HELLRAISER Q&A MODERATED BY FANGORIA EIC CHRIS ALEXANDER!
While at Texas Frightmare Weekend, I had the pleasure of hearing from a few cenobites at the HELLRAISER panel, known to other Frightmare attendees as the Cenobite Me panel. Doug Bradley, who played the infamous character of Pinhead, along with Nicholas Vince, who played Chatterer, and Barbie Wilde, who played the female cenobite in HELLBOUND: HELLRAISER II reunited in Texas for a quick chat with Fangoria Magazine’s editor in chief, Chris Alexander. This was undoubtedly one of the most entertaining panels I’ve ever been to, and I feel lucky to have had witnessed it in person. However, I know a lot of people couldn’t make it all the way to Texas, so I wanted to share the experience with everyone. This way, everyone can rejoice in the event of some of horror’s most iconic figures reliving the shocking, provocative, unforgettable HELLRAISER films that we all know and love. Read on, and find out the process behind each of the cenobites’ makeup, the incredible influence that the HELLRAISER series has had on fans over the years, and what Doug Bradley, a.k.a. Pinhead himself thinks about remaking the film that made him famous.
FANGORIA: As I leak into my 40th year, I’m a horror fan tried-and-true since I was three years old, but most of the movies I love I never lived through. I had to get to them after the fact. A few of the gems that I lived through that I legitimately remember, when it hit me, how it hit me, and how it affected and changed the landscape of horror. Back in ’87 I guess about 13, so in Canada, I still wasn’t allowed into an R-rated film but New World Pictures opened this film called HELLRAISER, which I was very aware of because I was reading FANGORIA…and now I am the Editor in Chief of FANGORIA. But, yeah. So, I knew about this movie, but I had to buy a ticket to this other movie and sneak into this movie, and you know what? I had no idea, none of us did, I don’t think. This is the 1980s, with very conservative horror movies. The landscape around me was reflected of slasher movies, which again, very, very conservative sexually, and I had never seen a motion picture, let alone a horror movie, let alone a theatrical experience that melded sex and death in such a visceral, nightmarish way, and I know I’m not alone in that. So, I lived through HELLRAISER and watched HELLRAISER change the world. So, I’m very proud to be sitting here at this panel tonight with three of the individuals who helped make that legacy possible. So, we decided to be overdramatic about it, so why don’t we start it this way? Chatterer!
Nicholas Vince: Yes?
FANGORIA: Mr. Nicholas Vince.
NICHOLAS VINCE ENTERS THE ROOM FROM BACKSTAGE AND TAKES A SEAT AT THE TABLE.
FANGORIA: Let’s skip ahead. Now, with HELLBOUND: HELLRAISER II, the female cenobite…Barbie Wilde!
BARBIE WILDE ENTERS THE ROOM.
FANGORIA: And last but not least, the face that’s forever branded in all of our minds and will shatter our brains for generations of horror fans to come, long after we’re all dust, the one and only Pinhead, Doug Bradley.
DOUG BRADLEY ENTERS THE ROOM.
FANGORIA: Get comfortable, everybody get comfortable. Put your head on your neighbor’s lap. It’s perfectly okay for this show. The reason why it’s so cool to have the three of you up here is we have these guys that started horror…. I know Barbie very well, Barbie actually writes for FANGORIA. she’s an amazing writer —
Doug Bradley: Well, let’s not push it.
FANGORIA: All of you have lived many, many lives… I do know actually although that you have a history with Mr. Clive Barker, [you helped him make his movies, one in ’86 and one in ’87,] but can you talk a little about about that history? About how the two of you met and how did that friendship evolve?
