Quantcast PSYCHO Reunion Panel From Los Angeles, FANGORIA moderated by ICONS Robg.

PSYCHO Franchise

On April 25th, 2008, ICONS own Robg. debuted 12 minutes of footage from THE PSYCHO LEGACY documentary and followed it by moderating the first ever PSYCHO franchise reunion panel. Guest included Hilton Green (PSYCHO), Tom Holland, Chris Hendrie, Andrew London, Lee Garlington (PSYCHO II), Kurt Paul, Juliette Cummins, Donovan Scott, Katt Shea (PSYCHO III), Mick & Cynthia Garris (PSYCHO IV). Below is both the footage that screened, followed by a complete transcript of the now legendary panel. Read on FRIGHT fans! You're in for a treat that even "mother" would approve of! - By Robg. - 5/08

Robg.: Let’s start with the original. Everyone has a memory of when they first saw PSYCHO and the influence that it had on them. So, starting with Hilton, you were the assistant director on the very first PSYCHO film. What was it like for you to see the movie for the first time? Do you remember your reactions to the film after having worked on it?

Hilton Green (Assistant Director PSYCHO, Producer PSYCHO II-IV):Yes, by the way, it’s an honor to be here, but yes, when I first looked at PSYCHO, the first cut, it was just a plain old movie. It was pretty flat, because there was no music in it. And you can’t realize what the score of PSYCHO did to that movie. After putting the music in, it just blossomed and became very, very scary. So that was my first impression of PSYCHO and no one that worked on it at that time ever realized that it would have the legs it did and become a legend.

Robg.: Mick, you told a story in THE PSYCHO LEGACY clip about seeing PSYCHO for the first time with your siblings when you were very young?

Mick Garris (Director PSYCHO IV): Yeah, we saw it at the Drive-In. The Reseda Drive-In by the way, for any of you that remember that grand and glorious place! But yeah, I was very young, there were 4 Garris kids and we were all in the back of a 57 Chevy Wagon. And it was the perfect place to do it. By the way, that’s the Drive-In that TARGETS took place at, the Boris Karloff, Peter Bogdanovich movie. Um, and so my family went to see it and in those days, horror movies were thought of as kids movies.
And this was anything but a kids movie. So, we were all in our PJ’s and watching it, and the most effective scene that I remember being 7 years old was the reveal of the corpse of Mrs. Bates. I talked about it in the clip there, “Mrs. Bates! Mrs. Bates!” Touch it and it turns and there’s Mrs. Bates’ corpse. And it horrified my sister so much that we would always tease, “Deedee, Deedee… Mrs. Bates! Mrs. Bates!” (Laughs) So, that’s the most memorable thing about my first time.

Robg.: How about you, Kurt? Do you remember when you first saw PSYCHO and how it impacted or influenced you?

Kurt Paul ("Mother" PSYCHO II-III, Raymond Linette PSYCHO IV): My mother would not allow me to watch it. My best part, remembering it – I worked with Tony on a couple of things before PSYCHO II. So, when I worked with him on 2, he said, “Listen, darling, you’re going to wear the dress and play mother.” And I said, “What am I going to do?” “You’re going to kill people.” I go, “I can’t do that.” And he says, “Sure you can.” “Who’s going to wear a dress?” “Well, I’ve done it!” (Audience Laughs) Just going around, honest to God, just watching people (on these films), there was so much talent.
To be around the original A.D. on PSYCHO. And just working with great people including Robert Loggia, and then somehow I was lucky enough to go from PSYCHO 2, 3, 4, and actually play the crazy kid at the beginning of 4 Raymond Linette, it was just a dream come true. I got lucky and played Bates on SLEDGEHAMMER, BATES MOTEL, etc. Bates, Bates, masturbates. (Audience Laughs) I just got lucky, and because people like Hilton were there, it was all a dream come true. And what you’re doing is brilliant, to keep people remembering this great thing. Everybody is wonderful. Nobody here has aged. (Laughs)

Robg.: If you the audience haven’t seen the sequels, I hope you will go out and rent them now. I hope I influenced you to do that! Chris, what were your earliest recollections of seeing PSYCHO for the first time?

