Tag Archives: Friday the 13th

Abandoned Principal Photography Phase 2 (July 23) Part 2

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Photo Jason Paluck


After the production team for Abandoned took lunch at the spot where the cars were parked not far from the first set of buildings, it was time to try and get back in the infamous building Abandoned had been shot in three months earlier.  Writer/Producer/Director Terry R. Wickham describes what took place, “My greatest fear for Phase 2 was that we were not going to be able to get back into the same space we shot in April and lose the continuity of the room .  So after lunch, I felt it would be prudent for everyone to walk up to the building from the back, so we would be less obvious.  But because of the extreme heat & humidity, most of the crew wanted to be driven to the front.

Since there wasn’t enough room in the two cars, because actor Aaron Mathias arrived for the second half of the day (he wasn’t needed for the scenes in the morning) as the leader, I had no problem walking to the structure.  As I approached the monolith structure, I was surprised not to see anyone on the grounds.  This was a big difference from the place being packed with all sorts of people in April, which included a Firetruck and Police Officer with kids on the ground (read my blog about that here).

Also what looked very positive was that the trees and other vegetation had grown up so much that even if a cop was at the same spot, they wouldn’t be able to see us enter/exit the edifice.  My guess for the reason that nobody was around was that July 23rd, 2016 was that it was the hottest day of 2016 on Long Island, reaching a scorching 96 degrees (Saturday August 13th tied the same blistering temperature).

I started to feel more confident that we were going to get in, but they always say, “Don’t count your chickens before they hatch.”  As I approached the 13-story structure, I noticed a bunch of kids up on the roof.  They started yelling down to me and I paid them no attention.

I walked around to the front where the cast & crew had parked.  After we all grabbed the gear needed, we made our way to the back of the building.  As a side note, as I led the team to the rear, a bug of some kind, flew into my mouth (which thankfully I was able to spit out), but ended up being an omen of sorts.

Just was we were ascending the stairs on the loading dock platform to get to the quasi-entrance of the 13-story structure, someone on the crew said, “Here comes security.”  I couldn’t believe it.  We were literally 5 steps from entering the building.   We had nowhere to go, so I bent over trying to hide, but there was no mistaking the large black tripod (on movie set called “sticks”) and other gear I was carrying, not to mention what everyone else was lugging.  Even now I don’t know if it was because  our cast & crew got noticed when they parked out in the front or the kids on the roof, but security was on top of us quickly and said, “You can’t film here.”

We didn’t say one word and just walked away.  My greatest fear was realized.

So we left the property and went back to the spot we parked for the morning shoot to regroup.  Production Coordinator Jason Paluck felt it might be worth him going right back to the building we just got displaced from.  He did, but when he came back he said that security had fastened the entrance way with a nail gun.

The 2nd half of the Abandoned shoot on 7/23/16 ended right back where the production intended on filming in April.

So after discussing our options,  Jason suggested we try the very first place we planned to shoot this part of the movie back in April.  This was the octopus-like facility we had to vacated at that time when the windows were being boarded up (click here for my blog). As always, Jason wanted to check it first.  He did and found an opening to get in.”  Wickham doesn’t know how he would have been able to make this movie without Jason Paluck’s help.  “Jason not only took me to the location, but always looked out for the best ways for us to be able to shoot there.  Plus when I was writing the script, Jason would give me his valuable feedback and little important changes.  As far as I’m concerned Abandoned is as much his film as it’s mine.”

Siakie Tetteh relished her time on Abandoned and her passion was infectious.  Photo Jevon Duff

Wickham admits, “One of the little slightly frustrating things for me was whenever we moved somewhere as a group, I always hoped for a tight cluster of people.  Instead it always seemed to be a long line of folks spread-out, which made us a bigger target to notice.  Worse was when we’d break off into little groups, all headed for the same place.  My worry was that they see us and stop us from filming.”

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In this screen grab from Abandoned, this part of the facility at the location was destined to an important part of the movie.

