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The best thing about Twitter is that it offers you a chance
to chat with folks you've admired for a big chunk of your horror-loving life on
a level playing field. You both have 140 characters to say what you have to
say, and unlike at a convention, you're not being rushed along so that the
other fans can get their time in with their hero as well. So it was a surreal delight for me to be
tweeting about watching SILENT NIGHT DEADLY NIGHT III (read the Fango Flashback here), only to have Bill
Moseley himself reply back a few minutes later.
I couldn't help but ask him about the movie a bit, but then realized that
his recollections deserved a better venue than my Twitter feed, so just for you
guys, I got him to answer a few questions about his experience working on the
FANGORIA: Obviously it's been a while, but do you remember
how you got involved with SILENT NIGHT, DEADLY NIGHT III? Did you have to audition?
BILL MOSELEY: I did have to audition, for Johanna Ray. Ricky
Caldwell has precious few lines, so it was a look director Monte Hellman was
looking for, and I guess I had it!
FANG: I assume you didn't want to emulate Eric Freeman's
performance as Ricky, but had you seen the previous entries?
MOSELEY: I did some research on the SILENT NIGHT series—back
then it was videotape. Monte encouraged me to "make it my own."
FANG: What was your first reaction to the headgear you'd
have to wear through the film?
MOSELEY: I got a head mold at Greg Cannom's SFX shop, had no
idea what I'd be wearing until Day One of shooting. It was a crazy contraption,
looked like a clear plastic salad bowl with a rubber brain inside awash in
orange "brain juice." It also sported a mechanism in the back with
blinking colored lights. I struggled with the headgear throughout the filming,
posted a piece of paper on the mirror in my trailer that exhorted,
"Outshine the brain cap!"
FANG: What happened to that headgear?
MOSELEY: I took the brain cap home with me, but producer
Richard Gladstein called me up and demanded I return it. I'm guessing it's now
somewhere in the bowels of his garage.
FANG: According to the IMDb, SILENT NIGHT, DEADLY NIGHT III was
shot in Dallas, but there's a shot of you clearly on the 101 freeway here in
Los Angeles. Was it both? Is the IMDb
MOSELEY: IMDB is dead wrong. We shot it here in Los Angeles,
Thousand Oaks and Piru (granny's house up in the orange groves).
FANG: Speaking of Texas, we're about to see you return to
the Sawyer family... what was that experience like?
MOSELEY: It was a hot good time, hot because we shot my
scenes outside Bossier City, Louisiana. The average temperature for the five
days I shot was 104 with 90+% humidity! Plus, I was wearing extra padding which
wicked up my profuse sweating and by day's end, added another 10 pounds to my
Cook costume. But I had my moments of looking across the room of the Sawyer house
and seeing Gunnar Hansen and the chicken in the bird cage and John Dugan dolled
up as Grandpa, and I had some beautiful flashback moments (not 'Nam flashbacks,
mind you) that this was where it all began. Warmed the cocktails of my heart.
Thought about the late, great Jim Siedow, the irrepressible Ed Neal, Franklin
(the late, great Paul Partain) screaming "Salleeeeee." Gave me
shivers and a deep gratitude for what the Saw has done for me!
FANG: Besides TCM3D,
what's next for you?
MOSELEY: I just finished shooting a feature on Long Island,
NY, with Kane Hodder called OLD 37, about two fucked up brothers who drive an
old blood-crusted ambulance, find out where the fresh accidents are by tuning
into police band radio and getting there before the real ambulance. I won't
tell you what we do, but suffice it to say, our ambulance has a wood chipper in
I also worked on an
indie feature called BIG TOP EVIL directed by Sean Haitz. The film's shot
entirely in Sarasota, FL—the home of all things circus—and I had a ball playing
evil circus owner Mr. Kharver!
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