DB: Uh, okay, well, we were in high school together in Liverpool. I’ve known Clive for (coughs) years (Everyone laughs). I imagine properly in rehearsals for the school play. He was always putting on his own productions in the school so I sort of, kind of fell into that orbit. It changed my love, really. After high school, we started doing experimental theater in Liverpool through various manifestations of Lucicet (???) Theater Company then we went to London and started a theater company called Dog Company. We were making life very easy for ourselves, we were making plays by an unknown playwright called Clive Barker, we were made waves and we got rich, never really getting where we wanted to be. Those plays are poppish now, so. Some of you may already know the history of The Devil and Frankenstein in Love and Paradise, I played the devil, and I played Dr. Frankenstein, and that wound up about 1982 it had just run its course I was working as an actor in England, and Clive tried his hand at some short horror stories to see if he could make a bit of money. That bombed. And about 1985 was the first time he mentioned a “gut-punching, independent British horror movie” that he was trying to put together, which was the first time HELLRAISER came into my life. So, that’s kind of a potted history…
FANGORIA: Do you remember…that was an interesting picture was … bought by New World? Because they were bought by Roger Corman, at the time.
DB: Um, yes. I think, in fact, Clive and Chris Figg, who was the producer of HELLRAISER, they had a deal in place merging original so it would and their first pitch was to New World, who said yes. So, although HELLRAISIER is described as the greatest British horror movie ever made, I’ve always said that 95% of the talent that put the movie on the screen is British, 100% of the money that put the movie on the screen is American, 100% of the profit is American that makes it an American movie, you guys own it. So, New World produced HELLRAISER and HELLBOUND and then went belly up. So, there was a hiatus after HELLBOUND before HELL ON EARTH. And if New World owns the rights to the franchise and New World doesn’t exist, who owns the rights to the franchise?
FANGORIA: Sorry, who released part III? Who was behind that?
DB: A guy called Vincent Coleman, who I think had been part of New World, Vincent Coleman and Lawrence Mortorff produced HELLRAISER III. Clive was completely out of the movie by then, he had fought to get the rights back. Chris was like every first time filmmaker, he had given away everything in order to get HELLRAISER made, so he had no control at all over the rights to the movie. They created a company called Transatlantic Pictures to produce HELLRAISER III. While we were filming, Paramount called the DVD rights. There was great rejoice on our set, because back in those days, that meant we were in profit before we’d finished making the movie because they called the DVD rights. When we finished principal photography, that was when the Weinsteins came along.They were brought into the franchise at that point, and they were actually responsible for submission. They wanted to bring Clive back on, because they wanted Clive’s name attached. Clive being Clive said “Okay, but if I’m attaching my name, I want to see what I’m attaching my name to”. He had some issues with it, with some things in the movie, and asked us for specific re-shoots, which we did and then Dimension was responsible for HELLRAISER III and for all the movies thereafter including HELLRAISER: REVELATIONS.
FANGORIA: We talked about people who lived many lives. Nicholas, you’re a hell of a writer, in your own right. What was your reaction to Clive?
Nicholas Vince: I went to a party in Crouch with Simon Benford, because Simon and I were at drama school together, and I met this charming young man who said, “Would you like to and model for me?” I have the picture that Clive did of me at my home, and I modeled for Clive about once a month thereafter, and two years later it was on the covers of the book. He has some wonderful pictures of me with my head open and needles dropping into it. It’s one of my favorite portraits of me. It was in something like BOOKS OF BLOOD. And then, I clearly remember, you’d go in to stand wearing a jacket. I clearly remember Clive asking me to stand there wearing a red jacket, and he’d indicate the inside of the jacket by shadowing the darkness. And that was the way Clive worked. He said I just want to get this right. I want to be able to describe in the book exactly how it looks.. and of course there was a little makeup involved.
FANGORIA: Well, we’ll get to all that with all of you. Obviously, you were all heavily made up. We didn’t see her until 1988, she was not in HELLRAISER, however, she was a major presence in HELLBOUND: HELLRAISER II. Now your background is just, wow. You have an extensive list, let’s put it that way. Any DEATH WISH 3 fans out there? I mean, she was great. So please, I know your background extensively, but don’t tell us how you…
Barbie Wilde: Well, I came to London to study acting and it was very difficult for me to stay in school because I was always trying to get out and do the real thing. And I thought, well, I’ll go to London, at least I’ll get another year of my degree through. But, I went to a mime class and met, who subsequently became my partner, Tick, from Tick and Tock, also he was the monster in X-DROVE. Granted, you saw the nasties, and we got together and met with these other people and created Shock, which is a mime dance company, and through that we got a record deal with RCA [Records], released a couple of singles, supported Gary Newman. Does anybody know who Gary Newman is?
