BRAD DOURIF: 2002 INTERVIEW

This is my 2002 interview with Oscar-nominated actor Brad Dourif from DragonCon in Atlanta, GA.

Like the rest of the movie going public in 1975, I took notice of the film debut performance of actor Brad Dourif as Billy Bibbit in "One Flew Over the Cuckoo's Nest." Dourif's tortured performance as the young man almost saved by Jack Nicholson earned him Oscar, BAFTA and Golden Globe nominations. He won the BAFTA as Best Supporting Actor. In the almost 30 following years, Mr. Dourif has appeared in over 100 films and TV shows. Whether playing the lead or a supporting role, Mr. Dourif can always be counted on to bring an intensity and professional edge to his work. I had the pleasure of spending a few moments with Mr. Dourif at DragonCon 2003 in Atlanta.

Rusty White: From an actor's standpoint, how important is the director in crafting your character?

Brad Dourif: It depends on the medium. If it's stage, the two most important artists are the actor and the playwright. If it's film, THE most important person is the director. The director says where the camera goes.

RW: There are directors who are rigid in what they want from an actor while others allow for more give and take. Which do you find more satisfying to work for?

BD: If somebody is really pretty rigid about what they want, that makes my job harder. But on the other hand, it's king of a challenge. I've got to really get that far out of my own concepts to be able to really let what he wants in and try to execute it. Yeah, it's not an easy thing to do, so the challenge is fun. And if he's right, then it's great. If he's wrong, then it's just hard work for nothing. I'm fine with just about any approach as long as the person is not particularly nasty.

RW: One of my favorites is "Wise Blood." Any memories of working with John Huston you could share?

BD: He was great. Huston would go in, in the morning and you would rehearse in front of him. He would say, "You go over here, over here." You'd do it. By lunch we'd finish the scene. Have a one-hour lunch. You go out in the afternoon, same thing. Finish the scene sometimes 3:30 in the afternoon. That was the day. The guy knew what he wanted and knew how to shoot. He knew how it was going to cut. He had it all pretty well figured out. And he was improvising really off the top of his head. So, I would say that of all the people I've worked with, the person who understood what he was going to do, and took the most risks was Huston.

RW:"One Flew Over the Cuckoo's Nest" really brought you to the public's attention.

BD: It brought me from a level of total obscurity to a place of public recognition!

RW:Did that result in a loss of some of the personal freedom that anonymity allows?

BD: You know what, I've been fortunate enough not to be famous enough where that has been a consideration or problem for me at all. I can go where I want to go, do what I want to do. People are respectful and leave me alone. I don'' get swamped. I got the best of both worlds.

RW:Has that changed at all with "Lord of the Rings"?

BD: No. Not at all. Right now, I'm shooting a series, so who's going to recognize me on the street? I've got a moustache. When the series comes out and it's a hit, then I might have a problem. So far, so good.

RW:Is this for network or cable?

BD: It's for cable. It's HBO.

RW:Has it aired yet?

BD: No. It's in production now. It's called "Deadwood."

RW:Sounds like a Western.

BD: It's a Western. It's about the town of Deadwood. Will Bill Hickcock.

RW:What's your role?

BD: I play a doctor.

RW:Who is your co-star?

Brad points to David Carradine sitting a few feet away.

BD: His brother is in it. Keith. He plays Will Bill Hickcock and he's brilliant. I mean, he really nails it.

RW:"Child's Play." Do you loop the voice before or after the film is shot?

BD: I do it first. It's just like a cartoon. You do it first and then after that they match the shot footage to my voice.

RW:When you loop the voice, are you with the other actors or by yourself in the studio.

BD: Well, yeah. When I was doing the first one. There's no one else beside myself and anyone else whose voice has to be recorded. The lines are just fed to me raw. For the last one, Jennifer (Tilly) and I did all the stuff together.

RW:Are you classically trained, or are you a method actor?

BD: I'm formally trained, I don't know what classically trained really means. I've worked with Sanford Misner. And I've worked at Circle Rep with Marshall Mason and Lanford Wilson and some really good people. I was lucky. I had a lot of really good influences.

RW:Do you prefer the stage to film?

