| The Devil's Rejects: Cast Interviews
Sid Haig, Bill Moseley, Sheri Moon Zombie & Ken Foree
USA, 2005. Rated R. 101 minutes.
Sid Haig, Bill Moseley, Sheri Moon Zombie, William Forsythe, Ken Foree
Feature by Carlo Cavagna.
LEFT: Sheri Moon Zombie, Sid Haig, and Bill Moseley star in The Devil's Rejects.
he Devil's Rejects , Rob Zombie's follow up to House of 1000 Corpses is a violent movie. A very violent movie.
The film opens with the family of murdering psychopaths known as the Devil's Rejects (including returning 1000 Corpses cast members Bill Moseley and the director's wife Sheri Moon Zombie) mounting a defense against a police raid led by pompous Sheriff Wydell (William Forsythe). Otis (Moseley) and Baby (Moon Zombie) get away and hole up in a motel after taking a family of itinerant musicians hostage, where they await a colorfully foul local clown character named Captain Spaulding (Sid Haig, also returning from 1000 Corpses). Meanwhile, the body count continues to rise. Graphically and disturbingly.
Inevitably this leads to the question of how to justify violence and exploitation as entertainment. Prior to the film's release, the cast of The Devil's Rejects weighed in on this issue, and many others, with reporters in Los Angeles. Yale-educated Bill Moseley (Chop-Top from The Texas Chainsaw Massacre 2), posits that The Devil's Rejects depicts violence without advocating it, and that it should be taken less seriously because it's theatrical. Longtime Blaxploitation and Roger Corman veteran Sid Haig (Women in Cages, THX 1138) goes as far as to argue that The Devil's Rejects teaches violence is wrong.
Moseley and Haig's arguments seem problematic. The Devil's Rejects revels in its brutal violence while honoring the slasher classics of the Seventies. Perhaps we should just accept that violent, exploitative films like The Devil's Rejects will always exist because they provide a necessary escape for some people, and hope that those who see it will be mature enough not to confuse fantasy and reality. Or perhaps we shouldn't.
Joining Moseley, Haig, and Moon Zombie for the interviews was cult film-icon Ken Foree (the original Dawn of the Dead), who plays Charlie Altamont, a gregarious pimp and friend to Captain Spaulding. All four clearly regard The Devil's Rejects as a more serious and artistically accomplished film than 1000 Corpses (as have most critics), and it's obvious they have great affection for their director and for each other. As another interviewer commented while waiting for the cast to arrive, it's always the actors who play the most horrible characters who turn out to be the gentlest, friendliest souls.
Read Carlo's review of THE DEVIL'S REJECTS.
Bill Moseley & Sheri Moon Zombie
Question: Sheri, is that your real laugh in these movies?
Sheri Moon Zombie: It's Baby's laugh. I don't laugh like that in real life, no. [Laughs] That's my laugh.
Question: How'd you come up with the laugh?
Sheri Moon Zombie: It just sort of came out one day. It's not something I thought of. While I was stabbing, it just happened. I sort of felt like maybe I was howling at the moon or something, but laughing. So I just came up with that and I went with it.
Question: To what kind of dark place do you go, to bring out people so evil?
Bill Moseley: I don't go to a dark place in me personally, but what I try to do is just get Bill out of the way and just be available to what Rob has written. Just to play the character. It's not like I have to kill an animal just to get in shape for it.
Sheri Moon Zombie: Thankfully.
AboutFilm: No method acting preparation?
Bill Moseley: Well, Rob has asked us all to go to a pretty dark place. The good news is we can find our way back pretty quickly. A lot of people can go there, but it's getting back that's the battle.
Question: Is your long hair a wig or extensions?
Bill Moseley: It's their hair and my beard. Oh, you mean right now? That's me… No, they shaved my head, then put the wig on. I grew the beard.
Sheri Moon Zombie: [to Bill] Yeah, Rob told you a year in advance to grow the beard, right? [Around the] Superbowl, or seven months?