Chris Hendrie (Deputy Pool PSYCHO II): I believe I saw PSYCHO in 1962 in the Warner Theater at Wister Academy in Wister, Massachusetts. (Audience applauds) And uh, I saw it with my best friend actually… Tom Holland! He saw the same show. We were both terrified, and he ended up writing a wonderful script (for PSYCHO II) and I’d like him to describe his first reaction, which I think is the important one.
Andrew London (Editor PSYCHO II): I was 11 years old and I saw it at one of those cavernous movie theaters that don’t exist anymore that had stars in the sky and clouds. It was so big that when the audience screamed which was quite frequently, the echo went on forever and I think that movie changed the bathing habits of a generation. (Audience laughs) Because everyone was convinced “Did she really lock the door when she went in there?” I remember how it effected me, I remember after that always peeping out of the shower as a kid! It was a great! It wasn’t that far afterwards that we were thinking of ways to pay honor to it. (with PSYCHO II)
Tom Holland (Writer PSYCHO II): It’s hard to imagine now that PSYCHO was a sizable event in film. It changed horror, it changed the intensity of the experience. You saw montage, at least I did, I saw montage like I’d never seen it before. You have to remember up until then, we were looking at Hammer Films with Christopher Lee and we were looking at the AIP stuff with Vincent Price. And all of a sudden PSYCHO comes out and it all changed. So, everything – where you are today is because of PSYCHO. It changed the language of film and that was because of Mr. Hitchcock. (Audience applauds)
Robg.: Juliette, do you remember seeing PSYCHO for the first time?

Juliette Cummins
(Red PSYCHO III): Gosh, I was in bed scared! I remember it raining the first time I saw it. I was maybe 16 or 17 and I just knew, I knew that this was a master. This was huge to watch this, what Hitchcock had done.

Robg.: You had mentioned to me previously that you’re a big Hitchcock fan. Was PSYCHO your introductory movie to Hitchcock’s films?

Juliette Cummins: PSYCHO was the first that I had seen. And then when Tony hired me (for PSYCHO III), I watched everything, just to see what he was brought up with.

Robg.: How about you, Lee?

Lee Garlington (Myrna PSYCHO II-III): I was only like what, 5 or 6 when it came out? Seriously, I’m not lying! But I was in Junior High, it took a long time for things to come on TV, so I think when I was 12 or 13, PSYCHO was going to be on TV. We had like 8 girls spending the night and I lived in Chicago at the time. And then Senator Percy’s daughter was stabbed to death and the show was cancelled! We were devastated! 8 girls with no horror movie!
So, I actually never saw it until I got hired to do the second film. I thought I should probably see the first one! My claim to fame though, number 1) PSYCHO II was my absolute first acting job I’d ever done in film or television, so it was the most thrilling 4 days of my life. And number 2) I was the handwriting of “mother”! Do you remember? They had like 10 of us submit what we thought mother’s handwriting should look like, and I was selected. It was a big deal! (Audience laughs and applauds)
Donovan Scott (Kyle PSYCHO III): I think I was about 13 and really into Ray Harryhausen more then anything. And I wasn’t really into adult drama kind of movies. I was still doing fantasy. But the interesting thing at my theater was you couldn’t go in to PSYCHO until the ending was over. You could not go in late to that movie, and so I was very curious why that was happening. In my theater, they really would not let you in!

Robg.: And that’s how they do movies ever since then. Because back then, you could walk in and out of movies, they’d show news reels and things like that before the feature, so you can pretty much walk in anytime during the day, catch half a movie, and stay to catch the first half. But PSYCHO was the first movie where they forced you to go from start to finish. Technically, that’s the way we watch movies today. We go at a set time, and that was pretty much the first movie that did that.