BD: No, no. I prefer film to the stage. I always like the rehearsal better than I like performing.

RW:Hitchcock said that once the cameras started rolling, he was sick of the movie, because he had already made it in his head. Sounds like you enjoy the challenge of discovering the character most of all.

BD: Exactly.

RW:Have you done these conventions before?

BD: Oh sure. Actually, I've done DragonCon before. A few years back.

RW:Do you enjoy it?

BD: I wish I was younger. I'd play a lot more. It looks like a ball! You could get into some really fun trouble here.

RW:I brought my teenagers this year.

BD: How old?

RW:My daughter is 17.

BD: Ouch.

RW:And my son's 14. I let them go out. I tried to go to bed, but I end up staying awake waiting for them to come in.

BD: Thinking about all the fun they could be having! Not too much you hope.

RW:Right! Thanks for your time.

BD: You're welcome.

ANN GILLIS: 2001 INTERVIEW

This is my 2001 interview with actress Ann Gillis from the Memphis Film Festival.

I envy Ann Gillis' grandchildren. Ms. Gillis is feisty, witty, very classy and sharp as a tack. I found her to be as warm and vibrant a human being as I've ever met. I told her on the last day of the Memphis Film Festival that I hoped I was able to do her justice in this interview. I subscribe to the Oriental viewpoint on dealing with our elders. They are wise and worthy of our attention. I hope that Ms. Gillis' grandkids recognize what a gem they have and sit at the feet of the master.

Ms. Gillis went from child star to teen star before her retirement from film in 1947. She came out of retirement in 1967 for a cameo in a little film called "2001: A Space Odyssey." Probably best know as Becky Thatcher in the 1938 movie of "The Adventures of Tom Sawyer" Ms. Gillis also provided the voice of Bambi's wife and mother is the Disney classic. Ms. Gillis flew in from Belgium to attend the Memphis Film Festival. I enjoyed the short time that I was able to spend with her. What follows are some of the highlights.

Rusty White: Growing up, "The Adventures of Tom Sawyer" was one of my favorite films. I still get a chill watching you and Tommy Kelly run from Injun Joe through the caverns. Would you share your memories from that film?

Ann Gillis: By the time it was over, I couldn't stand that movie. Of course I had to watch it hundreds of times during the promotion tour. The director (Norman Taurog) was there to make Tommy Kelly a star. The rest of the kids got no direction from the man. It was horrible. I had to do a scene in which I had hysterics. I'm 10 or 11 years old. I have no idea what hysterics are. The director won't give me any advice. He says come back after lunch ready to do the scene. My mother took me into the trailer to help me. She said 'I'll show you what hysterics are. Scared me to death. The only direction I got on that movie was from my mother.

RW: What happened on the promotion tour?

AG: We went all over the country showing the movie and making personal appearances. In New York City we had five shows a day for two weeks. I remember sneaking out and standing in the lobby. Some boy was hiding from his mother. She came after him and the boy said 'Mom, I don't want to go back inside. I hate this movie!' I turned to the boy and said 'Me Too!

RW: The Internet Movie Data Base lists "Bambi" as one of your credits. You did the voice of Falena?

AG: Yes. I was the wife and I also did the mothers voice. I sat in this big empty sound stage by myself calling out "Bambi, Bambi, Bambi" (Ms. Gillis changes her voice to suggest alarm, love and playfulness each different time she says Bambi.)

RW: You said you were alone on the sound stage. Did you do the voices before or after the animation was completed?

AG: I did it before the movie was made. They gave me a script, set me on a stool and had me do the lines. It was cold and difficult. The director was in the sound booth. He directed me over the loudspeaker.

RW: I know that Disney had already done "Snow White" by then. Did you feel like you were part of a groundbreaking film?

AG: Not really. Cartoons were common place. I just remember it being an unpleasant job.

RW: You played quite a few young girls with attitudes. Did you enjoy being able to act up on film?

AG: Yes. My mother was a bit of a snob. I really didn't get to act that way in real life, so it was a lot of fun.

RW: You also appeared in one of the great war time tear jerkers, "Since You Went Away" with all kinds of great stars. What was it like to work with the teenaged Shirley Temple?