Bill Moseley: Yeah, it took about four months for all that hair to come out of my chin and I was shocked. I didn't know I had it in me. I'd never grown a beard before.
AboutFilm: Are you disappointed that no sequels are possible now?
Sheri Moon Zombie: No.
Bill Moseley: Yes.
Sheri Moon Zombie: I think we should go out on a high note. Devil's Rejects is such a wonderful movie. I know that sounds like a contradiction because it's very violent, but it's beautifully shot. We had a lot of fun, it was a lot of hard work. And without giving away the ending, I think people can guess what they will.
Question: There's still infinite prequel possibilities.
Bill Moseley: Right, right. I just like steady work, so.
AboutFilm: How do you keep something like this fun? Obviously it's a dark movie, but if it isn't also fun, it doesn't work. How do you keep it fun?
Sheri Moon Zombie: I don't think that's true, if you don't keep it fun it's not— What did you say?
AboutFilm: My impression—a subjective one perhaps—is that if a movie like this doesn't have some fun to it, it doesn't work.
Sheri Moon Zombie: There has to be the lightness to balance out the heaviness, if you will, of the film. There are some really dark moments, but then the script is written in such a— There's a lot of comedic moments where you get that relief, like [sighs] , “I can breathe now.” But there were some days where we couldn't joke around. We had to be serious all day long, otherwise it wouldn't work. Then there were other lighter days where in between takes we could joke around and tickle each other.
Bill Moseley: We're good friends too, so off the set, when we're at ease, we're all pals. So it never really got that heavy. Actually it did, a couple times, depending on the scene. But for the most part it wasn't really. We didn't have to all become wretched in order to play the wretched.
AboutFilm: I heard that it was a difficult shoot, though, and that it was particularly hot and miserable when you shot at the motel.
Bill Moseley: That day was uncomfortable but not so much for the heat, just for what was required of us in the scene. That was a pretty intense scene. For me, it was difficult because that's not something I personally am excited about, sexual intimidation, whatever was going on that day—degradation. It affected me personally so that it was an unpleasant scene to play. But ultimately, a very exciting one. As my girlfriend said, it's a juicy part for an actor. As long as I tried to keep the personal considerations out of the way and just play the character, it was actually very exciting. But the last day that we worked, when we were in the car at the end of the movie, it was beastly hot.
Sheri Moon Zombie: It was hot a lot of the shoot. I think that really added to a lot of the grittiness for the characters and the film in general. The dusty, dirty, hot conditions. For me, I welcomed that. It brought me into character more, being dirty and grimy. It was a lot of fun. I think it helped. In between takes, you're miserable and they're trying to hold umbrellas over you so you don't get sunburned, but it was great.
Question: What holds those ripped jeans up?
Sheri Moon Zombie: Not much, I'll tell you. Especially when I was walking through the water, which originally was being cut as a scene in the movie but now it's in the opening credits sequence. As you can see, they're falling down.
Question: You show your butt in both movies, are you proud of it?
Sheri Moon Zombie: Rob is the director who is the great manipulator, gets the actors to do what they think they want to do, but it's really his ideas.
Bill Moseley: And it kept the crew very alert.
Question: What did you like about your characters?
Sheri Moon Zombie: Well, Baby's so much fun to play. I mean, especially in Devil's Rejects, there's moments where she's so light and then a flip of a switch, you see the evil in her eye. That was so fun, to turn it on and off like that, for me. [to Bill] What about for you?
Bill Moseley: I love playing the heavy. When I first did House of 1000 Corpses , I really thought that Rob wanted one of my old characters, Chop-Top from Texas Chainsaw 2. I thought he wanted kind of a rehashed Chop-Top. It wasn't until Rob gently led me to Otis that I realized that I was the heavy—that Captain Spaulding was more of the comic character, at least in House, and that my job was to suck the air out of the room. I didn't really know that I had that in me. Fortunately, thanks to Rob, he led me there and showed me that I did. That to me was very exciting, just to play the heavy. Also, Otis seems to be really attractive to a certain segment of the population.