CHEERS FROM THE AUDIENCE.
BW: And then, Depeche Mode, um, Ultraviolence? And we just had this wild crazy ’80s life and then it all sort of exploded in a wild, nasty way, the way these things do, and so I went back into acting and I was one of those blue-haired punk gals and then I dyed my hair another color, and then I got the audition for HELLBOUND.
FANGORIA: In which no hair was involved.
BW: No hair involved. But I think before that, I did DEATH WISH 3.
FANGORIA: Yes, with big hair in that.
BW: Yes, big hair, it was the ’80s. With the notorious and wonderful Michael Winner.
FANGORIA: Yes, the late Michael Winner. We just lost Michael recently. Great guy, real character.
BW: Yes. I want you to know that I personally auditioned with Mr. Winner, and we just had a chat, basically. And he said, “Oh yes, my dear, I think we can find a part for you, don’t worry”. And so, I had this part and I realized that unless I was down at the set I was never going to get filmed because he would forget me just as soon as he saw me.
FANGORIA: And where was it filmed? It was supposed to take place in New York, right? Or Detroit?
BW: It was filmed in the middle of London and they were destroying this hospital, Landon Hospital, and in the middle of this hospital was all this bits of building, and they had all these American cop cars, and people, there were a few American actors that they brought in, but it was all filmed in London, in the U.K., and you can tell because of the light. Um, but there was Charles Bronson, Martin Balsam, Gavan O’Herlihy, but also [Sandy Grizzle], she got horribly raped by the crew.
FANGORIA: Not really!
BW: No, not really!
FANGORIA: Michael was having a bad day.
BW: She didn’t get raped by the crew, she got raped by the gang members, and of course, Alex Winter from…TED AND BILL?
FANGORIA: TED AND BILL. Perfect.
BW: Whatever. Leave me alone, I’m horribly jet lagged. We’re rambling and incoherent at the best of times.
DB: I have no excuse. I’m just rambling and incoherent.
FANGORIA: So, did you have to shave your head?
BW: No! Whoa.
FANGORIA: Okay, well talk about that. You seem to have gotten off easy with this whole thing!
BW: Well, it was funny, I did go up for a part and they wanted me to shave my head, it was for a lady robot. And I said “Well, you know, I might if you come up about $50,000?” and they just left. But no, the process was that you’d go in, and they’d make a bust of your head, which is a very uncomfortable thing, they’d put alginate I think? All over your head. A cap and then alginate. They don’t use a straw for the nose thing, they just keep your airways free, and then they cover your head with plastic bandages which warm up and harden. Now, when you’re breathing and you totally can’t hear anything, and you’re feeling like you’re suffocating the only input you’re getting, air through your nose and that’s warming up so you think, “There’s gotta be somebody whose job is just to keep your airways free”. Ugh, you just want to scream and rip it off. And they really didn’t want me to do that, because one of the actors did do that? Yes?
NV: I don’t know. It wasn’t me.
BW: Somebody had a freak out.
NV: I fell asleep.
BW: You fell asleep?
NV: Well, the walls were dark…
BW: Meanwhile, they wanted us to pose for a photograph. I put it up somewhere, and in it, there’s me, with no head.
NV: I tell you who they might’ve been talking about, because I’ve been told this story. An actor who did panic when they came to do the head cast, Michael Keaton, BATMAN. They wanted to do a head cast for the caul, and he couldn’t do it. It turned out he was extremely and violently claustrophobic. Actually, if you look at the movie, you see the caul doesn’t really fit him. What they then have to do, is just take measurements all over the head and try to match it up.
BW: One of the guys told me, I think it was Geoff, that they had to do one half of his head and the other half of it was definitely measured.
NV: Well, it wasn’t me. Simon?