Thankfully the whole team was able to get into the structure the production originally marked to shoot.  Wickham gives the details, “As we were walking to the large connected structure, I came up with a way to make the switch of locations work in the movie.  It really is a matter of adding dialogue in post-production coming from the photographer character “Steven” during the  footage at the other space.  This way it would make sense that we are in the a different place in the scene that follows.

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On July 23rd, 2016 the cast & crew powered through the extreme heat condition to make a movie that will last for many years to come. Photo Jason Paluck


I have to say, I really appreciated the herculean effort the cast & crew made in the red-hot conditions inside the loony bin. The air in that nut-house isn’t very good to start with and when you throw in sauna-like temperature, it just made it very difficult.  Imagine sweat pouring down your face and soaking up your clothes, that was our reality.  The thing I’ll never forget was Lefty unbelievably operating the Steadicam for the majority of the time.  Dedicated film warriors might be an understatement.

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Siakie Tetteh & Aaron Mathias jumped right back into the roles they hadn’t played in a quarter of a year on 7/23/16. Photo Jason Paluck

Thankfully because we had planned on shooting in this area, Jason, Michelle, Adrian and I knew it very well.  I had memorized the layout and after getting set up,  we continued where we left off in Scene 6, which is by far the longest scene in the whole movie.  Siakie and Aaron  were able to get right back into their characters, which made things run pretty smooth.”

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Leftonred Atanycorner looks at the monitor of his Steadicam to capture the movement of Siakie Tetteh in Abandoned. PA Jevon Duff holds the slate on 7/23/16. Photo Jason Paluck



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“Steven” doesn’t notice the dark presence behind him in this screen grab from Abandoned

One of the most difficult things to get right was the inclusion of the antagonist characters making their presence felt in a very subdued ways.  The director says, “I absolutely love suspense created in a subtle way that carries a lot of power.  One of my biggest goals was to engineer as much tension in broad daylight and in a gigantic locale where it seemed as though nobody was there.  I did this by using what the immense location offered, utilization of the foreground and the background elements of the frame, camera movement, sound and later the music score.  As Abandoned plays out , there are little clues that should make the audience uneasy, but I didn’t want to make them obvious over the top.  Even our Make-up Artist Regina Tune got a chance to get on this fun playing by one of the dark figures.

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Director Terry R. Wickham says that movies like John Carpenter’s Halloween influenced his directorial approach on Abandoned. Photo Jason Paluck

Like some of my favorite moments in movies like John Carpenter’s Halloween, Jaws, The Mothman Prophecies and even the original Friday The 13th, I was determined to drop little visual hints that there was someone or something watching and waiting to get them.  It was stuff that was done in quiet manner that will hopefully prickle the hair on the audiences’ skin when the see the movie.”

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Leftonred Atanycorner was absolutely amazing Operating his Steadicam for 8 out of 12 hours on July 23, 2016. Photo Jason Paluck


The production team was able to finish up the biggest scene in the movie, which lead to the beginning of the white-knuckle last quarter of the film.  The filmmaker gushes over his team’s effort, “It was certainly a collective effort to get things right.  Everyone did something to pull off what needed to be done.  Lefty was on point moving the camera on his Steadicam rig.  Adrian lit & changed lenses to get maximum suspense and cover the action.  Michelle stepped up with not only the props, but some make-up effects that were needed.

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In this screen grab from Abandoned, the First Assailant (Patrick Reilly) has got “Steven” right where he wants him.

Patrick was awesome in these sequences.  As we started filming the confrontation that takes place, as we all looked at it on the playback it just didn’t look right or violent enough.  Patrick suggested changes in what happens and boy did this improve it.  His ideas made this scene a lot more dangerous, brutal and it shows on the screen.

We also had what I call a happy accident.  Michelle was playing one of the adversaries in the movie.  At one point she had to grab a hold of  “Billie’s” (played by Siakie) skirt to get hold of her.  Siakie had purchased this beautiful white dress that had a skirt that came in layers.  She had it rigged so that the top layer would unfasten.  So when we did this scene the first time, Michelle grabbed hold but it didn’t release properly and Siakie could get separation from Michelle.  So Siakie said for Michelle to really pull hard on it the second take.