Donovan Scott: The other enticement for me was that in Ray Harryhausen movies, they used a lot of Bernard Herrmann music, and I loved Bernard Herrmann’s music. And when I saw that that was on the bill, as well as the fact that I couldn’t go in late, I had to go see it, and I was Hitchcock hooked after that.
Cynthia Garris (Ellen Stevens PSYCHO IV): I’m trying really hard to remember! I know I saw it first run on Hollywood Boulevard because I grew up in Hollywood. But, really all I remember was my little brother being able to get even with me for all the rotten things I’d ever done to him, by laying in wait for me every night when I went to take a shower. He’d throw the shower curtain down over and over again! I eventually just stopped taking showers and took baths. (Laughs)

Robg.: Katt, do you remember seeing PSYCHO for the first time and how it affected or influenced you?

Katt Shea (Patsy PSYCHO III): Yeah, I do. It was on a really small little TV set, and I was a very young kid, and it was amazing that it had the power that it did even on a little TV set! I would run into the shower and run out as fast as I possibly could. I just realized that PSYCHO III was my last acting role, and I went on to direct after that. It was great, because Tony was very generous about letting me ask the DP (Bruce Surtees) all kinds of questions. It was a great movie to have as my last.

Robg.: Why don’t we talk about how everyone got involved in their respective PSYCHO movie? Katt, you told me a funny story about how they brought you down to the backlot of Universal to audition for Tony?

Katt Shea: Yes, the casting director brought 3 actors down to audition for Tony and he had me audition with a bush. So, it was one of those nightmare auditions that you hear about where he’d say, “No, no. Don’t say the words to me. Talk to the bush.” I guess that was the big test.

Robg.: I guess if you can act with a bush, it makes you a good actress!

Katt Shea: It was very flattering, he hired me right away. He said, “You have the part, but I have to read those 2 other girls.” And that had never happened before, so that was kind of exciting and wonderful.

Robg.: Cynthia, what was it like to work on PSYCHO IV with Mick, which was one of his early films?

Cynthia Garris: Well, I slept with the director, of course! (Audience laughs)

Mick Garris: They all do! (Laughs)

Cynthia Garris: Actually, it was really thrilling because this was my first speaking role without special FX make-up all over my head.

Robg.: She’s the creature "Zanti" in CRITTERS 2, Mick’s first movie, folks!
Cynthia Garris: That was my first role! He gives me all the best roles and kills me off in every movie. It was really exciting and intimidating because I was working in the little booth with John Landis, who can be very intimidating, even if you’re good friends with him! He’s still intimidating. And um, it was just very exciting to have Anthony Perkins around, although I didn’t work with him. He was around a lot, and it was incredible.

Robg.: Donovan, when you did PSYCHO III, you told me a story that Tony actually had remembered you from a commercial and asked you to come in to audition?

Donovan Scott: Yeah, my career was on a roll at that time and I was starring in several movies.

Robg.: POLICE ACADEMY, folks!
Donovan Scott: POLICE ACADEMY, SHEENA, there were a bunch of them at the time. My agent called me and said there’s a few lines in this movie, PSYCHO III. And I said, “Come on. If it’s just a couple of lines, I’m really not interested.” And he said, “Ok, I’ll call and tell them to tell Anthony Perkins that you don’t want to go in.” And I said, “Wait a minute. Who’s doing it?” They said Anthony Perkins is directing it and he wants to cast it and he wants to see you. So, I said, OK, I want to go see him, I want to meet him, it doesn’t matter what it is, let me go!