Sheri Moon Zombie: He's very charismatic and hot. The girls love him.
Bill Moseley: Yeah, girls love me.
Question: What was it like working with Rob?
Bill Moseley: Well, I'm not married to him. Sheri's going to have her take on him, but I am so excited by working with Rob because Rob really has a very focused vision, dark as it may be. He has the charisma of his own and the energy to get to where he needs to go. He doesn't pull back. He wants us to go for it, and let him worry about the MPAA or what kind of effect it's going to have on the poor American psyche, or whatever. He just says go for it, and for me as an actor, there isn't anything more exciting than that.
Sheri Moon Zombie: I see him from the beginning when he just starts writing. So I'm sort of there throughout the whole process, but he really has an eye and he can see the end product, which none of us could see because it's not our vision. He really follows through. As far as an actor working with him, I really don't get special favors. I think he treats each actor equally, but on an individual basis because everyone has different personalities. I think for him to get what he wants, he maybe has to coddle somebody but for another actor, he may just say, “Okay, do it like this,” and then they'll go and do it. So each person is dealt with their own deck of cards.
Bill Moseley: Speaking for Sid and Ken and some of the other actors, we all trust him. And that is really important.
Sheri Moon Zombie: That's the most important thing.
Bill Moseley: We're ready to go with him. Whether it's a baseball manager or a general or a director, I think if you've got the confidence of the troops, you can really go anywhere.
Question: What does the film say about violence in society?
Bill Moseley: I think it's a good question, especially today with [the bombings] in London. I was actually thinking about that on the way over here. I was thinking we're putting a lot of energy and art into a very violent picture. The phrase came to mind that what we do is we depict it. We don't advocate it. First of all, that's my personal disclaimer. And second of all, it's a violence that is theatrical, and it's got a beginning, middle and end. As Sid Haig said earlier today, it's violence you can walk away from. And the fact that it's obviously going to affect a lot of people in a visceral way is actually a good thing, because then it's very real. You can see it, and if it affects you in a certain way, a negative way, then it's doing its job.
Question: Sheri, what was your first date with Rob like?
Sheri Moon Zombie: We had pizza and water and talked, and that was it. We got along swimmingly.
AboutFilm: Bill, what your first date with Rob like?
Bill Moseley: My first date with Rob was at the Igor awards in 1999 at Universal CityWalk. It was October, so it was the haunted CityWalk and I was dressed as Chop-Top, and I was emceeing this little Universal pat-on-the-back horror award show. Rob had designed a maze for haunted CityWalk, and was getting a little award, a little winged demon, not quite an Oscar. So I was made up as Chop-Top and handed him a horror award. I think it freaked him out that the real Chop-Top was there, and we talked a little bit afterwards and then Sheri, his mom and dad were there. We all chatted, me still in my Chop-Top makeup. We got along, I had my kid there and she brought her friend, so it was kind of a family deal. Then about a month or two later, I got a call from Rob's manager and producer of House and Rejects , Andy Gould. He said Rob had just gotten his script green-lighted by Universal and would I like to be in it? I thought for a nanosecond and went, “Heck yeah.” So that was my first date.
Question: Sheri, what was it like going from victimizer to victim in one movie?
Sheri Moon Zombie: It was a lot of fun. It was a lot of hard work to make that transition. Every day, it was a really frenetic shooting schedule. We would do sometimes seven, eight setups a day. So there was no time to think about it. I did all my preparation before we started shooting. We had some rehearsals. I sort of knew how [Rob] was going to do each scene, so when you get there on the day, we would do a little walk through, a little rehearsal, block it, shoot it. So for me, I went really prepared. But, it was great to see Baby go do that. It was a nice transition for her to be victim and victimizer. [to Bill] You had the same thing going on.
