saunter process. lead detective who’s hot on up the shoreline, the pressing his heels grows too close for question of whether to leave After agreeing to go back on comfort to the madman he is his family in this sunny place the job, Will and Molly spend hunting. and return to the harsh, cold one fi nal night wrapped up in world of crime weighs even each other’s arms. Doused in After the title card fl ashes a more heavily on Will’s mind. calming blue light streaming glowing green “Manhunter” Deep down, he knows that from the seashore that would across the screen, we are despite the risks, he has to come to represent Will’s idea taken to a bright and peaceful go back. of sanctuary throughout the beach, where two men sit on film, Molly begs Will not to a washed-up tree branch and There’s always danger involved go. She wishes she could stare in diff erent directions. Will when a man of the law takes on convince him, but she is no Graham (William Petersen), an the challenge of tracking down fool. She knows that Will is ex-FBI profi ler, is being called a violent maniac, but in Will going back into the fi eld, and upon to return to the job that Graham’s case, he isn’t just when (and if) he returns, he nearly took his life—and his jeopardizing his body, but his may not be the same man she sanity—the fi rst time around. brain, as well. Will possesses knew when he left. Jack Crawford (Dennis Farina) complete and total empathy, 26 DEADLYMAGAZINE.COM ISSUE #13 MANHUNTER Thrown back into the grind, Will he needs to solve the case, confronting who he really is, dives in headfi rst. He enters the which he will fi nd later in the and realizing that the two of same house that was shown very same videotapes. them have more in common in the opening scene of the than he originally thought. fi lm, except now it’s labeled Will is only beginning to see a crime scene. Looking for through the killer’s eyes, but While visiting Lecktor at his clues, he walks up that same it is only with the help of jail cell to ask for help, Lecktor opening shot stairwell and another notorious criminal— taunts Will, saying that he only into what is now known as none other than Dr. Hannibal caught him because they’re Mr. and Mrs. Leeds’ bedroom. Lecktor—that he finds the alike. He says Will just came As Will makes his way up the guidance he needs to pinpoint to look at him and “get the old stairs, the camera shifts from the Tooth Fairy. Although smell back again,” but that he the third-person POV to the he has committed several should really smell himself. Will first-person POV, and for a heinous crimes, Lecktor is still would like to believe it isn’t second, it’s as if the viewer is a brilliant psychiatrist capable true; that he couldn’t possibly

watching the same serial killer of diagnosing people, and, relate to a soulless deviant like from the opening, making his if he chooses to cooperate, Hannibal, but the fact is that way upstairs yet again. This could prove to be a big help the empathy he uses to get signifi es the fi rst time in the in learning more about the inside serial killers’ heads is fi lm that the audience sees the killer. The last time they came the same device that made killer’s motives through Will face to face, Will put Lecktor him start having murderous Graham’s eyes—but it won’t in jail, and Lecktor put Will in thoughts in the first place, be the last. the hospital. Now, Will must back when Hannibal was the swallow his pride and ask the one he hunted. Will came close Back at his hotel, Will watches man he put away for a hand to losing himself before, but home movies of the murdered in fi nding the killer. now, he’s entering the mind families to look for clues. As of someone who’s arguably he stares blankly at the VHS It’s no mistake that Will even more demented than Dr. tapes onscreen, the television Graham becomes paired Lecktor: Francis Dollarhyde, set appears to take up much up with Hannibal Lecktor to aka the Tooth Fairy. more room in the frame than fi gure out the true identity of Will. At this moment in the the Tooth Fairy. As Will learns It’s almost an hour into the film, Will is still in the dark more about the personality of fi lm when the audience fi nally and lacking the knowledge the killer he’s hunting, he’s also gets a good glimpse at the DEADLYMAGAZINE.COM ISSUE #13 27 MANHUNTER