AG: That was David O. Selznick's movie. One of the films he did for his wife, Jennifer Jones. I didn't act with Shirley. I remember watching her on the set one day. She got in place for the camera and her mother started yelling at her. "That's not your good side" and such stuff. I felt bad for her. Her mother pushed her hard, and in an unpleasant way. It made me appreciate my own mother even more.

RW: One last question, you came out of retirement after 20 years and did a bit part in "2001: A Space Odyssey." How did that come about and what was it like to work for Kubrick?"

AG: There was a casting call for American actress in London. I was living there with my husband at the time, so I said why not.

RW: You played one of the astronauts parents during the interstellar phone call scene, correct?

AG: Yes. Well, Kubrick was a real jerk. It shows you what can happen when a director is given a blank check. He hired two sets of "parents." I was the back up actress. The part wasn't scripted, so he told the two actors to go write their part over lunch and come back. They did. The actress playing the part read the lines she wrote. Kubrick fired her and said "I like the 'other one' better.

RW: The 'other one' being you?

AG: The 'other one' being me. That's how I was referred to. Well, we took the lines and started rehearsing and then filming. It was difficult because we were sitting side by side and saying lines to which no one was responding. Also, my conversation and the other actor's conversation were not related. We were saying all these disjointed lines and Kubrick keeps changing them. Then the other actor joins in by saying he had an idea for some dialogue. Kubrick lets him run with it. I was thinking, "Keep your ideas to yourself." We did 21 takes. Kubrick prints them all. In the old days a director never printed every take. Kubrick prints all 21 takes for this one little scene which lasts just a few seconds. He was set to keep going and I said, "You've got enough, I quit." I left. 21 takes, ridiculous.

Unfortunately, I was not able to spend more time talking with Ms. Gillis. While her words may seem bitter, the printed page does not capture the humor and lightheartedness with which she communicated. Ms. Gillis enjoyed her life in Hollywood and then moved onto the real world, living and traveling abroad with her husband. I enjoyed speaking with her and only wished there had been more time. She is just as saucy on screen as off. I'll never watch "Tom Sawyer" with the same eyes.

EDITOR'S NOTE

For any readers who speak Italian, you might want to check out Simone Odino's blog dedictated to "2001." You can access it at "www.2001italia.blogspot.com".

DAVID PROWSE: 2002 INTERVIEW

This is my 2002 interview with actor David Prowse at DragonCon in Atlanta, GA.

Proof of the magical spell that George Lucas’s original "Star Wars" trilogy still holds on the world is evident at Dragon*Con 2002. Fans stood in line for hours to meet actors whose faces were never shown on the screen. Kenny Baker sat in a high-tech soda-pop can as R2-D2. Peter Mayhew was wrapped head-to-toe in fur as the ultimate "I’ve got your back" buddy, Chewbacca. Three men were used to bring the villainous Darth Vader to life. I’ve always thought that George Lucas used one actor too many. While James Earl Jones’s electronically altered voice was heard, British athlete turned actor David Prowse did the physical stuff.

I had a chance to sit and talk with Mr. Prowse on Day One of Dragon*Con 2002. Mr. Prowse still cuts an imposing figure, even sitting down or walking with the aid of a cane due to an injury. I first noticed Mr. Prowse in Stanley Kubrick’s dark masterpiece, "A Clockwork Orange."

Rusty White: I know most people are here because of "Star Wars," but I’d like to talk about Stanley Kubrick.

David Prowse: He was a wonderful gentleman. I got along fine with him. They were casting "A Clockwork Orange" and I got a call. Stanley liked me right away. I think he was a frustrated sportsman. He seemed to like and respect me right away because of my sports background. There were many days on the set where he would tell me to pull up a chair with him behind the camera and just talk. He never invited any of the other actors to do that.

RW: You were a relatively new actor at that time. Did Mr. Kubrick offer much direction?

DP: Not really. My role was relatively simple.

(NOTE: Mr. Prowse played ‘Julian,’ the bodyguard of Patrick Magee’s character who had been savagely attacked by Alex (Malcolm McDowell) and his Droogs.)

RW: Actress Ann Gillis said that Kubrick went overboard on the number of takes on "2001: A Space Odyssey."

DP: He did a lot of takes. No Doubt.