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“Billie” (Siakie Tetteh) has to do everything she can to survive in Abandoned.


Michelle did and she ripped the skirt in two, completely destroying it in the process, but it looks savagely beautiful in 4K HD.

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In this screen grab from Abandoned, PA Jevon Duff is seen in charge of the slate on 7/23/16.

By the way, I can’t forget to talk about having Jevon Duff as a Production Assistant.  What a selfless, caring extremely likable person he is.  Jevon was willing to help the production anyway possible and he did in a multitude of ways.  Not only was he on set operating the clapboard (called a “Slate” on movie shoots) but taking still photos, he got Aaron from the train station and picked up lunch from Edelweiss Deli on July 23rd.  Plus Jevon and Siakie volunteered more than once to drive cast and crew to the shoot.  I can’t thank Jevon for everything he did to help out.  He was without question very valuable to the making of Abandoned.

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In Abandoned, “Billie” must decide which way to go to escape the terror that pursues her.


Thankfully the production finished shooting all interiors at the legendary location.  Unfortunately because of losing time during the afternoon switching locations they didn’t wrap until 8pm.  Wickham sums up the productive day, “My goal and intention was to wrap the entire movie on Saturday July 23rd.  Maybe I was a little too ambitious and had too much wishful thinking on my part because Adrian always said he thought it would 2 days.  I’m always trying to look out for my cast & crew and I was hoping they’d get one weekend day free but it didn’t happen.”

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In this screen grab from Abandoned, “Billie” runs for her life.


Not everyone was needed the next day and some of the crew couldn’t make Sunday July 24th.  So look for Wickham’s next blog to tell how his cast & abbreviated crew finished shooting Abandoned at a totally different, yet no less storied location.

Reel Terror


Reel Terror
by David Konow

St. Martin’s Griffin – 2012
ISBN 9780312668839
$18.99, 608 pages   

I’m a lifelong fan of horror films.  I’ve read too many books to count and watched thousands of scary movies.  So when I went to start reading this written literary work I was looking forward to it, but I didn’t expect much.  When something covers the entire genre from start to present day is usually too general in nature to really make a dent with me, but boy was I wrong about this essay.  

What I like most about Reel Terror is David Konow’s conversational writing style.  The man definitely knows his horror history and is able to share countless fascinating stories about films and the people who made them.  The second best thing about this tome is that Konow writes about how the movies were made rather than reviewing the films.

I heard quite a few things about many of the horror classics that hadn’t before and the way Konow tells it, made me not want to put the book down.

I really appreciated the amount of time and attention given to movies like THE EXORCIST.  There were quite a few instances where quotes from Father O’Malley (who served as an advisor on the film) and the man responsible for the marketing of the film had me laughing hysterically.

There are chapters on; TEXAS CHAINSAW MASSACRE, JAWS, CARRIE,  THE OMEN, HALLOWEEN, DAWN OF THE DEAD, PHANTASM, ALIEN, THE FOG, FRIDAY THE 13TH, THE EVIL DEAD, RE-ANIMATOR, SCREAM, THE SIXTH SENSE to name just a few, which are all just simply stellar reading.  Konow is able to connect us to the people behind the films, rather than just being a glorified studio press kit.  I think it makes the stories more intimate and brings the people behind the movies closer.  He cuts the veneer of the normal corporate B.S. out of the loop.

To tell you the truth Reel Terror is one of the best books of its kind.  If I could only recommend one paperback for you to pick up this Halloween or even the rest of this year, it would absolutely be Reel Terror.



Author David Grove Interviewed

Terry gets the scoop from author David Grove about his latest book On Location in Blairstown: The Making of Friday The 13th and his book Jamie Lee Curtis: Scream Queen

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Terry Wickham:  Where and when did you first see John Carpenter’s Halloween?

David Grove:  I first saw Halloween on Halloween night 1984, when I was eleven years old.  I returned home from trick r’ treating and caught the ending of the film – just the last ten minutes or so, which I recorded on the old Beta machine we kept upstairs.  That was significant because recording horror films off television was something I did throughout the eighties, creating my own little video store of Beta tapes, which I watched over and over again.  Those memories, and films, burn themselves into you.  You can’t forget them, but what’s really weird about those kinds of memories – and this has to do with everything in life – is that they always seem like they just happened yesterday.  They still seem so real, even as years and decades go by.