Tooth Fairy. With his face While Will encounters his own be rejected by society for not partially covered by a ski dark nature, Dollarhyde comes being beautiful enough (at mask, Dollarhyde stands tall in touch with his humanity. He least in his mind), but when and powerful over kidnapped meets a blind woman named he kills people, or as he tabloid journalist Freddy Reba McClane (Joan Allen), deems it, “changes” them, Lounds (Stephen Lang), who can’t see the disfi gurement he forces them to witness his who just published a very on his face and doesn’t judge magnifi cence by using shards slanderous article featuring him. A lonely sinner devoid of of mirrors to cover their faces quotes by Will Graham calling human contact, Dollarhyde and refl ect himself fondly in Dollarhyde “impotent” in an falls for Reba immediately, their eyes. attempt to draw him out. Will but quickly destroys any understands that the Tooth chance they might have had When Will realizes that Francis Fairy’s Achilles heel must be at happiness by becoming was once a battered infant, he vanity, because he places insanely jealous when he admits he feels sorry for him. mirrors on all of his victims. sees her at her front door Jack fi nds it hard to believe Sadly, because Lounds with another man. Because that Will could express any insisted on being in the front he is socially inept, Dollarhyde sympathy for the serpent that page picture with Graham, it interprets their brief interaction has slithered out of their grasp is he who is attacked instead as the ultimate betrayal, and time and time again, but Will of Will, turning an easy trap dismisses the idea that he understands that on the inside into a frightening message might have found solace with of this terrifying man resides a of the growing power of the Reba. He knocks on her door, scared child, who only dreams Tooth Fairy, or, as he prefers to but when Reba answers and of being loved and accepted. be known as, The Great Red asks if it’s Francis, there is Will understands now that Dragon. only an emote shell present Dollarhyde is merely a victim on the other side of the frame. of circumstance. Of course, he After visiting Lounds in the Illuminated by blood-red light knows he must be stopped, hospital and securing his to display the Dragon boiling but still, Will feels pain in his own family’s safety, Will gets hot just beneath his skin, heart for the broken man on a plane to head back into Dollarhyde stands defi ant in with whom he can’t help but the chaos. At the airport, he front of her, chin raised, eyes empathize. gazes out of a rainy window glaring down, and speaks at his own reflection and slowly in a low voice, almost While Francis dreams of says “Just you and me now, a whisper: “Francis is gone. being accepted, Will dreams sport.” At this moment, Will is Francis is gone forever.” of serenity. He wants to speaking not only to the Red be at home with his family, Dragon, but also to himself, As Will later discovers, away from the depraved because he embodies both Francis Dollarhyde is a victim thoughts and sadistic rage spirits: the predator and the of childhood abuse, which that characterize the men he prey. In understanding the explains his self-loathing chases. However, the more he Dragon, Will has also begun attitude. However, long before commiserates with the Great to understand himself, seeing this information is revealed, Red Dragon, the deeper Will the evil lurking within his own actor Tom Noonan portrays slips into madness, and the eyes. If he can stop the Dragon Dollarhyde in such a pitiful more he becomes just like from killing again, perhaps he and heartbreaking manner that the man he’s tracking. Like a can cut ties with this empathy he creates sympathy for his pact with the devil, Will fi nds for the devil and break free of character with the audience a sickening tranquility in his his own demons… but will he knowing very little about the time spent inside the Dragon’s discover who the killer is in man other than the fact that he brain; the kind that can only time to save his own sanity? hurts families. His performance come from enlightening self- Or is he already too exposed to is that of a fallen angel clawing discovery. The only problem the killer within himself to ever his way back into heaven is, what Will discovers is that truly be a good man again? through the strength of the he’s able to empathize with Great Red Dragon. He might this devil because he, too, 28 DEADLYMAGAZINE.COM ISSUE #13 MANHUNTER carries demons in his soul. hotel room, the shot is set up puzzle to fi nd the Red Dragon. to make the TV appear much The color schemes in this fi lm bigger than Will in the frame, In the end, Will Graham are extremely telling of what signifying that Will has not yet succeeds in catching and is happening in the story at gathered the information he killing Francis Dollarhyde—but any given moment. When needs from the videos to crack at what cost? The toll taken the characters are covered the case. Later on