FANGORIA: The great cenobite debate right here. The United Nations over here. Now, yours was a lot more involved sir, please do tell how they made that beautiful face.
NV: Well, it was interesting, did you have to do a body cast as well?
BW: They just put me in clothing.
NV: Doug, did you?
DB: No, you’ve just been a slave to them.
NV: Because obviously, the Chattering costume is extremely tight-fitting, so they wanted to have a cast of my body to literally melt the leather onto it. So we did the head cast, and I practically fell asleep. It was quite warm. But, to do a body cast, you had to stand like that (STICKS ARMS OUT) like broomsticks and from there to there (POINTS FROM WRISTS TO KNEES) to my knees was covered in plaster bandage. They wrapped me in, which was difficult to begin with, because I’m rather hairy. And you’re really doomed if you’re hairy, because what I remember is little bits of plaster falling onto my bare feet, and that was the end of it. My bare feet, my hairy toes, and pulling these hot particles, I remember ripping the hair out of my toes at the end of the process.
DB: You have hair on your toes?
NV: I’m part Hobbit.
FANGORIA: Uh, Doug. Obviously the lead cenobite, a.k.a. Pinhead, went through a lot of incarnations, why don’t you talk about the first time and the last time?
DB: Um, the application and everything?
DB: The first time I did the makeup was when they screen tested the makeup, so that probably took about six hours. That day, everybody feeling their way. I was excited for the process. I had done quite a lot of masking work in the theater with Clive so I was up for the whole thing, but well slightly trepidatious, firing a lot of questions at Geoff, who was doing my makeup, asking him exactly what it was that he was slapping all over my head. He said they were using a thing I was told it’s called pros the? So I asked about pros the and it turned out it was pioneered for use in Vietnam, basically as an emergency way to glue people’s, like, stomachs back together, to stop their innards from falling out, to get them back to the field station.
FANGORIA: Basically, crazy glue is what it is.
DB: So, you listen to this while they’re using this to glue the latex pieces onto your head. I’ve seen actors have makeup applied and at the end of the day, they just peel it off them. That stuff stuck to me like a second skin. It took forever to get off. They used to dilute it, half and half with water, it made no difference. It still stuck like hell. So, six hours and then you’re kind of fazed out, zoned out completely and then you stare at this character who no name in the mirror for twenty minutes. And we screen tested it, and there were two decisions that were made in the screen test. Originally, he did have pins, which was fine as long as the camera was in close, as soon as the camera went any distance away, they didn’t read at all, so you just look like Ballhead rather than Pinhead. The decision was to go into something more like nails to made them chunkier, so they’d read, and also, Clive felt that my baby blues was kind of undercutting the effect of the makeup, so the decision was made to give me contact lenses, which were a nightmare all on their own. Otherwise, the application of the makeup of me and Barbie was really not that different.
FANGORIA: I mean, that’s an instantly iconic character, but at what point did you realize that you were a horror icon?
NV: The guy with the nails is his head is okay, but not me.
