Did you think Halloween would be such an important film, artistically and commercially? ^ No, I didn’t really think that it would be “the one” for me. I was told it was a straight horror film with a young director who was hot in Europe. The budget was three hundred grand. That’s all I knew.

What’s been the toughest part of filming the Halloween films for you? ^ I always found the running and screaming pretty routine but hitting the marks is tough, keeping pace with the camera and the director. I don’t like it when people are watching me, like when I’m filming on the street, if I’m doing a scene when I’m running along and screaming “help” over and over. It’s nice when the set’s empty when you do stuff like that. Also, on the first two there were lots of panaglides and that was tricky as far as keeping track of your marks.

Are you scared of movie blood? ^ No. It smells weird for one thing and it’s really sticky and it gets dry really fast. It breaks on your skin very easily.

What’s your favorite of the other scary movies you did, like “Terror Train” etc? ^ They were all important to me at the time. “Prom Night” was probably the worst but getting that film and the amount of money I was paid, it made me feel very independent. I liked “Terror Train.” It was fun and it kept you guessing. Ben Johnson, my co-star, he was great and John Alcott photographed it. He did “The Shining” and he was just a genius. It was beautiful. It was all shot on a train, at night. That film kept you guessing right until the very end.

Posted on July 11, 2002 in Interviews by

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