You’ve worked on all types of projects, but you picked “Pumpkinhead” as your directorial debut and now you’re kicking off your production company with Wrong Turn. What do you love most about a good horror movie? ^ I’m the most pacifistic guy you’ll ever meet. I’ve never owned a gun. I couldn’t shoot a squirrel. I love people. I don’t think those thoughts, but I do when it comes to movies, and it’s cathartic because I think we all have the need to be afraid. It’s in us, and what better place to get your fear out than going into the theater and getting your fear fix and then walking out and saying, “Well, I’m done with being afraid for the day, because I just spent it all in that movie theater”? I think that is very healthy. It’s the people who don’t go to horror movies and don’t like them; they’re the mass murderers.
In a way, it sounds like you could be acting as another generation’s Roger Corman, providing a hotbed for talented young filmmakers to come together and cut their teeth working on exciting new projects. ^ I love that concept, but I don’t want to be pigeonholed or put into a box. There is an aspect of my production company that’s being set aside for a slate of low-budget genre films, but that genre doesn’t need to be a horror movie. It can be a science fiction movie if it can be done for a tight budget. It can be a family movie introducing a wonderful character, like an E.T. There’s a movie that I’m co-producing right now with Laura Ziskin (who produced Spider-Man) called “Me and My Monster.” There’s nothing horrific about that movie. It’s all about heart and soul, and underlying it is a deep and wonderful story. It’s very important to tell stories like that. I also want to tell stories that have heart and soul and tug on your heartstrings and give you something to think about and make you care. I don’t want you to think that I’m one-dimensional. But I also want to do the popcorn stuff like Wrong Turn where you just go in to get the shit scared out of you.
And of course, you’ve also been busy designing the new Terminatrix for “T3.” ^ With T3, of course, I have a pride of ownership. I was there for “Terminator 1,” I was there for “Terminator 2,” and I would not have wanted someone other than me to be there for “Terminator 3.” Arnold is one of my closest friends, and he truly is back, and he’s back strong. “T3″ is spectacular. We designed and created a really wonderful new Terminator, the T-X, which is the Kristanna Loken character. It’s amazing to me that it took three movies to realize that the “baddest” of the Terminators was going to be a woman. It’s kind of obvious that that’s what it always should have been.
I think everyone’s wondering how you possibly top your liquid-metal creation from “T2.” ^ She’s entirely different from any of the others, and yet you can see the lineage. She’s a battle chassis. She has an endoskeleton like the T-800 (the Arnold Terminator) did, but when you see his endoskeleton, it’s crude compared to the refinements in the design of the T-X. Her skin — unlike Arnold’s, which was flesh and blood — her skin is liquid metal, the same kind of alloy that was in the T-1000. But her endoskeleton is a virtual killing machine. She has weaponry that can take down a building. Her hand can turn into a plasma gun that is extremely powerful and blows the shit out of stuff. She’s extremely strong and a more powerful foe in many ways than the T-1000. But the most important thing about her really is that she’s different. I think the design of the T-X is elegant, sexy, mean, scary and everything it’s supposed to be. When you look at it, you’re going, “That is one evil bitch,” and she really is.
Get the rest of the interview in part four of STAN WINSTON MAKES A WRONG TURN>>>

Posted on June 6, 2003 in Interviews by

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