RW: How many times did Malcolm McDowell have to pass out in that plate of spaghetti?

DP: Only a few times. The scene following that, where I carry him (Malcolm McDowell) up and down the stairs was the hardest because Stanley kept doing take after take. After about seven or eight takes, Malcolm got heavy. I told Stanley I wasn’t going to do it anymore, "You have enough." He said OK. After that, while he had other actors do take after take, I only did a couple. I wouldn’t do more and Stanley was fine with it. Like I said, he liked me.

RW: How did the role of Darth Vader come about?

DP: My agent set up a meeting with George Lucas. They were casting in England. His attitude was, "If you’re good enough for Stanley Kubrick, you’re good enough for me."

RW: I was upset with the fact that a third actor was used in the ‘death scene’ in "Return of the Jedi."

DP: That was one of the most painful experiences of my life. The way it was done and the way that George Lucas treated me. "Star Wars" has been very good to me, but I suspect they did what they did because of money. Who knew…I don’t think anyone knew it would be 20 years before the next sequel came out. I think they were afraid they would have to pay me more money if they showed my face.

RW: You said that you had a problem with the way the scene was done. Would you explain?

DP: That scene was filmed under tight security in another part of the studio. They had me filming one scene elsewhere, to keep me busy. Meanwhile, the death scene is being shot somewhere else.

RW: So, when Luke (Mark Hamill) is helping carry Darth Vader to his ship, before the mask is removed…

DP: That wasn’t me. I wasn’t in any of that part.

RW: I guess it is some consolation that most fans associate you with the role, while few even remember the third actor'’ name. What was his name?

DP: Sebastian Shaw. He was an elderly man. He died a few years later.

RW: What did George Lucas say when you confronted him about this?

DP: Oh, some mumbo-jumbo about "this isn’t the death of Darth Vader, it’s the ‘revealing’ of Anakin." It was all about the money.

A fan dressed up in full ‘Darth-Vader’ regalia, complete with a sound effects machine asks to have his photo taken with the ‘real’ Darth Vader. I thank Mr. Prowse for his time. He asked me to remind his fans about his new website "Darth Vader: The Official Website of David Prowse." I promise, and take my leave. It’s time for me to search out and interview everyone’s favorite Wookie.

LINDA BLAIR: 2002 INTERVIEW

This was my 2002 interview (along with audience questions) during Linda Blair's 2002 appearance at DragonCon in Atlanta.

In 10^th grade I skipped school to go to the first showing of “The Exorcist” at the Paramount theater in Memphis. The film amazed me as did the performance of a young model named Linda Blair. I watched as the film’s young star became an instant celebrity. I also watched as the 14 year old was mercilessly destroyed by the media. Her troubles were exploited by uncaring vultures looking for publicity. Ms. Blair’s public struggles became a thing of the tabloid press. Because of her public assassination, it was a pleasure to discover that the petite, beautiful woman is a fighter, a scrapper and a survivor. Ms. Blair appeared at a Q&A session with fans on Day Two of the Dragon*Con 2002 convention. Ms. Blair’s strength, humor and convictions were both entertaining and inspirational. She looks better than ever.

Ms. Blair talked about her films, friends and causes. She frankly discussed many of her battles with the Hollywood establishment, her heath and the press. Ms. Blair also hinted about a film project she is set to direct and star in. If her appearance at this event was any indication of her tenacity and determination, then Linda Blair might soon be rediscovered by the very industry that created and discarded her with such callous disregard. Those interested in reading about and helping in Ms. Blair’s charitable work should check her website at www.lindablair.com.

Below are excerpts from the Q&A session between Ms. Blair and the fans at Dragon*Con 2002. Questions submitted by me are marked RW. All other questions were submitted by fans.

LINDA BLAIR: Hi, lets do a question and answer session about what ever you want to talk about, psychology 101. (Laughs from the audience, but no one approaches the microphones.) OK, well we’re done. Thanks for coming.

Fan #1: I have a question about “Repossessed.” What was it like to do a direct parody of your own work, and what was it like to work with Leslie Nielson?