in the fi lm, on him as an FBI profi ler on in green light, or standing in when Will revisits the home a dangerous case blurred the front of a green wall, they are videos with Jack, the two of line between good and evil, searching for evidence, or them are positioned in a very and now, Will has passed looking for the truth. Often, particular way in the room, the point of no return. As he Will is drenched in cobalt blue, with the TV on the far left side stands on the dock of the representing the happiness he of the frame, Will sitting in a recently deceased Dollarhyde, feels with his wife Molly, or the chair close to it in the middle of Will looks out at the water. His brief calm he fi nds with each the frame, and Jack standing silhouette is highlighted by the uncovered piece of evidence back against the wall on the bright pink sunset, making that leads him him look like one step closer a shadow of to Dollarhyde. a man unable to touch the Mostly, the happiness locations Will surrounding visits are fi lled him. Jack with blinding starts to walk white industrial up, but pauses structures, halfway to Will signifying the and looks in hard, cruel the opposite reality of the direction, crime world pondering the that he has damage he’s returned to. caused. But as the fi lm rolls on and the Watching Dragon inside the scene, it of Dollarhyde looks almost stretches its identical to the wings and one the pair breathes shared on the deadly fire, ruby-red lights far right side. This positioning beach at the start of the fi lm, come to characterize nearly indicates that Will knows more when Jack fi rst asked Will to every scene Will is in, than Jack does at this point, go back into the field. This demonstrating the change because he is closer to the similarity says something that has taken place within the television, and has discovered very interesting about the depths of his darkened soul. more clues from the tapes. story: what happened was Eventually, when Will realizes inevitable, but that doesn’t Just as the colors indicate that Dollarhyde must have make it any less tragic. Even if what people in the scenes watched these tapes himself, it was only temporary, Will saw are feeling, director Michael and can therefore be found the world from the Dragon’s Mann’s blocking is also through the developing point of view. In a way, Will extremely indicative of the company he works for, Will Graham is the fi nal person that plot. For example, when Will is shares the frame equally with Francis Dollarhyde managed fi rst watching the home videos the television. He has learned to change—the only diff erence of the murdered families in his all of its secrets and solved the is, he’s still breathing. DEADLYMAGAZINE.COM ISSUE #13 29 30 YEARS AT THE AFTER DARK: A LOOK BACK AT THE CULT CLASSIC HORROR COMEDY

by Heather Wixson 30 DEADLYMAGAZINE.COM ISSUE #13 VAMP

Released in what many horror fans consider placed laughs, Vamp is a remarkable eff ort from to be the heyday of modern vampire movies, everyone involved, and it remains a beloved Richard Wenk’s surreal 1986 horror comedy, cult classic for many reasons. From its ability to Vamp, remains one of the more criminally subvert certain genre expectations time and time overlooked films of its time, despite being again, to the immeasurable chemistry shared just as uniquely entertaining as many of its between the entire ensemble, to Wenk’s bitingly vampiric peers from that era. This year marks fun directorial fl air, and of course, a tour-de- the fi lm’s 30th anniversary, making it the perfect force performance from Jones that still leaves time to celebrate everything I love about this me speechless each and every time I revisit the underappreciated genre gem with those movie, Vamp remains endlessly entertaining and responsible for bringing it to life decades ago. infectiously charming even after three decades. For those of you who’ve never seen Vamp, it follows two college kids named Keith (Chris Makepeace – My Bodyguard, Meatballs) and AJ (Robert Rusler – A Nightmare on Elm Street 2: Freddy’s Revenge, Weird Science), who are tasked with securing an exotic dancer as part of a frat house initiation ritual, and happen upon the After Dark, a mysterious nightclub that promises an experience unlike any other. Curiosities piqued, the guys set off with unlikely friend (for a week) Duncan (Gedde Watanabe – Sixteen Candles, Gremlins 2: The New Batch) in tow to a seedy part of town and get far more than they bargained for when it turns out that the dancers are actually vampires who prey on unsuspecting patrons under the leadership of the otherworldly Katrina (portrayed by the iconic Grace Jones).