DB: Well, there was kind of this schizophrenic thing going on, because I was always I got cards and messages and whatnot from people all over the world saying “You’re all over this town, I’ve seen your face everywhere, but [Pinhead] had absolutely no part in the publicity. But I saw my photograph everywhere. So it was kind of a dissociative process with me. I know I’ve talked to fans here particularly, who were only a certain age, so when the movie came out, watching T.V. in this country, what they said to me was, “There were interviews with Andrew Robinson, with Ashley Laurence, with Claire Higgins, with Clive, which was great, but every time they showed a clip, it was you guys! And we wanted you guys! And we never got you, we never saw you, we never heard from you!” For me, I, just last month, passed the 25th anniversary of my first visit to these United States and my first horror convention, which was the Fangoria Weekend of Horrors in April 1989 when we were filming. So, the second movie had been released by that time. I think I had done one interview for BC Regular Two, that again was my contribution to the publicity. I come to the states, I have no idea how to do this. People doing this, doing that, sitting down with microphones, you know. I turned to the director who said come to L.A. and we’ll have lunch in Beverly Hills, which we did, and I could see people punching each other and looking in our direction. I assumed they were recognizing Tony. We went into the hotel and I said, “I’ll just go on up to my room, I’ll be down in five or ten minutes, and we’ll see what’s going on”. It took me nearly half an hour to get into the lobby because I was swamped. And then they’d say, “Mr. Bradley, Mr. Bradley, could I have my picture taken with you? Would you sign this?” And that was the beginning of a rather long process that has carried on for twenty-five years, thanks to you guys. The most extraordinary, wonderful, and loyal and knowledgeable fan base the world has ever seen, I would imagine. From time to time, I get into a car, or I get onto a plane, or I arrive at a hotel, and I sit down behind the table, and I these people appear out of nowhere, and it’s fantastic. So that really, at the hotel, that was the first time I realized what was going on. Part of the issue was that Clive did not want the cenobites to be front and center. Clive’s big thing with HELLRAISER II was that he was creating the first great female monster in horror films in Julia, and I think he had his head out of joint that these guys and gals in leather belts and wire in the throat and whatnot snuck up around him and you guys said, “Okay, Julia, fine…but these Cenobite guys? These guys won.” There was kind of that process going on as well.
FANGORIA: Why do you think the monsters and cenobites resonate so much?
BW: I think its, um, I’ve been using this word a lot recently, but it’s subversive cinema. It’s the elephant in the room, is that the expression? Basically, it’s these people going to the ends of whatever tether they can, to reach the ultimate in sensuality and sexuality and sensation. These aren’t things that we talk about, because these aren’t things that we talk about with your mom, is it? We got sex, and things like that, we don’t ask these questions, but in your mind, these cenobites suddenly do. When I first saw HELLRAISER, I was shocked and interested, and you know, my curiosity was peaked. But there were these powerful creatures, these demons, they do things to people to get you to the edge of whatever sensation you can take and that’s a really interesting concept. You know, somebody asked me recently, “Oh, have you always been into S&M and bondage or was your interest peaked when you were in HELLRAISER?” And um, well no, I wasn’t even thinking about that. Yes, the costume was a bit uncomfortable, but it wasn’t like I took any joy out of that. So it’s funny, of course. But, these particular characters are exploring something that’s considered transgressive by most of society, but yet, it was a very popular film.
FANGORIA: It influenced fashion to a great degree as well. We only have twenty-five minutes left to go, but let’s turn it over to the fans. Raise your hands for these three living legends.
DB: Yes, over there.
FAN: Well the thing that I liked was that Frank and Julia were the real monsters…
BW: Oh they’re especially obsessive monsters, and that’s what I so loved about the first one is that anybody who kills people to get their lovers’ skin back? You have to admire that kind of dedication. You know?
FAN: Do you?
BW: Yes! I thought she was magnificent, I’m getting goosebumps just talking about her.
DB: It might also be because it is freezing up here.
BW: It is chilly. Yes, they are good monsters in many ways, and if you read the novella, there’s the character Frank, and this innocent sort of wifey type falls in love with him. But yes, it’s good.
DB: No, I mean, approaching the movie, what I had in my head was “I’m going to play a monster in a horror film, that’s pretty cool”. But pretty quickly realized that no, you’re absolutely right, Julia and Frank are the monsters and really is part of the key to the cenobites, I think. They’re not boogeymen, they’re not hiding around corners waiting to stick the stiletto blade or the machete or whatever it may be in your back or through your ribs. There’s this process that goes on, and once you open the box, Pinhead wants to have a conversation with you before anything else happens. So, it’s a much less straight-forward process than you would expect a monster movie to be, or how you would expect a monster to behave and I began to feel Pinhead is really an impartial judge in the proceedings. He’s not taking sides at all.
BW: But he doesn’t just pick any victim. It’s not hands that call us, but desire. You know, what a great [line].
FANGORIA: And he doesn’t pick them, they pick him, that’s the difference, too.
FAN: We recently had a breakthrough. Someone that…you know, it’s still kind of illegal to see these types of things, and they amazed me by comparing it slightly to, please no one get offended by this, but to almost a Buddhist philosophy.