LINDA BLAIR: The director’s name was Bob Logan. A very dear friend of mine named Murray Langston, who was “The Unknown Comic” brought me a film called “Up Your Alley” that he had just finished, and Bob had directed it. He said, “Why have you never spoofed “The Exorcist?” I wasn’t in a place I could laugh about it. Everyone was either scarred of it or they could see what was funny about it, but I didn’t know how to laugh about it. So, I got a call and they asked me what it would take to get me to do it. So, I said Tom Hanks, he had not won the academy award yet, or Leslie Nielson, who was actually more famous at the time, and they got Leslie Nielson. So, I then had to create this character, and I was not sure how to go about it. But, an actor has to find was of creating different things. So I found “The Gremlin” and it became a lot of fun. It was the best thing I could of done, not only for myself, but, I think for many people so they could find the humor. Because “The Exorcist” is kind of serious. Thank you for bringing it up, because “Repossessed” is very dear to my heart.

Fan #2: My favorite film in the whole world is “Roller Boogie.”
Did you actually do all your own skate moves?

LINDA BLAIR: Everything that you can tell is me, is me. I could not, obviously do the ‘flying camels’ or some of the moves like a figure skater. I skated when I was very young, and I trained for nearly six weeks. It was hard. I really never skated back then. So, they had professionals for the more difficult stuff in the movie.

Fan #2: Did you get to keep the clothes?

LINDA BLAIR: (laughs) From “Roller Boogie”?

Fan #2: You don’t understand, I’ve loved that movie since I was seven years old!

LINDA BLAIR: I know there are a lot of fans of “Roller Boogie.” It makes me feel good. I’m sure I had a leotard or two for a while, but don’t think I have anything from “Roller Boogie” any more. I do have some pieces of memorabilia which I am starting to auction of on E-Bay for charity. You can go to ‘lindablair.com’ and click on “Linda’s E-Bay” and you will see the items I had up for charity. I do have the roller skates that I used in “S Club 7.”

Fan #3: You first worked with Murray Langston on “Night Patrol.” What was he like?

LINDA BLAIR: I saw Murray Langston on the “Gong Show” as did many people. I saw him do the bit with a cork-screw. The kind with the round head, and the arms. He would say, “This is my imitation of Linda Blair” and turn the head around and around. I met Murray and he had a night club. Kitty Bruce, Lenny Bruce’s daughter was a good friend of mine. I went with her, I was 15, and that’s how I met Murray. He has become one of the closest friends in my life. He was one of the kindest, nicest, funniest…he can always make someone laugh. He likes to entertain people and make them feel comfortable. I have great admiration for him.

Fan #3: I remember the film you did with Murray called “Night Patrol.” I thought it was funny. I liked Billy Barty in that movie.

LINDA BLAIR: Oh, Billy Barty was wonderful. “Night Patrol” was originally called “The Unknown Comic Movie” and it was on a lower budget. There were a lot of problems while we were filming. The director and Murray had differences of opinion. One person thinks something is funny and another person doesn’t, so there were a lot of problems. Referring to Billy Barty, they added farting noises that were not in the script. Billy was really upset about that. Then, they made Murray a police office who was speaking French. We don’t know why. They didn’t use his voice for “the Unknown Comic,” it was another person, and no one can do the unknown comic except Murray. So there were a lot of problems and Murray basically walked away from the picture and it is a shame. It became “Night Patrol” and it still has a large fan base.

Rusty White: Hi.

LINDA BLAIR: Hi!

RW: I was curious about “Born Innocent.” I believe you were 15 when you made that.

LINDA BLAIR: Yes.

RW: How difficult was that from a psychological standpoint was it to do that movie.

LINDA BLAIR: Hard. It was really hard. After “The Exorcist” came out…I mean, I was from Connecticut. I had worked in New York since I was 7 doing commercials. That didn’t prepare anybody for being launched into so called world fame. Nothing could. Being talked about in the newspapers, whether it was true or not. It was a very difficult arena. The next movie was “Airport 75,” which had some very big stars in it. My mother and I were just really amazed. We would sit there in our little trailer and say “Oh, there goes Charlton Heston…George Kennedy…Karen Black.” You know, it was really neat. Ruth Curtis, the producer of “Born Innocent” had this screenplay. At the time, teenagers were really used in Disney type movies or Patty Duke of course had done “The Miracle Worker.” There weren’t that many good roles for teenagers, and certainly not ones that told the truth about child abuse or alcoholism. So that was the first movie like that. A lot of people weren’t sure if I was up to the task or not, because there was so much publicity about “Did I make The Exorcist?” “Did I not?” “Was I the devil?” “Was I in the make-up or not?” You can tell it is me.