Along the way, Keith and AJ also cross paths For director Wenk (who also shared story with a mysterious stripper (Dedee Pfeiff er), credits on the project with producer Donald a cockroach-eating, Vegas-loving club P. Borchers), the timing for a horror movie manager (the incomparable Sandy Baron), like Vamp, which was entrenched in a darkly a lovelorn bouncer (Brad Logan), and a comedic tone that perfectly played up the fi lm’s street gang led by Billy Drago in albino form. unnatural villains, could not have been more perfect. “We made this movie in the era when horror comedies were really coming into their Distributed by New World Pictures (founded by own. Films like American Werewolf and The the legendary Roger Corman) in the summer of Howling set the stage for Vamp. Don’s actual 1986, Vamp was a moderate fi nancial success pitch to me was, ‘I want a movie,’ and that’s for the indie shingle, but never quite earned an all he said. He had the whole title, the poster audience during its theatrical run, only gaining image, and everything in mind before the movie a true following fi rst on VHS and eventually actually existed. He said to me, ‘If you can on DVD and Blu-ray. While there had been come up with something, a script about college several vampire movies in that era of genre kids with vampires, you could direct it.’ So it fi lmmaking that I really loved as a kid, I always was up to me to fi ll in the blanks.” felt like Vamp was something totally diff erent and weird—and I liked that. “But basically, when you have that premise, it lends itself to a little wink-and-a-nod approach Much more than just a comedy-infused movie to the material,” continued Wenk. “It also went about bloodsucking strippers with a few well- against the grain of all the straight horror DEADLYMAGAZINE.COM ISSUE #13 31 VAMP movies that were coming out that year. There While it has numerous memorable elements, were so many of them, and for me, the idea what has always centered Vamp and made of college guys fi ghting vampires was hard to it a horror fi lm in which you actually root for take seriously all the way through. That was my the characters, is the friendship and genuine sensibility, and I just had to go with my gut.” affection shared between the film’s lead characters, Keith and AJ. It’s a sentiment that At the time he was approached for Vamp, Rusler agrees with. “What I thought was great Rusler was fresh off the success of roles in about Vamp is that Richard really got you to fi lms like Weird Science and A Nightmare on like and empathize with these two college kids Elm Street 2, which he admitted gave him a who just want nothing more than to live in a bit of an ego when he was considered for the decent place, and along the way they get a lot role of AJ. “I remember that we shot this the more than they bargained for.” summer of 1985, and I got a call from Richard.

They wanted me to read for a part and initially, “It all came down to the storytelling; Richard I was playing hard to get, of course. Then has a knack for balancing humor and horror, Richard said, ‘Let’s just have a meeting,’ and and he knew how to get audiences to care I fi nally agreed to go to the address that my about these characters because they were manager had given me to meet Richard at, so well-written and well-developed. Then, as and talk with him about the fi lm.” a director, he gave all of us the space to make these roles our own and have some fun with “The closer I got, the more familiar the the material along the way.” neighborhood looked, and then I realized that the place we were going to be meeting was in “Plus, our characters get caught up in all kinds my old apartment, believe it or not. No such of naughtiness, and that’s something people of thing as coincidence, I believe. And so, I went any age can relate to,” added Rusler. “Either up to meet Richard, and it turned out we were you’ve done it yourself or you’re going to do it meeting in my old bedroom. I said to him, ‘Man, someday and everyone enjoys some teenage you’re sitting where I used to sleep,’—fi rst shenanigans [laughs]. But I guess a lot of my thing I said, an actor meeting a director for a performances back then had a certain charisma fi lm, right [laughs]? He’s like, ‘I think I made a to them, and Richard saw that. Somehow he big fucking mistake.’ But then, as I explained, knew that I was going to be able to balance we went on and we had a great time making out Chris [Makepeace’s character] in a way this movie.” that would really make these likable guys you wanted to hang out with.” 32 DEADLYMAGAZINE.COM ISSUE #13 VAMP