 To finish answering your question, I saw the entire film – Halloween – soon after, in 1985, and watched it over and over again, particularly throughout junior high, through the end of the eighties.


“The Boogeyman”, Michael Myers in John Carpenter’s Halloween

TW:  What kind of lasting affect did Halloween have on you?  I distinctly remember playing baseball with a friend the next day and just couldn’t get the images of Michael Myers out of my head.

 DG:  You know, it didn’t have the psychic effect that Friday the 13th had had on me years earlier.  Halloween was the first horror film I saw from an artistic point of view, in terms of actual technique and strategy being employed to create a truly powerful experience.  I used to read movie guides all the time, before I’d seen most of the movies.  Horror movies carried such a taboo growing up, and watching an R rated movie, either at home or in a theater, was a badge of honor.  I remember reading reviews of Halloween and being struck by the level of critical acclaim it received and I was blown away that a horror film could be considered so “good” in a critical sense.  Likewise, my appreciation of Halloween deepened in comparison to the gore-filed Halloween II (don’t get me wrong, I watched Halloween II countless times as well – throughout senior high even), which was seen as a “fall from greatness” compared to the first film.  My reaction was like, “Okay, why is Halloween seen as this masterpiece while Halloween II is regarded as being a gore-filled, uninspired sequel.”  I was intrigued by this, on a critical level.   What is suspense, and how is it created?

TW:  The time period you focus on in your book where Jamie Lee Curtis made all those horror films was special.  I remember that time with great fondness.  We’ve never experienced anything like that with an actress the same.  Why do you think we haven’t?

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Laurie Strode spots “The Boogeyman” in Halloween

DG:  I don’t think the climate’s ever been the same as it was during that golden period between 1978 and 1981 to allow an actress to assume that mantle again, but I also think Jamie was special and no one else has ever matched her, in terms of the qualities she brought to the horror genre, and what she meant – and continues to mean – to the genre.  Halloween was a classic that – along with the success of Friday the 13th – brought the horror and slasher genres into mainstream Hollywood, and as the star of Halloween, Jamie became the flag-bearer for the genre in that time period.  Halloween is the most highly-regarded genre film since the mid 1970s, certainly by me, and as the star of that film – as the scream queen – Jamie really set a standard, but she also crossed the entire trajectory between 1978 and 1981, starring in slasher staples – and blatant Halloween knockoffs – like Prom Night and Terror Train, being the “star” of the most productive period in John Carpenter’s career – with her roles in Halloween and The Fog – and really closing out the era with Halloween II, just as she walked away from the scream queen title and moved onto other roles.

 I refer to the period between 1978 and 1981 as a “golden age” because, for someone my age, the genre films made during that period serve as the benchmark for everything that’s happened in my life as a moviegoer.   That’s true for many people, judging from all of the remakes of those films.

TW:  What was your favorite Jamie Lee Curtis film post Halloween (of course I’m referring to her genre films) and why?

DG:  Wow.  That’s a tough question.  Jamie’s worked in almost every genre and proved herself capable in all of them, but she’s only been in one truly great film and that’s Halloween.  I don’t like most of the horror films she did after Halloween, even though I find them endlessly fascinating as a journalist in terms of her career and the context they fit into.  I loved her performance in Blue Steel, but I had mixed feelings about the movie overall.

TW:  Where and when did you first see Friday The 13th?  It obviously left an impression on you, talk about it.


 DG:  I saw Friday the 13th at home on television when I was about eight and, yes, it had a huge effect on me. I’ve never been so scared watching a film since.  I remember the sequence near the end of the film where Alice is back in the main cabin, after discovering Bill, and then the bodies start flying out at her (Brenda and Steve) and you don’t know where – or who – the killer is, and she’s trying to hide and barricade herself, and it’s just pure terror.