RW: Yes.

LINDA BLAIR: So he (director Donald Wrye) believed in me, so that is how the movie came about. It was very difficult because I was the so-called star of the film, so everything was on my shoulders. I had a great responsibility every day of my life. Then the challenge of getting through the rape scene was really hard. Five hours on a bathroom floor when you are 15 years old, soaking wet, and going through…well, obviously it was all make believe…

RW: Right.

LINDA BLAIR: …but psychologically it was hard. It really bothered me. It took me a long time to get over that. I really didn’t know how to get rid of stuff. I was always doing roles like ‘the person in jeopardy,’ ‘the person who gets abused’ in someway. I didn’t understand how to get rid of that so I felt abused. But, I worked through it over the years. As people know I have a great sense of humor. I think I’ve come a long way….And if you’d like to read my book on Psychology!!! (audience laughs) So “Born Innocent” was difficult for me, but it is very special because it made a difference to a lot of young people at the time.

RW: It was a powerful movie.

LINDA BLAIR: Thank you.

RW: Would you indulge one “Exorcist” question?

LINDA BLAIR: Sure.

RW: Did you ever meet the Mt. Rainer boy on whom the book was based?

LINDA BLAIR: No.

RW: One last question. You mentioned “Airport 75.” Christopher Lee is one of my favorite actors. Do you have any memories of working with him.

LINDA BLAIR: No.

RW: No?

LINDA BLAIR: No. That’s a lot of no’s!

(A deaf man approached the microphone. Dragon*Con’s “signer” translated this question and answer as she did for the entire program.)

Fan #4: Do you still collect horses?

LINDA BLAIR:>LB: I don’t collect horses. I used to train and show horses. I would but and sell. It is a very difficult business. My heart does not allow me to buy or sell animals anymore. I rescue dogs. I am the president of the “Pacific Coast Dog Rescue.” I help animals all around the world. In every city I go to, I like to meet people in that city who work in their community to work with animals and/or children or people that are in need of help, because I believe community service is a good thing.

Fan #5: Would you recommend that a child appear in “The Exorcist” today?

LINDA BLAIR: Do I believe that a child should be put in the position to make a film like “The Exorcist”? My answer would be no. I was not raised…I was not trained to be an actress. Modeling and commercials is quite a bit different. So I was falling into an arena.

Fan #5: So you believe a child would have difficulty telling the difference between fantasy and reality?

LINDA BLAIR: I feel that if a child went through some training they would know…I certainly knew it wasn’t real, but when a job is as demanding as a “Born Innocent” or a “Sarah T.” you have delve into…for me, the only training I had was with Billy Friedkin who said ‘You have to go find something very painful, so that you are feeling that to help you emote.” I did that and that is why the work is very believable. So, I feel that “The Exorcist”…I was raised a Protestant, so I was unaware of all the tapestries of the Catholic Church. Therefore, I didn’t know what the Devil was. That was a safety net for me, but that was still a very difficult film to make. It was long. Everything was difficult to do. I didn’t understand what it was all about. But I think a lot of kids would say “OK! I’m going to play the Devil!” Nobody forced that on me. Billy Friedkin didn’t force that on me. He never said “OK, you’re the Devil.” He just sort of made me go through different motions so he could get the look, to make the character react a certain way. I’ve had kids come up to me and act like the Devil. This is not good. It’s not. That’s why I wouldn’t encourage another child to do that. “Born Innocent” was a really heavy film. Kids are much more aware nowadays. That is nothing now. The issues they have to deal with today are much more serious. Today a child can go and talk to someone and the family will be looked at. That didn’t happen back then. It was the child’s word against the parent and the parent usually won. That’s really heavy. I told you, Psychology 101!

Fan #6: What does “Linda Blair” rent from Blockbusters? What does “Linda Blair” have in her CD player?

