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Continuing our interview with HOLLISTON co-creator/co-star
Adam Green (begun here),
we chat to him about projects (including HATCHET 3) he has coming up past the FEARnet sitcom, which
premieres Wednesday, April 4…
FANGORIA: Let’s talk HATCHET 3 for a bit. Did you
personally choose BJ McDonnell as the franchise’s new director?
ADAM GREEN: Yeah, he was my first choice. I really wanted to
keep it within the HATCHET family and make sure it was someone who’d been there
since day one. BJ had literally shot every frame of both HATCHET movies [as
camera operator], he’s always wanted to be a director, and one thing I love
about BJ is that he never asked for anything. Whenever you start to get any
kind of success, everyone from people you never met to family members start
asking for stuff, as if you can wave a magic wand and make anything happen. But
I always knew BJ wanted to direct, and it was really great once we had all the
discussions internally and I got to bring it up to him, because he totally
didn’t expect it and was so appreciative. And now it’s gonna feel like the
first movie again for the crew, where you have a new director who’s so
passionate and thrilled about making a movie. For him, this is the most
important thing in the world, and while going over the script, I was able to
kinda feed off of all his excitement.
I also know the films have a very loyal fan base, so I
didn’t want someone to come in and change it or shit all over it, which is kind
of what happened with a lot of the franchises of the ’80s. But BJ totally gets
it. I probably wouldn’t have written it if the director wasn’t someone I
believed in. HATCHET is my baby, and even though I’m not directing, I’ll be on
set every step of the way.
FANG: What can fans of the series expect from the third
GREEN: I don’t want to spoil too much, but Victor Crowley is
really f**king pissed off and he’s going to kill a lot of people. But what I
like is that we get to bring the mythology fully around with this one. With the
first one, I purposely kept everything as basic and nebulous as possible. In
the second, we really expounded on who Victor Crowley is and why he’s the way
he is. The fact that he’s this repeating ghost sets him apart from any other
slashers. No matter what you do to him, he keeps coming back every night in the
same state he was in when he was killed. Now in the third, there are no more
flashbacks, but we get a lot more information on exactly how Victor Crowley
works and how to potentially get rid of him.
FANG: What stage are you at with KILLER PIZZA right now?
GREEN: MGM bought the rights to KILLER PIZZA about six
months ago. So right now I’m working on rewrites based on the studio’s notes,
and it has been a really great process. I’ve done a bunch of studio writing
before, but never with a company like 1492 at the helm. You don’t get generic
notes or things that don’t make sense, mainly because [producer] Chris
[Columbus] is a writer too. I’ve learned so much, and everything he suggests is
so smart and elevates the script to the next level. It’s a studio movie, so I
don’t know or have control over when it will be made or how it will be made.
And even if I did, it probably wouldn’t be my place to say.
FANG: Should fans of the book expect any changes?
GREEN: To anyone who’s read the book, it’s nothing really
like that anymore. If they were to change the title of the film, it would be
fine. Because aside from the fact that the kids work at a place called “Killer
Pizza,” it’s all changed.
FANG: Were you familiar with the book before this project
was offered to you?
GREEN: I had never even heard of the book before 1492 sent
it to me. The book was written for like 8-to-10-year olds, but the idea behind
it was so fun that I came in and pitched my own big summer-movie version of it,
and they went for it right away. But these studio projects just take so long.
Even when MGM had the deal all set, it still took like five months just to get
the contractual thing done. It’s a long wait, but hopefully it’ll get made and
come out soon. For the loyal fan base that’s seen everything I’ve done, there’s
stuff in there for you.
FANG: Well, it appears you have more than enough on your
plate. But are there any projects tucked away in the back of your mind for the
GREEN: I have way more than enough going on. I’m actually
trying to figure out what things to kill, to be honest. Right now I’m focusing
on HATCHET 3, then hopefully HOLLISTON season two. I also have this project
that I’ve been working on for a while with Alex Pardee, which basically
explores monster art and where monsters come from. But we’ll be shooting that
over the next two years. It started as a documentary, but is slowly becoming
something else, something we don’t even know yet. It’s been a very experimental
experience, and we’re not trying to control it. But the whole research process
and the people we’ve met have been so unreal and fun. And I’m not 100 percent
convinced monsters aren’t real. These ideas had to all come from somewhere at
one point, you know?
FANG: Do you remember a specific childhood moment with a
specific film that first made you think, “I want to work in movies when I grow
GREEN: Yes, it was in 1982, when E.T. held his finger up and
said, “I’ll be right here.” From that moment on, I was completely infatuated
with films and trying to figure out how they’re made. Even when I was 8 years
old, I could tell that E.T. was fake, but there was something about the story,
the acting, the music and the lighting that made me sob uncontrollably like a
2-year-old. And I was like, “I gotta figure this out!”
FANG: As a child of the VHS era, how do you feel about the
cheap-and-easily-accessible age fans live in today? Because today, the video
store is a dying breed, but at the same time, having CHILLERAMA, for example,
on Netflix Instant has enabled access to it for tons of people who might not
ordinarily have sought it out.
GREEN: The fact that movies have become so accessible
on-line and through things like Netflix, even how quick films make it to cable
and DVD now, I think that’s all a good thing. What’s bad about it is that the
theatrical experience is getting lost, especially for the horror audience.
Seeing a horror movie in a packed theater with other people is the best way.
People don’t really care about going to the theater anymore when they could
just sit home and download. And it’s all illegal downloading, which sometimes
isn’t the entire film plus you’re watching it on a tiny iPhone, not to mention
how crippling it is to the industry. It’s a blessing and a curse. I’ve been
lucky enough to have every one of my films play in a theater, and I’m very
grateful for that.
FANG: Have you received any reports of outrage from
CHILLERAMA’s theatrical showings? Because it’s a pretty vile film—and I say that
in the most loving way possible.
GREEN: We actually haven’t heard of a single person who was
offended by anything in that movie. It kind of gives me a little faith in
humanity, because there are people who are offended by anything. They just look
to be offended. But CHILLERAMA is so obviously a joke that you’d feel stupid
being offended by it. Now, with my segment specifically, I was assigned that
title [THE DIARY OF ANNE FRANKENSTEIN] by Adam Rifkin, and I was scared.
Because how do you do anything involving Anne Frank and the Holocaust and not
offend anyone? Adam kept saying, “Yeah, but you’re Jewish, so it’s OK.” But the
audience doesn’t know that! It was hard to come up with a story that didn’t
really involve the Holocaust or Anne Frank. It essentially just turned into 20
minutes of making fun of Hitler. And no one was offended by it. Whether we
showed it in London or Germany or the U.S., everyone was laughing or cheering.
It’s nice to know horror fans have a very like-minded sense of humor.
FANG: Anything else you want to say to the Fango readers?
GREEN: Please, please, please watch HOLLISTON. If you don’t
get FEARnet, call 877-FEAR-247 and keep asking your cable provider for it!
Hopefully horror fans appreciate a sitcom for them, because shows like THE BIG
BANG THEORY aren’t necessarily our cup of tea.
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