Bill Moseley: [to Sheri] Well, it was pretty exciting to watch you work, the day when we're all tied up in the house and about to get burned or whatever. It was very exciting to watch Sheri work that day because there was that transition, and especially when Sheriff Wydell shows her the pictures of Mother Firefly, watching Sheri work was a real honor. It was very exciting. In that moment, I felt not only a connection and appreciation as one actor to another, but it also then made the family connection even tighter, so that when we are finally in our last scene, there was a real sense of family there. It wasn't just camaraderie. That was a very intense moment, or however much it was captured by the cameras, where we really just had that connection.
Question: How soon after House of 1000 Corpses did you know there'd be a sequel?
Sheri Moon Zombie: I think Rob knew a few days, maybe the second day it came out. It did so well, Lion's Gate was really excited so they were like, “Let's do another one.” Then Rob started writing after that.
Question: How do you make a horror movie not cheesy?
Bill Moseley: You make it real first of all. I mean, cheesy is when you're playing at something. With this, I think that one of the things is that the performances are really for the most part pretty real. They're not over the top. They're not maybe as over the top as they were in House of 1000 Corpses . I think that really speaks to Rob's maturity as a writer as well as a director that this time he thought, “Instead of doing the same thing over again, let's find out what makes these characters tick.” That was so exciting that you don't really have— And also, that's a good director that just reigns you in and says, “Let's not make it cheesy. Let's make it real.”
Sheri Moon Zombie: Yeah. Rob really wanted to tone everything down, just going from House to this movie. Aesthetically, the characters look more gritty and real. Baby's hair isn't so gigantic. The wardrobe isn't as colorful. [to Bill] And you're not an albino anymore.
Bill Moseley: I got cured!
Sheri Moon Zombie: The whole look of the film also looks different. It's a colorful film but it's real. You'll see Otis standing there after just having that heinous scene of murdering, out in the chicken field, and then there's a shot of him from underneath and he's all bloody, but the beautiful bright blue sky is just— It's a beautiful looking film.
Question: What are your favorite horror movies?
Sheri Moon Zombie: I like Frankenstein, Boris Karloff.
Bill Moseley: Evil Dead 2 and Carnival of Souls.
Sid Haig & Ken Foree
Question: After four years since shooting House of 1000 Corpses, obviously you wanted to make a different type of film. Was it different from the first time around?
Sid Haig: Yeah, it was much different. It was different in that it was much more real. It was different in the fact that [Rob] was now much more comfortable. He was more relaxed. It was different because the characters had an opportunity to bond with one another, in whatever weird sick way we did, but it was bonding nonetheless. It was different from a lot of aspects.
Ken Foree: It was darling. It was darling.
Question: Had you created a backstory for Captain Spaulding in House of 1000 Corpses, and was that validated or contradicted in The Devil's Rejects?
Sid Haig: No. The first one—Rob said it himself—was very campy. It was like doing shtick. So you know, I just threw on my redneck insane clown head, and just went for it. The fact that now in The Devil's Rejects there is a backstory—we find out a lot more about the characters, they're much more real and fleshed out. It's much more pleasurable working that way than just mysteriously doing stuff that I felt might work. Some did and some didn't.
Question: You've both done so many horror-type films. Is there something about horror characters that intrigue you guys?
Ken Foree: The beast. The beast... No, I don't know.
Sid Haig: There's no restrictions. You can go anywhere you want to go, because these are totally fictional entities that you're dealing with. In this film, not so much, okay, because these people are real. They have real problems, and they're coming up with solutions that maybe are not the best.
Ken Foree: No, I don't think the solutions are the best.
Sid Haig: But hey, you know, I had a rough childhood, so it's okay.
Question: What are your favorite horror movies?
Ken Foree: Favorite horror movies of all time? Okay. Alien, Exorcist, Dracula—
AboutFilm: Which one?