Bill (Harry Crosby) in Friday The 13th

TW:  I’ve got my own thoughts but why do you think the remakes of Halloween & Friday The 13th were so bad (I don’t think they should have even been made) in comparison to the originals?

 DG:  I don’t think they were remakes.  Halloween was a Rob Zombie film – in the worst sense – and was full of his own peculiar touches, and it was padded with back-story that only serves to demystify the legend, and the Michael Myers character.  The 2009 version of Friday the 13th isn’t a remake of the 1980 film, but rather similar to the 2003 Texas Chainsaw Massacre remake, in terms of style, tone and execution.

TW:  Pinpoint the Top-5 things about Friday The 13th that make it the classic that it is.


Tom Savini’s Special-Make-up Effects stood out in Friday The 13th

 DG:  The unseen identity of the killer.  The concept of such gruesome bloodshed set against such a remote, apple pie setting.  Tom Savini’s effects and the way they were executed.  Betsy Palmer’s appearance and her terrifying performance.  The lake scene at the end.


This scene made many, including this writer, to jump out of their chair in Friday The 13th

TW:  I never read your previous book about Friday The 13th that was published by Fab Press.  What’s the difference between On Location in Blairstown: The Making of Friday The 13th versus that book?  Is it possible for me to get a copy of that first book to review?

 DG:  The first book covered the entire series (and the TV series) with about a quarter devoted to the first film.  The new book is full of new information about the first film – and the planning and the people involved with the film – as well as lots of new information about old information, such as the casting, financing,  what went on in Blairstown, and especially the people.  I have one pristine copy left and they’ve become collector items, having sold out completely, and they’re expensive.  Maybe someone will reprint it one day.  I’m flattered that the first film has become a classic film book for fans, but I know On Location in Blairstown will that take to a completely different level.   This book takes the reader back in 1979 – before, during and after the making of the film.

TW:  Have you ever visited Blairstown, NJ and Camp No-Be-Bo-Sco?  I had the chance about ten years ago and really enjoyed seeing those locations in person.  It wasn’t easy getting clearance from the Boy Scouts of America but I eventually got the Ok.


Sign to Camp Crystal Lake (actual location Camp-No-Be-Bo-Sco in Blairstown, New Jersey) in Friday The 13th

 DG:  No, I haven’t, and I heard they don’t welcome unwanted visitors.  In the book, I relied on the memories of the cast and crew, as well as pictures (including pictures taken in 1979) from visitors.  I’d like to go there.  They requested a book.

TW:  How’d you like the character (Elizabeth Solley) that Jamie Lee played in The Fog?  It’s one of my friend’s favorite parts she’s done.  He told me he wished he could find a girlfriend like that character.

 DG:  I found out way too much about Jamie’s films, and her work in the films, to be able to simply watch and enjoy the films anymore.  Her role, much like her mother’s role in the film, was really a patchwork on the part of Carpenter and Hill, just so they could squeeze Jamie and her mother into the film.  I like her too, but I don’t think there’s much of a role there.  I’ve always felt The Fog plays much better on television, a format in which the film’s flaws are less apparent.


Left to right:  Adrienne Barbeau, John Carpenter, Jamie Lee Curtis, Janet Leigh on the set of The Fog

TW:  Do you ever wish that John Carpenter, Debra Hill and Jamie Lee Curtis would have made more films together?

DG:  Yes, absolutely, and I really got into that in the book.  Carpenter and Hill were like surrogate parents to Jamie – career-wise – and they had a special bond, although they weren’t joined at the hip or anything like that.  I don’t think either Jamie or John ever imagined that they’d never work together again, as director and actress, but they went their separate ways, as did Debra Hill.  I don’t think Carpenter was ever the same again.  The success of The Fog and Escape from New York seemed to foretell mainstream Hollywood success for Carpenter in the big studio system, but it was a nightmare for him, while everyone around him – everyone who started out with him – seemingly went onto bigger and better things, including Jamie.  Carpenter and Hill needed Jamie in that early period, but there came a point where Jamie didn’t need them anymore.