He had seen – 9 years before, he had seen me in a play at the Cannon Theater called ZENBOOGIE. It was a rock musical, and in all the commercials, it was just me as a Buddha laughing as the credits would go up. And he called me in and said, “Listen, I’m building the suspense, and I remember your laugh and I love that laugh and I want you to do that laugh before this death in the bathroom.” And I said, “Ok! I’d love to do it!” He talked to me for an hour and a half. And it was truly his passion for the film that made me want to do that, because I never would’ve done that. I didn’t think these films were going to be that good, but they were fantastic! But the passion that he had just talking to you about it was hypnotizing! You couldn’t say no! He would’ve been great in THE GODFATHER as well.

Robg.: And Lee, for you PSYCHO II was your first gig, and you’ve done many since, but you told me that you’ve worked with plenty of directors, but doing PSYCHO III, Tony Perkins was your favorite director?

Lee Garlington: Tony Perkins was my favorite director who ever lived. Just bar none. And I’ve worked with a lot of directors and for me, when I did PSYCHO II, I had a tiny part. I’m Myrna “the mean waitress”. That was my billing – “Myrna the mean waitress.” And Tony? I thought he was a little odd on PSYCHO II. He was sort of in his own little world. But PSYCHO III, when he was the director and they brought my character back, I’m telling you – very rarely do you find a director who equally works well with the crew and with the actors. You usually get an actors’ director or a crew director. And a lot of times for first time directors, there’s 4 categories.

They’re either really good. They’re overwhelmed and being pushed around by the first A.D. or the D.P. Or they’re dreadful and they’re trying to micromanage everything. I guess that’s only 3 categories. (Laughs) And Tony would literally, the guys would be laying track (for the camera) for 2 hours, and he’d walk in and say “Ya know, I don’t think we’re going to do that.” And they’d go, “Yes, sir!” Nobody growled, nobody complained. He would say things like – I had a scene and he goes, “You’re about to have a date with a guy you’ve had a crush on for 7 years. Go.” The scene had nothing to do with that, but that was what he wanted to be feeding me while I was doing the scene. And he would just know exactly how to talk to you. And I’ll just say one more little thing, my favorite thing is, Tony – I could never call him Tony. If I met Robert Deniro, I would not call him Bobby! It just doesn’t seem right. So, I always called him Anthony Perkins because that was his name. “Anthony Perkins, can I ask you a question?” (Audience Laughs)

He did not like people who pandered to him. He was not interested in sucking up. And I remember, the few days I would work, he’d go “Lee, Lee! Come sit here!” And we would argue about everything! Every movie he thought that he had done that he thought was great, I thought was terrible. We’d argue about music and politics and he was just so much fun. He just loved to communicate and he had such a sparkle and he was absolutely one of the most fun directors. I don’t think I’ve had as much fun with a director in all my life as I did with Anthony Perkins, and that’s who he is, Anthony Perkins. (Audience Laughs)

Robg.: Juliette, do you remember your audition for PSYCHO III?

Juliette Cummins: Oh my God, my audition. My audition was really cool! I walked in there naked and he said “You’re hired!” (Laughs) No, just kidding! I walked into the audition and I knew Tony was going to be there, but it didn’t really phase me. I was so new at acting and I had just walked in. I will say that the moment I walked in, it was kind of like VERTIGO. Tony was sitting on the chair and it was almost like the camera pulled back as I walked in. He just put out his hand and smiled and introduced himself. And he said, “Let’s work.” I didn’t know who he really was at the time that I auditioned.
And I didn’t really care, I just did the work, and I remember I flipped him off, gave him the bird in the middle of the scene and walked out the door. And I left, I didn’t come back into the room. My agent called me and said, “Where are you?” I said, “I’m in my car, I’m going back home.” You didn’t even go back in? There was no need to! The scene was over! I didn’t know I was supposed to go back in! (Laughs) And they said you got the job. He was funny. You guys don’t know that he was so funny. He was a little bit dark, but he was very passionate about what he did and he really loved life. He loved every second being on the set. And he loved actors and loved people. He loved what he did. Yeah, and I loved him. He was a really neat person.