NV: What country?
FAN: I apologize, I forget. But you could get arrested for having it. Maybe India?
NV: Well, it just so happens, we have a Buddhist on the stage.
FAN: She said that the way you presented the character that you were saying like “Give into it or don’t. Here it is or don’t. You’re not creating any harm that isn’t your own. It is not affecting anybody else. If you’re going to be a rabbit, hop. If you’re going to walk away, please do”.
NV: Well put.
FANGORIA: Well, we cannot resist pursuing that. Nicholas, how has the role of Chatterer influenced your spirituality?
NV: Well, if you ask me that question, I’m taking the fifth. Really, I’m not the only person that became Buddhist. Little John is a member of the same Buddhist organization that I am.
BW: Who was doing the makeup.
NV: It was who designed Barbie, the female cenobite’s makeup. It is very interesting because Buddhism is about taking responsibilities for your actions, and that basically is what Buddhism is saying. There is no external force that is greater than yourself, you make your decisions, and different forms of Buddhism talk about how the conscious of desire inevitably will lead to pain. But, I have not made that connection before, I have to say. That’s very interesting.
FANGORIA: Any other questions?
FAN: With HELLRAISER and HELLBOUND HEART, when they put these visual representations in the movie, you go from a book, where, you know, you’re taking material and you embody that material, where the cenobites are almost like a force of nature rather than monsters. What was that feeling of taking something from that book, and becoming that representation? How did it feel and like, what was your kind of method for becoming that representation of those characters?
FANGORIA: Did you read the book before you read the script?
DB: Um, yes, I had but the script for HELLRAISER was similar, very similar in a lot of ways to THE HELLBOUND HEART and very different in a lot of other ways. I discounted the book, and just focused really on the screenplay. The cenobites are very, very different. They’re much more uncompromising, much nastier in the book than they are in the film, and it’s the female cenobite that’s the nastiest one of all. And then of course, there’s practical considerations, like Pinhead, in the book, Clive describes his tongue as having pins in it. So, he wouldn’t exactly…talk. And he also had bells strapped to the back of his neck so I would’ve been like Christmas, and “the voice of a rather excited girl”. Didn’t quite go there.
FAN: What do you think about the talk of a remake or reboot?
FANGORIA: Oh, the remake question.
DB: You take this man from this place and feed him to the dogs! And do this very quickly so we can move on to another question. They’ve been talking about remaking HELLRAISER for years, I wish they’d all go fuck themselves.
CHEERS FROM THE AUDIENCE.
DB: So, it picked up again last October. The Weinsteins called and said “Do you want to do the remake?” Clive said, “Okay, I want two things. Creative control and Doug”, and they said, “Yes”. I was actually in Orlando at the Spooky Empire Convention when this all blew up. Within an hour, Fangoria had already put on their fucking website, “Doug Bradley Signs On To HELLRAISER Remake!” By the time I finished dinner, the Times were running the story. I was like, “I’m not signed up to anything. Nobody has spoken to me about this thing in the last seven years. I don’t know anything, I can’t tell you anything, I’m not hiding anything, I simply don’t know. This was the phone call. You know, there’s all that stuff that needs to go on where Clive’s people talk to Weinstein’s people and the Weinsteins’ say, “This will be a PG-13 movie” and Clive says, “Pardon?” And they say, “No sadomasochism in this movie” and Clive says “Pardon?” And so forth. So, if it happens if they want me, I’m only human, I can’t walk away from a good payday, but we’ll see what happens. This is a story seven years in the making, so, we’ll see.
BW: I have a question. How many people here would go and see a remake of HELLRAISER?
NV: Don’t say you wouldn’t, because you know you would.
FAN: I always wondered, after years of doing these HELLRAISER movies, have you developed a fear or at least a mistrust of rubik’s cubes?
BW: I will always fear them. That was really eloquently phrased.
FAN: I hate to bring this up, but in lieu of the remakes, does it make you excited at all that this movie that’s as old as me, generation after generation has people just grab onto it and love it so much?