The unbeatable team of Debra Hill and John Carpenter

TW:  It’s a real shame that Dimension didn’t pony up enough money to have those three work together on Halloween H20.  They were a winning combination together and I can only imagine the film we might have got out of the situation.  I actually liked the job Steve Miner on that film, but would have preferred the original people again. How do you feel about it?

DG:  I didn’t like the film, but it was harmless, and I think Jamie deserves credit for putting the pieces of that project together and making it a financial success, at least.

TW:  What made you want to write another book on Friday The 13th?  Were you unsatisfied with your first attempt?  Did you uncover more information after the first book was published? I believe Crystal Lake Memories came out after your first book was published, right?

DG:  I liked the idea of writing a book on the making of a single film and since I’ve spent over a decade covering Friday the 13th, it seemed like the perfect choice – if I had enough new information, which I quickly discovered I did.  If that hadn’t been the case, I wouldn’t have finished the book.  I was unsatisfied with the first book only in the sense that I have no real passion for any of the films except the first one, which I felt warranted a book of its own.  I think even the most diehard fans of the film – and the readers of my first book – will be surprised by this new book, and they’ll enjoy it very much.


Crew of Friday The 13th, DP Barry Abrams front bottom left & Director Sean S. Cunningham center in white shirt

TW:  Do you have that big Friday The 13th soundtrack box set that was released a few years back?  I really wanted a copy of that but it was sold out too fast.

DG:  No, but I desperately wanted a copy of the sheet music to put in the appendix section of my book, and it was simply unavailable.  There’s a detailed section on the music in the book, including the “Sail Away, Tiny Sparrow” song, which is so disarming to hear in the film.

TW:  Before you found out what Harry Manfredini’s echoed voice said in Friday The 13th, what did you think it said?  I always thought it was saying “Get Out.”

DG:  When I was a kid, I thought it was ha-ha-ha.

TW:  What are your favorite Jamie Lee Curtis moments/scenes in the following movies and why?


DG:  One favorite moment is when Laurie and Annie are driving in the car and Laurie mentions her crush on Ben Tramer, and just the scared, nervous look on her face.  A second moment is when Laurie walks out of the kitchen with the pumpkin and then she just flops down on the couch, as if she’s exhausted from running around with the kids and just needs a rest.   She has your sympathy.

The Fog


Jamie Lee Curtis & Tom Atkins in John Carpenter’s The Fog

DG:   I like the banter between Jamie and Tom Atkins when he picks her up.  I like it when she asks him, “Are you weird?”

Prom Night

DG:  I like the trembling emotion she shows at the end of the film when she’s looking down at her dead brother.

Terror Train


Kenny Hampson (Derek McKinnon) and Alana Maxwell (Jamie Lee Curtis) in Terror Train

DG:  I like the moment at the end when Kenny forces Alana to kiss him and just the disgusted, snarled expression on Jamie’s face when he pulls away from her.   It plays into Jamie’s own androgynous sex appeal.

Road Games

 DG:  Jamie doesn’t have a lot of screen time in the film, so I’d say the dialogue between her and Stacy Keach.  I thought they had good chemistry together, not in a romantic sense, but a comic sense.

Halloween II

DG:  Jamie probably says less than 100 words in that film.  I’d say the scene where she shoots Michael in the eyes.


Laurie Strode defends herself against Michael Myers in Halloween II

Halloween H20

 DG:  There’s one moment in the film where Laurie references her murdered friends and that was the only moment in the film where I felt a connection between H20 and the first film.

TW:  If you could have had your choice, which story direction would you have taken Laurie Strode in Halloween II?  It’s pretty much agreed that she was kind of wasted in Halloween II confined to a hospital bed, though I still like the film.

DG:  Wow.  I would’ve liked to have seen Laurie become a psychiatrist – to take over the Sam Loomis role – and either be confronted by Michael Myers, or another child in Haddonfield who is, in essence, the reincarnation of Michael Myers and the evil he represents.


“The Boogeyman” comes out of nowhere to get Laurie Strode in John Carpenter’s Halloween

TW:  In my opinion, Terror Train is one of the Top-10 Slashers of All-time.  Claustrophobic train setting, the opening scene is terrific.  Jamie Lee looks great and David Copperfield brought a mysterious touch to the table.  How would you comparably rate it?