Ken Foree: Which Dracula? Almost all of them. Um… gee, what is something that was really haunting that I'm missing here, something that kind of upset me? Oh, The Night of the Living Dead—the original. Absolutely. That was a groundbreaker. I'm not going to mention Dawn of the Dead, because I'm prejudiced about that one. But I think that's basically about it. There are others, but those are the ones that come to mind right away. What about you, Sid?
Sid Haig: All the classics, with Lugosi, and Karloff, and Lon Chaney Jr. I grew up going Saturday mornings to the latest horror film that was out, from the time I was very young. I've always been a sick child. I remember in the days of radio—that's entertainment without a picture—
Ken Foree: Those were the days.
Sid Haig: Yeah, I would love it when my parents had to go somewhere, and I would turn out all the lights and listen to “Inner Sanctum.”
Ken Foree: You listened to that? God.
Sid Haig: Oh yeah, yeah. That was cool. I've always been basically disturbed.
Ken Foree: I had three younger brothers. For some reason Friday night was our night. We had the house to ourselves. I think my parents either went out that night, or something was going on. So on every Friday they had this thing, I guess in most cities they had either a scare-me-to-death show, or [something] like Elvira, but she wasn't around at that point. So every Friday we had these horror films—Bela Lugosi, or Wolfman, Lon Chaney, that kind of thing. And me and my little brothers we'd pop popcorn and have sodas. [We were] in Indiana, so 12 o'clock at night—no television; it's blank. And so we'd go to bed, and I'd wait for them to go to sleep, and then I'd—RAAAAAARR!—and they'd jump and scream and run around the house... That was heaven for me. So every Friday night was my night to watch horror films and then scare the hell out of my brothers.
Question: Do you guys have kids, and what would you think of them watching a film like this?
Sid Haig: I have two grown children. This was asked to me before—it's a matter of, if the child comes from a family that's pretty well grounded, if that child has been given reasonable boundaries to live within, it's all right. If the kid is out there looking for a lifestyle to identify with, there's no way he should watch any of these films.
Ken Foree: Yeah, my kids are not fans of the genre. Or of my career, for that matter. [laughs] My daughter will watch it, and she'll say, “Daddy, why?” And my son will look at it, and he won't question too much. But you know, they're older. So they're at a point where they can reason, and certainly I hope I've done a good job of raising them so they know right from wrong, what's fantasy and what's real.
Question: Sid, did anything influence you in creating the Captain Spaulding character? Was it John Wayne Gacy, with the clown mask?
Sid Haig: I don't like to go to those places, because then you have a tendency to start mirroring that person [whom] you're modeling a character after. I just like to get connected to my own insanity, and just go from there.
Question: What's your own insanity?
Sid Haig: My own insanity? I mean, inside everybody at this table there's a Captain Spaulding. Okay? Somewhere. And you can find him. That's what you have to do. As an actor, you have to find Captain Spaulding; you have find Charlie. You have to find whoever it is, inside your own personality, make it real for yourself, and then it's going to be real for [the audience]. There's a writer who was actually Burt Lancaster's partner—Charles McGraw—[who] wrote a book on acting. The thing that's so great about this book is that you never have to open it. You get the whole story just [from] the title, which was Acting Is Believing. [If] I believe it, you're gonna believe it. And that's what I have to do. I have to make it real for me.
Question: What scene was the hardest scene for you guys to do?
Ken Foree: The chicken fucking scene. [laughs] Excuse me, folks. [to Sid] Um, I think turning you in was a little different for me. The thing with William [Forsythe] crushing my hands. I really wanted to punch him in the face. But, I don't think there was anything too horrific for me, because I wasn't involved in any of the killing or the slashing or that kind of thing. Mostly this is a scandalous individual, or scoundrel, who opened a resort town. It didn't make it, so he turned it into a whore town. And he's as good a businessman at being a pimp as he was at being resort owner, so it's not going very well. Charlie's holding on to everything he's got.