Robg.: Tom, you were obviously a huge fan of the original, and a huge fan of horror. You had a history with director Richard Franklin before writing PSYCHO II, didn’t you?
Tom Holland: I had written THE BEAST WITHIN and uh, my God. Richard read a spec script of mine and we met and by some miracle I got the job. Because, finally after years of struggling, I got my first movie produced, THE BEAST WITHIN and it hadn’t been a success so I hadn’t been able to get a job in a year. It’s true. Richard loved my writing and I worked harder on that script than I ever worked on anything else. We knew we were going to get killed by the critics. So much of it was self defense! We tried to build on the original. I read all the original reviews to PSYCHO, which by the way were God awful.
That movie was attacked so viciously in 1960, I still have the reviews at home. I’m going to pull them out at some point. I dissected the original and looked at every loose end that I could and I wrote the sequel off of that. Richard asked me for visual set pieces. He wanted to echo shots that Hitchcock had done, not only in PSYCHO but also in other films. And we designed scenes, like the Meg Tilly looking through the peep hole. There was so many. There’s a silhouette cut out of Hitchcock in one of the points of view of the bedroom. We put that in, because Hitchcock always made appearances in his movies! Andrew, next to me could probably speak to this better than I can, because it’s now hard to remember. But I wrote that script and we designed the shots. So I was writing into his wanting to echo Hitchcock in the visual set pieces. And Richard was a student of Hitchcock’s and when he was a student at USC had lunch with Hitchcock?
Andrew London: Richard and I went to USC in 1967. And um, we did our first film together in Australia in 1974. He came to visit here in 1979 with his co-producer on a film that he was trying to get off the ground called ROAD GAMES, which eventually was made with Jamie Lee Curtis. My job was a sound editor on COAL MINER’S DAUGHTER and we were mixing it when he came to visit, and I introduced him to Bernard Schwartz, who was the executive producer on PSYCHO II. Bernie was the producer on COAL MINER’S DAUGHTER.

From that point on, Bernie went on to produce ROAD GAMES and called Richard when PSYCHO II was about to get off the ground. The odd thing was at the time I was working as a sound editor, Bernie Schwartz promised me that if I didn’t do the editing on PSYCHO II, that I would do the sound editing and when I finally got the picture as an editor, I ended up doing the sound as well.

Robg.: Chris, do you remember when you became a part of PSYCHO II?

Chris Hendrie: I knew the writer! (Laughs)

Robg.: That’s a good in!

Chris Hendrie: Actually, I had just come out from several seasons at the Dallas Theater Center, and met Richard ( Franklin) at Tom’s house. He had just come in and they were talking about the film, and Tom said there might be a part for me and he asked Richard if I could get a part, and he said sure. There was one of the Deputies.
I think Jackie Birch was the casting director, so I went and read for her.Richard said you look great, you have theater experience, we’ll cast you in the movie. So, I was all of a sudden right in the middle of a huge wonderful project, and I was thrilled to be a part of it. And also double-thrilled because Tom and I had been friends since high school. I’ve been in several of his movies and I’ve always feel very touched that he’d asked me to be in them, and I’ve also had a very fabulous time. So, thank you, Tom! Appreciate that. It was a thrilling experience to work with Tony Perkins. And Richard Franklin was a very subtle, beautiful director and I think he did a fabulous job.

Robg.: Kurt, you played “mother” in 2 and 3, then you played Raymond Linette in 4. You also played Norman Bates in THE BATES MOTEL TV pilot. What do you take away and remember about working on just about all the PSYCHO films?