DB: It’s one more reason why there is no need or justification to remake the movie.
FAN: But does it make you excited?
DB: If I have any sort of impression from you guys coming to the table, if I was hearing from the people who had seen the movie for the first time, after twenty-five years, say, “Eh, it’s not so bad”, I might begin to feel like, “Okay, let’s do it”. But that’s not what I’m getting. I’m getting people now, like you say, just as old as the movie, younger than the movie, who have seen the movie for the first time, “Oh, it’s great! Fantastic!” So the movie seems to be as fresh now. The movie is more popular now than it has ever been in the past twenty-five years. So, why do we need to remake it?
NV: I would like to interject if I could, now. I like the word ‘reboot’ instead of ‘remake’.
DB: That’s a bullshit word.
NV: No, because I would like to see —
DB: It’s a bullshit word for remake.
NV: I would like —
DB: It’s bullshit.
NV: Shut up. I would like to see a re-imagining. There’s this thing with the father and the daughter, Kirsty. In the movie, it’s a triad, but in the book, it’s another animal. And there’s another dimension to it, so I would love it if Clive decided to look at it from another part, I think that would be very interesting.
BW: I would like to say something as well. In my opinion, I think Clive Barker is a genius, and since he didn’t have much to do with the film from like maybe two moments, and if he wants, if he has a desire to write a fresh perspective on all the characters in the story, in a remake or reboot or whatever it is, and he wants to do that, far be it from me to say, “No Clive, you can’t do that”. I think he’s genius-y enough — is that a word? — to do it. I think it’s going to work. I would love to see if he came up with something new and sparkly, apart from some of the sequels that weren’t so bright and sparkly. But that’s just my opinion. I completely understand your opinion.
DB: My problem with it, Clive had this conversation before, this past October, he had had a conversation with the Weinsteins about it and he had said, “In my opinion, you’d be insane to try and do this without Doug, but we should be realistic”, and I am absolutely realistic about this. I was in my mid-thirties when we made the movie, I turn sixty this year. I don’t wear the makeup like I did. Clive said to the Weinsteins, “We shouldn’t fight it, we should embrace it”. So, Clive’s already ahead of the game, he’s thinking, “Let’s age Pinhead. Let’s make this maybe not quite so pretty as he was in the first movie. Let’s make this an older, darker, tireder, bitterer evil this time around. Let’s go with the flow”. So, I have no doubt in remaking the film, Clive would do that. The question is, would the Weinsteins let him?
FAN: My question is here how do each one of you feel about the impact that you made not just here in America, but back in the ’80s I was in my thirties, so I was a little skiddish teenager back then. I thought I was so tough, but y’all creeped the living hell out of me. Does that make you feel like you accomplished your goal in making that character come to life and impacting and scaring the shit out of people? Do you feel like you succeeded?
NV: I personally feel touched and gratified in this journey over the last year. There was a young man who was only about sixteen or seventeen years old walked up to the table and said, “You fucked up my childhood”. And I said, “Um…good”. But honestly, you guys made this movie what it is today. We were standing in North London and you can still see the HELLRAISER house if you go to London, by the way, it’s still there. Um —
DB: There was a little piece in the paper in London that said, “Oh, by the way, the house that was used as the house in HELLRAISER has just come up on the market if anyone is interested”.
NV: It’s just amazing, I’m kind of in awe of this stuff. What I think is really interesting is that it hasn’t just scared people. It makes them think. It makes them examine things and I think that’s what we all should be doing.
DW: The darkness inside.
NV: Yeah, other people’s darkness. HELLRAISER is an interesting movie.
FAN: What was your favorite line that each of you said?
BW: Favorite line?
BW: Well, mine’s gotta be, “Are you teasing us?”
DB: I got lucky, I got a lot of good lines. First one I ever really remember underlining in the script, and I wrote next to it, “Gak!” Because it occurred to me that it was a joke and I ought to be, if I was doing my job right, I would be making the audience laugh, and then feeling slightly uneasy, and not sure why they were laughing and what they were laughing at, and that was, “No tears, please. It’s a waste of good suffering”.