Sid Haig: I have a tendency to be very protective and respectful of women, so it was kind of difficult for me to beat up two of the women in the show, and scare the crap out of the poor little kid. As an actor, probably the most difficult thing was—I know this sounds weird—the scene with [ex-porn star] Ginger Lynn. In that scene I had to turn off my acting chops and just technically go through it, because if I hadn't it would have turned into a whole different kind of movie.
Question: That scene when you scare the kid almost seems like a charitable act on your character's part, because it could have ended up a lot worse.
Sid Haig: Oh yeah, it could have ended up a lot worse. But see, I had to make it something where he was having fun. Yes, I punched her lights out and I scared the crap out of the kid. [My character's] objective here is to get the car, so I can get to where I gotta go.
AboutFilm: You don't actually kill anybody on screen, I don't think.
Sid Haig: I don't kill anyone. Except maybe one of the cops in the last scene.
Question: Would you play Captain Spaulding again?
Sid Haig: No. Because where would you take the character?
Question: What about a prequel?
Sid Haig: A prequel is a corporate move to make more money. It makes no sense. Artistically, it's bankrupt. Prequels are no good.
Question: There's no prequel that's ever added more to the story for you?
Sid Haig: I don't think so. If you haven't told me the story in the six episodes that you've done, then explaining how it all started is not going to get me. [laughter]
Question: [indicating Sid's Devil's Rejects shirt] Are you going to wear that T-shirt around?
Sid Haig: You know what? If you're not proud of what you do, don't do it. If you are, advertise it.
Question: What's your response to comments that the film glorifies violence?
Sid Haig: You know, we're not glorifying violence. We're depicting it, but we're not selling it. Is it violent? Yes, it's violent. Is it excessively violent? That all depends. That all depends on what your view of excess is. An actor has two obligations. Number one, to entertain, and number two, to educate. And you can't educate by soft-shoeing anything. Did you ever see Stand and Deliver? Edward James Olmos kicked those kids' asses. And he taught advanced math better than anybody. And if I'm going to teach somebody that violence is not rewarding—not something that you should involved yourself in—if I have to make you throw up to get the lesson, then that's what I have to do.
Question: It seems ambiguous about violence. It starts with you're the bad guys, Forsythe's the good guy. But when he starts torturing you, right away you start identifying with your characters.
Sid Haig: Right. From conversations that I've had with people who have seen the film, that happened in the ice cream eating scene. You got the idea that this was a family. It was a screwed-up family, but it was a family and they were tight and they were hanging together. And this rebel, psychotic cop was now all of a sudden the bad guy.
Everything that you do as an actor, you have to believe that you're doing the right thing. Any terrible person, any despot in history, always thought he was doing the right thing. Hitler was absolutely sure he had the right idea. He was a jerk; he was an asshole; but he did everything that he did with conviction, because he knew he was right. He was wrong, but that didn't enter his mind at all. And it's the same thing with Captain Spaulding. I have to know that I'm right in what I am doing. I'm basically protecting my family. This idiot is after us. This is my family. I will protect them to the end.
Question: How'd you like doing the Captain Spaulding love scene?
Sid Haig: [laughs] That was very interesting. As a matter of fact, I told Rob, “I think I better do this with my underwear on.” He said, “Why?” I said, “Well, because if we go skin to skin, this is going to be a whole different movie.” So fortunately, that's what we did.
Ken Foree: You do know that's Ginger Lynn in that scene.
Sid Haig: In that scene I said, “I have to do something to piss the women in the audience off.” [Rob] goes, “Okay, what would that be?” I said, “What's the one thing that pisses women off when making love?” He says, “Clue me in.” I said, “I have to wear my socks.” And there they were. They even got a close-up of them.
Question: That's the one thing that pisses women off?
Ken Foree: Didn't you know? First thing they're going to say, “You have your socks on? Get those socks off!”