Kurt Paul: I sound like I’m repeating myself, but we were surrounded by great people. What a learning experience. When I worked with Tony, I watched him work and most of the time, we’d be at the house running lines and such, when we did PSYCHO III, the one he directed, I worked with him because he worked with a very talented man named Bruce Surtees. I learned so much from watching him work. When I was lucky enough to do that BATES MOTEL TV series, it wasn’t brilliant, but it was fun with Bud Cort. And the SLEDGEHAMMER thing, it was like a walk in the park. It wasn’t even a stretch. I was blessed.
The greatest thing was when I was at the house after dinner, and I was running lines, this part, this Raymond Linette, I said I can do that. He said, “Well, I can’t help you, you have to audition for these young men.” George Zaloom and Les Mayfield. Great kids who produced PSYCHO IV. I wasn’t playing Tony, but just honest to God was just blessed to be watching a great actor who cared. He’d have me go up and find out the name of the coffee boy on the set. He’d walk up to him and say this is great coffee, it’s a pleasure to meet you, if there’s anything I can do for you, let me know.

Tony was the most givingest man in the world, that’s my experience. If I was out of line, he would let you know it, just like Hilton would. They were both great men to work with and I was just blessed. (Audience applauds)

Robg.: Mick, your friendship with John Landis helped you get the gig of directing PSYCHO IV, correct?

Mick Garris: It did. It was a very awkward situation, because Tony had directed PSYCHO III and it was not a theatrical success. And he wanted to direct PSYCHO IV and the studio didn’t want him to and in fact refused to allow him to do that. So, here I come, you know, fortunately I’d been a writer for Steven Spielberg for a while (on AMAZING STORIES). The only film I had directed at the time was the timeless classic CRITTERS 2. (Audience applauds) And I guess because it had a number in it, I was qualified! No, it was very difficult because I was very young, and Tony wanted to do it.
But fortunately, he and John Landis were friends and John and I had been friends forever, and so John talked me up really well. I was working at Universal at the time, and he had talked to Hilton as well. John and Hilton of course had worked together on many movies together at Universal. So, I had to kind of tap dance. I had to earn Tony’s respect, which is very difficult to earn when you’re much younger and you’re new at the job and trying to prove yourself to an icon. Trying to prove why you should be there running the show to someone who had been the star of 3 previous incarnations of that.
So, there were some conversations that we had that were very complicated. I would say something like “I don’t really want to go much into camp.” And all of a sudden it turned into a 45 minute sort of defensive conversation about “What do you mean by camp?” and bristling at the term. He was… the most complicated actor I’ve ever worked with. I learned a lot from him, and there was a lot of great stuff, and a lot of stuff that was really difficult for me, but helped me grow in a tremendous way because of the challenge.

Audience Member: This is a question for Hilton and Tom. While you conceived PSYCHO II, were there many scripts written, and did you by chance contact Tony Perkins first to see if he’d be interested in the project?

Hilton Green: As far as scripts being written, no. There weren’t many. But you couldn’t make a PSYCHO without Tony Perkins, so that came first. We had to get Tony to agree to it. And before I would do PSYCHO II, I went to Mr. Hitchcock’s daughter Pat. I wanted to get the OK from the family because I was very close to Mr. H. and I would never do anything that I thought would offend him. So, I went to her and told her what the studio had in mind and would she mind, and what does she think her dad would say? And she was just wonderful and gave the green light to all of them, and that’s how I got involved.

Audience Member: A follow-up to that last question, was there ever any talk of doing an adaptation of the Robert Bloch PSYCHO II book?

Tom Holland: Yeah, there wasn’t a script, there was the book. The Robert Bloch book did not serve Norman well. And I say that tentatively because Robert Bloch is also God. I mean, if Hitchcock is God in the movies, Robert Bloch was to so many horror writers. I sat on a panel with him, so I don’t want to inadvertently insult him, but it was not – the book that he wrote, the sequel was not suitable for the movie because it didn’t have a part for Norman that you would’ve liked to have seen.
Or that Tony would’ve liked to have played. Also, the original PSYCHO II, and Hilton can probably speak to this, that was a cable movie when we started out for Oak Communication, which was a cable company down in San Diego and they were providing the financing. My memory, and Hilton can correct me, but my memory is we didn’t have a feature film to begin with, we were going to be a cable movie.