Rusler went on to discuss just how much and this young child-like quality about her; he enjoyed collaborating with Makepeace and the fact that her name was Amaretto, come throughout Vamp, saying that their instantaneous on. She probably didn’t know what Amaretto connection spilled through in their onscreen was [laughs].” performances. “At that time, Chris was always playing the meek and awkward guy, and I was “I went in to read for Richard and read my ass able to bring something out in him that people off for that part. It would become my very fi rst hadn’t really seen from him before Vamp. I starring role, and I always say that Vamp is my defi nitely think that Chris came into his own fi rst baby. I have two children now, but Vamp playing Keith, and I’ve always enjoyed that role came along before them. It was written very from him because of that rare confi dence he much like you see in the fi lm and those great displayed in it. He was such an easy guy to relationships were very much in the script. I will like; we chatted for 15 minutes the fi rst time we say that Richard’s way of directing completely ever met, and by the end of that conversation pulled out our wanting to get to know each it was like we were old friends.” other and feed off each other’s humor. We always had a great time during the shoot.” “There’s this one moment between Keith and AJ, where Richard really cements how deep Pfeiffer continued, “One thing that still their friendship is, when I confront him after astonishes me, though, is how much weight being turned [into a vampire]. There’s this one I lost throughout the fi lm. I kept losing weight line of dialogue where I compare myself to a every day, and we had that gag with my strap mosquito, and I always thought that was so that kept falling down. That was in the script, powerful and gave a new dimension to their but honestly, it just kept happening anyway. relationship as friends. It’s a funny line, but The further we got into shooting, the more my it’s kind of sad at the same time, too, and clothes were just falling off me [laughs]. We had it can be so hard to balance emotion and a lot of long days and craziness, but we just fed humor like that in a horror movie. But having off each other’s energies and passions for this Richard’s script and a wonderful guy like fi lm. We really loved doing this fi lm; Richard, Chris to bring it all to life with really helped.” Don, Robert, Chris, Grace—everyone. We had a great cast and a great crew.” Someone else who credited Wenk’s incredibly intelligent and thoughtful script for the success “We’re all really pleased now, looking back, of Vamp was co-star Pfeiff er; in the fi lm, she with what we created on Vamp, and how it has plays the eternally plucky and adorable Allison, become a cult classic,” added Rusler. “We all who is also known as Amaretto when she’s pretty much knew that was the kind of movie slinging drinks at the After Dark. “I was really we were making at the time. Just looking at our lucky because cast, you could Amaretto, my tell this was character, was something that so special was going to be and sensitive. very unusual.” She was this helpless, The “unusual” hopeless Rusler refers romantic who to includes just loved the Wenk’s decision idea of love, to cast the but she worked multitalented in this club Grace Jones as with vampires. Vamp’s head She had this vampire queen, effervescent Katrina. Jones kind of beauty had been a bold DEADLYMAGAZINE.COM ISSUE #13 33 VAMP force of nature in the worlds of fashion and the biggest regrets of his life shortly after the music before she set her sights on acting, and premiere of Vamp. eventually broke down that door with her star- making performance in Conan the Destroyer. “Being 19 at the time, and being introduced into Grace’s world, was something so diff erent than Wenk discussed his need for multifaceted anything I had ever experienced, or probably performers in his directorial debut. “Because will ever experience. Hanging out with these Vamp was both horror and comedy, that meant fashionistas and artists was beyond me; I had no we needed versatile actors who could handle idea what I was doing. Grace even introduced all the funny stuff , but could still play it straight me to people like Robert De Niro and Mick and hit those dramatic beats. Sandy Baron was Jagger, which was incredible. I remember at the great, his talent is legendary, and he brought an Vamp premiere in NYC, I took Brooke Shields, elegance to that role. Grace, too; talk about a and afterwards we ended up at an Andy Warhol diff erent level of talent. What’s interesting is that party because of Grace. I had a blast, too, and out of everyone in Vamp, Grace was actually I think a lot of those artsy people really liked the funniest. I don’t know why she never did me because I wasn’t the typical California kid stand-up. And her laugh was the greatest laugh or anything like that. I was always just myself, you have ever heard, too [laughs].” and I think they appreciated that I wasn’t trying to be someone else to fi t into their world.” According to Rusler, “Grace was just something Rusler continued, “What’s really