Question: Which of the films did you enjoy working on more, this or House?
Sid Haig: Are you married?
Question: Yes I am.
Sid Haig: Do you have kids?
Question: Not yet.
Sid Haig: When you do, I want you to email me and tell me which kid you like best.
Question: Ken, did you have a chance to see George Romero's Land of the Dead?
Ken Foree: I did.
Question: Your thoughts?
Ken Foree: I thought it was very good. I thought the acting was top rate. I thought George put his stamp on it. It's a Romero film, you can tell. I enjoyed the special effects. I thought they were good... I am surprised it didn't do as well the first weekend as I thought it might. I thought it would do 30 million easily, because it was a Romero film and it got rave reviews everywhere, and it was good.
Question: Do you think the gas station zombie in Land was an homage to you?
Ken Foree: I would like to think so. I don't think it was. I was quite surprised though. He was very good. Very good, very impressive. Big guy like me, and a lot of people think that's me. People call and say, “Gee, how do you like playing a zombie?” I said, “That wasn't me folks.” But, I thought it was a great film. Thought it was one of his best.
Question: How did you enjoy being involved in the remake of Dawn of the Dead, and having a cameo?
Ken Foree: That was a strange situation, because I wasn't going to be in it. So I went home to Indiana and spent a month and a half eating Mom's good food. I went up to about three hundred and sixty pounds, and my agent called and said, “I think you better do this one.” I said, “Really? I'm not really in shape to do anything right now.” He said, “Get up to Toronto.” All right, so I went up to Toronto. I was only there for a day. They had me on television saying that one line, and I said, “Great. They don't see the body.” Then the Director's Cut comes out, and there I am puffed up like a Pillsbury Dough Boy. I wasn't very happy about how I looked.
Question: If you could play any horror film character, who would it be?
Ken Foree: [laughing] Sigourney Weaver in Alien, because I like Alien and I like what she did in that. Uh, no, probably, I would probably go with Christopher Lee in Dracula. I'm off Frank Langella's Dracula. [to Sid] You like the older ones.
Sid Haig: I like the old Dracula , the stage play. I'd like to do that. Any one of the roles Vincent Price played in the Edgar Allan Poe things. I was a huge Edgar Allan Poe fan. I'd like to do that.
Question: What's coming up for you?
Sid Haig: I did another film for Lions Gate called House of the Dead 1: Dead Aim. It doesn't have anything to do with House of the Dead 1. Totally different film. As a matter of fact by the time it gets released it'll probably just be called Dead Aim. And last week I finished a 3D zombie film, and I did it only because I had never done a 3D film before, and I thought it would be fun to have on my credits. And on the 19th of this month I head for Peru, Indiana.
Ken Foree: Going to my home state.
Sid Haig: Yes, to do a really great film, heroic film, and in January—I just got another job yesterday, in January I'm doing a live action film that's based on a comic book called Bubba the Redneck Werewolf. It's a great comic book. Friend of mine wrote it, and he's been trying to put the money together, and he finally did. I talked to the executive producer yesterday and it's a go. We start in January. So that'll be fun. I'll be playing a redneck werewolf battling a vampire from Louisiana.
Question: Can you top that?
Ken Foree: Uh, no. I have one called The Dark Between the Stars, that we're waiting for a green light. It's a sci-fi horror. I get to play a monster at the end. I'm a scientist and then I turn into a monster at the very end. It's a seven-foot, no eight-foot prehistoric sand monster that comes out of the sand. So that's first for me. We're waiting for a green light for that one. And there's a thing called Dead and Alive that also we're waiting for a green light. And something called Whip Snap. So, I'm waiting, with bated breath. Let's get it on.
[Read the AboutFilm review of The Devil's Rejects ]
[Read the AboutFilm interview with director Rob Zombie]
Article and interviews © August 2005 by AboutFilm.Com and the author.
Images © 2005 Lions Gate Films. All Rights Reserved.
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