Hilton Green: That’s true. And that’s where they started when Universal wanted to do it and I got involved. Bernie Schwartz came in on it from the Oak people, and that’s how we all got started.

Tom Holland: The script, I didn’t realize- did you have Tony before the script was written?

Hilton Green: We had to have. Yes.

Tom Holland: Ok. My memory was that what happened, they announced that they were doing PSYCHO again with Tony and all of a sudden the world wide interest from the press was so overwhelming that somebody a Universal said “Hey, maybe this is more then a cable movie” and they decided to do it as a feature film.

Hilton Green: You can never do PSYCHO movie without Tony Perkins…

Robg.: … As the remake has proved.

(Audience Laughs & Applauds)

Audience Member: It must be hard after the home run that is PSYCHO – was there anxiety coming up with that movie? PSYCHO II?
Tom Holland: Yes, yes and yes. (Laughs) That’s why I worked so hard on the script. We knew we were going to get savaged just stepping out. Tony knew that too. PSYCHO II, we were very serious and everybody was trying to make a good movie. They did it for nothing over on the studio backlot. Maybe Hilton will remember, but the cost for the studio was something like 3.8 or 4.2 (million).

Andrew London: Actually I think the original budget was 3 and a half and when Jerry Goldsmith came on, it went up another quarter of a million. (Laughs) It was such a low budget movie for the studio. We shot it in 31 days. There was only one shot in the movie that was off the Universal lot and that was an establishing shot of the Court House at the beginning of the film. I think that partly for that reason and partly because you (Hilton) were there, they left us completely alone.
Hilton Green: It’s interesting you’re mentioning numbers. I budgeted and scheduled the original PSYCHO for Mr. Hitchcock and before we went into production, it was a number that the studio thought was a little low and um, with Mr. Hitchcock’s name on it, but the original budget for PSYCHO and it came in at that price was $780,000 dollars. We shot it in 33 days.
Tom Holland: I’ll give you another fact and I may be wrong about this, but worldwide PSYCHO II made $90 million dollars. And through Universal’s accounting, if Tony Perkins hadn’t sued Universal, I never would’ve gotten my $35,000 deferment, because they had it in the red. They made it for $4 million, they made $90 million worldwide, and by their book keeping, it was in the red, it still lost money!

Hilton Green: Well… I’ll top that one… (Audience Laughs) I had a piece of it but I still don’t have a nickel back for that feature!

Robg.: Well, it appears we’re out of time here.

Audience: No! One more question!

Robg.: Ok, one more question?

Audience Member: For Robg. Can you talk about making this documentary, tracking down all these great folks. What is going on and what is the status of this project? And do you go beyond the franchise?
Robg.: To summarize briefly. I started this documentary project completely independently with one of my best friends John (Torrani), who was crazy enough to go on this journey with me. (Audience Applauds) It’s not a lavish crew, it’s just me and him going to each and every one of these people’s houses, and they’ve all been really, really great about it. Um, right now, I’m hoping to finish it by the summer (of 2008).
I just contacted Diana Scarwid from PSYCHO III, so she should be in it, and hopefully Henry Thomas from PART IV. So, I’m still trying to get the last few people and I don’t want to jinx it, but yes, there is interest to complete the documentary and I can say you’ll all be very satisfied because it will bring a lot of interest to all 4 movies again.

Audience Member: Well thank you!

Robg.: Thank you. And thank you every one for being a part of this panel.

Photographs courtesy of Peter Mihaichuk, J. Michael Roddy, Steve Barton
Special Thanks: Ryan Rotten, "Spooky" Dan Walker, Tony Timpone, Jay Allentoff

All Content Copyright 2008 Icons Of Fright.com.
No articles may be reproduced in any manner without expressed permission of Icons Of Fright.com.

Back to Interview Index