 DG:  I loved that movie as a kid, but it didn’t hold up when I watched it later on, in terms of logic and story.  It’s a well-made film – a well-made slasher film – and makes good use of its location, and the reveal of the killer is very effective, although a cheat.  Yes, I’d probably pick Terror Train as my favorite of the rest of her scream queen films, although I always find Prom Night compelling to watch, not in terms of character and story – because the film isn’t very good – but in terms of being a time capsule of the era in terms of teenage life and the film business and especially in terms of what was going on in Jamie’s life and career during that period, which I detail in the book.

TW:  It’s been a long time since I saw Road Games on VHS back in the early 80s.  What are your thoughts on Richard Franklin’s film and Jamie Lee’s performance in particular?

 DG:  It’s clever, it’s a work of craftsmanship, but I don’t really care for it.  I don’t think it’s particularly scary, and I don’t think it plays fair with the audience in terms of how the killer is always able to move around.  That takes away the suspense.  It’s not bad.  It certainly has its fans.  I spoke to Richard Franklin just a few weeks before he died.  I don’t think Jamie is used very well in the film.  She’s under-used, and there’s a whole story about that, in relation to her being cast in favor of an Australian actress, which was very unpleasant for Jamie.

TW:  What’s your Top-5 moments in Friday The 13th and why?


Jack Barrell (Kevin Bacon) gets it via Tom Savini’s amazing work in Friday The 13th

 DG:  Bill on the door.  Bill was so nice and the effect was so grisly.  The Kevin Bacon scene because of the effect’s execution.  The lake scene was a real chair-jumper.  I love the scene in the cabin where Marcie and Jack are having sex and the camera reveals Ned on the top bunk.  I love the way the camera stalks Brenda as she moves around the archery range.


Brenda (Laurie Betram) is in the wrong place at the wrong time in Friday The 13th

TW:  What book was more difficult to write out of the two books we are talking about?

 DG:  They’re all tough, but the Jamie Lee Curtis required an investment of time and energy that I probably wouldn’t be able to do again.   Sitting in “the room” all day, week after week, going over everything, putting it all together.  Those aren’t good memories.

TW:  What’s your next book about and/or what’s in the pipeline?

 DG:  One thing that I’ve learned about myself is that when I have an idea for a book, I make it happen.  I do it.  I finish.  You know, with the Jamie Lee book, I remember it was the spring of 2002 and I was watching one of the Halloween DVDs in my basement at night and it was the one with Mark Cerulli’s excellent featurette.  I remember thinking about Jamie Lee’s work in the Halloween, and the other films she appeared in, and how she really dominated that era – an era that made a big impact on me growing up.


Michael Myers (Nick Castle) is coming to get you in John Carpenter’s Halloween

 When the Jamie Lee book came out in 2010, I did an interview and casually mentioned that I was going to do another Friday the 13th book.  Word spread and so I kind of had to do it.  I started writing in the summer of 2011 and here we are now, so you can see the investment of time that goes into these projects.

 I’d like to do a biography on Jan Michael Vincent.  Maybe I’ll do that next, because it would be easier than the other two projects I have in mind.  One is a book on the teen/college sex comedies from the early to mid 1980s.  I have a title for that: Horny Teenagers: The Rise and Fall of the Teen Sex Comedy Film, 1981-1985.  The other book I’d like to do is a book on Frank and Eleanor Perry, the legendary husband and wife filmmaking team who made such great films as David and Lisa, The Swimmer, Last Summer.  Now that would be a big project.  You know, I’d have to travel to Los Angeles and Connecticut where each of their papers are.  They’re both dead, and most of their colleagues are dead or are very old, which is much the same story with Jan Michael Vincent, who I find to be a very intriguing person.

TW:  Do you have a website where people can follow your work?

 DG:  No, but if you Google me, you’ll find everything you need to know.

TW:  Thank you for all your dedicated work on these two brilliant books.  I think I can speak for most horror fans by saying that your books have made our world of horror undoubtedly better.


Thank you very much for your support.


David Grove