What was it like working with three well known Hollywood stars?
It was great. Oldman was so passionate about the project and they all know me, and there’s no snobbiness going on. They do whatever I tell them. You know, they’ve all been around the block; Kate’s been in all of the magazines, Gary’s played all of these psychos, but you know, Matthew is the real wild card in this film. He’s great.

I thought he was going to have a thankless role, being the normal brother, the one who wasn’t born short, but he’s very interesting.
Matthew McConaughey is one of the biggest untapped talents in Hollywood. I hope this movie shows that. I think fans are going to have a different impression of him. You know, Bridget the Midget, the porn star, she’s in the movie. She used to get gangbanged in all of those midget porno movies. She plays Matthew and Gary’s mother. Well, I was thinking of doing one of those really cool smoky trailers with like Gary and Matthew looking into the camera and saying, “Matthew McConaughey stars in Bridget the Midget.” I think that would be really cool.

Are you a modern day Sam Peckinpah?
I love Sam Peckinpah, but I sure don’t want to end up as a mean old drunk. You know, he didn’t like to write, but I love to write. Peckinpah was a genius and he always had these great looking women in his films. They were beautiful but they always had something cold and evil in their eyes.

You enjoy scripting?
I love writing period. I treat my scripts like novels. I do want to say that the Robert McKee’s of this world, the so called “script experts” who’ve never done a thing in their life, they’re the death of film as we know it. All of that stuff is a piece of shit, but what happens is that all of the Hollywood executives get free classes so they become brainwashed by it and so do young filmmakers. These experts are really grifters. There’s no art form whatsoever in what they teach. Look, the three act structure that they teach is garbage. Why? Because of what Hemingway said. He said that if the writer lies, the reader never recovers, and that’s what all of these structures are – lies. You’ve got to be true to yourself. If you’re going to write a story that’s important, that’s about something, that you think is about something, you better damn well know what you’re talking about or you’re dead meat. How’s a class going to teach you that? It’s got to be from your own experience.

As far as scripting my films; with “Freeway,” I knew who Vanessa was and I just wanted a bunch of crazy stuff to happen around her and “Little Red Riding Hood” came to me very easily. I didn’t know where I was going, except that I had a big bad wolf(Kiefer Sutherland’s serial killing psychologist) and a grandma. Same with “Freeway II.” That was Hansel and Gretel so it seemed natural to throw in a little teenage lesbianism. “Tiptoes” has that same fairytale feel. The “Ted Bundy” script was originally written by someone else, which I changed quite a bit, from my own knowledge of Bundy. With “Bundy,” I changed all the names so I could make up stuff.

It’s interesting that with all of the controversy surrounding “Freeway” and the upcoming “Ted Bundy,” you don’t have much sex in your films.
Yeah, but whenever I say the word “pussy” I get threatened with an X rating. I don’t really want to have a lot of sex in my films until I’ve really discovered all of the different aspects of love and passion. When I do a movie with sex, I think I’ll really go all the way, make it X rated.

Would you ever let someone else direct your material?
Oliver Stone of course because he has great vision. He might even direct a script I’ve written. It takes a crazy look at drug use with this fictional drug that turns kids into werewolves who just want to have sex. Martin Scorsese is another director I’d be flattered to have direct my material. I wasn’t too happy with “Guncrazy” though because the director(Tamra Davis) made a soft, syrupy version of my script. That was her vision, but it wasn’t my script. In my script, Drew’s character was much more hardcore like Reese’s character in “Freeway.” I don’t want that to happen again. I’d like to work with a big budget someday, but not with someone else’s script. I’m old and I figure I’ve got about twenty years left. If I stay with the indies, that’s great because I’ll be dead soon. Any pain I’ve felt from making films doesn’t matter, because I’ll be dead.

Posted on September 20, 2002 in Interviews by


If you liked this article then you may also like the following Film Threat articles:
Popular Stories from Around the Web

Tell us what you're thinking...

Comments are governed by the Terms of Use of this Site. Click on the "Report Comment" link if you feel a comment is in violation of the Terms of Use, and the comment will be reviewed appropriately.