surreal, else altogether; at the time, she was this though, is that the next day after the premiere, completely underground persona, so it was I was sitting in my hotel room and my phone interesting that Richard chose her for the role. rang—it was Andy. He asked me to come over There were a lot of traditionally sexy women in so he could paint me, and to be honest, I was Hollywood back then, and to go with someone totally taken aback at the time, so I stupidly so unconventional really took things to an gave him some lame reason I couldn’t. I told entirely diff erent place in the story and explored him I’d come and visit him the next time I was some new sexual taboos at the time, too. She in New York, but he died only a few months defi nitely pushed the envelope.” later. I missed such an incredible opportunity; looking back, I would defi nitely do it diff erently “When we started in the pre-production process if I could, because that was a huge mistake. of making the fi lm, Grace came aboard and I didn’t realize what I was passing up at the brought Keith Haring, too, who was a very time.” famous artist—may he rest in peace—to do her body makeup. Then she had Andy Warhol do Of course, it should be no surprise that one designs and production designs, and he gave of Vamp’s ultimate moments of surrealism her ideas for her little lair, too. Richard Avedon, comes courtesy of Jones, who takes center and other artists like that, also came aboard stage in a hypnotic and animalistic striptease and they were always lending their ideas and that features the stunning actress painted artistic input into the look and the design. It head-to-toe in body paint and donning a bikini was an incredibly collaborative experience for made of nothing but wires. At the time Vamp all of us.” was being conceived, though, that moment in particular was much diff erent in the head Rusler also had the opportunity to work closely of Wenk, who admitted the scene underwent with Jones during Vamp, especially when his some huge changes once Jones came in and character AJ ends up another victim of the gave the performance her own trademark twist. queen vampire after he tries to negotiate her services for a frat house party. When asked about his experiences shooting the intimate “The original scene that was written before scene with the iconic performer, his one-word she was cast was one of the most erotic, answer was “surreal,” but he did go on to sensual, sexy dances that would have just discuss how Jones welcomed him into her ignited all the men in the room,” explained entourage, and how he experienced one of Wenk. “When Grace came in, she had her own 34 DEADLYMAGAZINE.COM ISSUE #13 VAMP choreographer and they decided to create dared to do something diff erent with vampires, something diff erent that was more her style. and it also gave audiences wildly memorable I wasn’t allowed to see it until I saw it, which characters brought to life by a skillful ensemble was right before we shot it. When I saw it, that contributed their own unique talents to it was nothing like it was written, obviously, an up-and-coming director’s fi rst time at the because what she gave us was something from helm of a feature fi lm. Very few horror directors’ another world. It was incredible, but originally, fi rst movies are as wildly imaginative, stylishly we had the scene ending with all the men poised, and polished as Vamp was, proving giving a standing ovation, and I don’t think Wenk was a creative force on the rise. anyone could have found their legs after Grace was done performing [laughs]. So that ending For Rusler, his experiences on Vamp were defi nitely changed.” nothing but positive, and it’s a fi lm that still impacts his career, especially when it comes “I’m still having nightmares about this scene. to horror fans. “I love that Vamp is still building In fact, if you want a little trivia about Vamp, an audience even though it came out almost watch the wig that she’s wearing, because it three decades ago. There seem to be new gets shorter and shorter as the number goes fans of the movie all the time, especially when on. After every take, hairs would fall out of I’m meeting people at conventions, and that’s place and instead of fi xing them, her designers really cool—that’s when you know you’ve made would just cut them off . Continuity was not a something special. We weren’t a blockbuster by big thing with her people, I guess [laughs].” any means, but we did fi ne and I’m happier with being involved in a great movie that continues While it may not be as well-known as many to get discovered over time than if I had done of its genre peers from that era in horror a movie that was huge in its day, but ended fi lmmaking, Vamp will always remain one of up being ultimately forgettable.” my favorite movies ever simply because it

DEADLYMAGAZINE.COM ISSUE #13 35 THANK YOU FOR READING!