LINDA BLAIR: You’re going to get really board. I live with rescued animals. I literally live with animals that are very difficult. I believe there is a deeper communication. I take animals from difficult backgrounds. So I have a lot of quiet. I don’t have a lot of music. When I do, it really is, it varies. I don’t listen to anything that is heavy or dark. Not a lot of “jamming” type music because that would make me go out of my mind. It’s more peaceful and, as boring as it may seem, Top 40. I love “Enigma.” Like my personality, I have different likes. If I’m doing a particular film I might use music to motivate me. I love Country Western sometimes. A lot of things. Opera still isn’t on my list. As far as movies. I like “issue” films. I don’t know why I like “submarine” films. If there is a submarine film I’ll watch that. My dad was a Navy pilot, so I think that gave me an interest in military films. I watch many different types of films. I’m not a horror buff, which many people might think I am. I’m very earthy. I own person interest is ‘healing.‘ To make the world a better place. How do you communicate that? What’s missing in the entertainment field, because I feel there is so much violence out there that it does effect the young people. I’m getting ready to direct my first film, which I will also act in. It’ll be fun. A lot of work. But I’m up for it. It’s where I am in my life right now. I wrote a book called “Going Vegan” about my life and what happened as to why I became a vegetarian and then a Vegan. That took about six months to do. So that’s pretty much it. When I do come out, I try to have fun.

RW: You mentioned earlier, problems with Hollywood, and violence. Could you expand on that?

LINDA BLAIR: That’s just my point of view. They are a little out of touch in some ways. We have some great films and then there are too many people making violent projects on television and in films. We have other subject matters that are of interest to many people and they are not being fulfilled. Right now if you have monsters, thrillers and something else, you get your movie made.

RW: Back in the 70s you had “The Waltons.” Do you think a show like that might succeed today because it would be such an oddity?

LINDA BLAIR: Look at “Seventh Heaven.” I don’t watch it because my dogs keep the TV on “The Animal Planet.” “Seventh Heaven” is a big show, but a lot of the executives don’t trust it, and they are the ones who run the show. It’s bizarre to me.

Fan #6: What is next for you?

LINDA BLAIR: I am getting ready to direct a film that I will star in. The project is very close to my heart. I have had four film projects that I was developing over the last 15 years. One was made without me, which really pissed me off. There was a television series that was optioned by Fred Silverman. I think everyone would have been really happy with it. When you present a series in Hollywood, you aren’t allowed, I wasn’t allowed to give a written treatment. I could give an oral presentation, but if you write it down, you can’t get a “show runner.” It’s all about money. To make a long story short. We went to William Morris to get a show runner. They told us what was wrong with the project. I was curious what they meant. Next thing you know they have their version of the project with one of their writers over at Disney. I asked Fred if we were going to sue and he said it happens all the time. People don’t know that I’m a viable commodity. So that’s why I’m doing this film and I’m not telling anybody anything about the movie. I’m doing it on a smaller basis, but that will be more fun. And then I feel I’ll be an entity for Hollywood to deal with.

DAVID NAUGHTON: 2002 INTERVIEW

This is my 2002 interview with actor David Naughton at DragonCon in Atlanta GA.

David Naughton told me that people are always telling him where they were or what was going on in their life when they first saw "An American Werewolf in London." As he said that, I realized that I too, knew where I was when I saw the movie. I kept the story to myself because it wasn’t funny or interesting. I must admit that talking to David Naughton ranked #2, next to getting to put my arm around Traci Lords's soft, firm little body at Dragon*Con 2002. "An American Werewolf in London" ranks near the top of my ‘favorite movie’ list. On day three of Dragon*Con 2002, Mr. Naughton found time to sit and talk.

Rusty White: "American Werewolf in Paris."

David Naughton: Say no more. A big mistake. Terrible movie.

RW: So you’re glad you weren’t in it?

Mr. Naughton makes a face that lets me know I have asked yet another stupid question at Dragon*Con 2002.

RW: It looked cold out on the moors.

DN: It was very cold. We filmed on the West Coast of Wales. It was closer to Twickingham studios than Scotland. About 20 miles outside of London. The scenes on the Moors were the first things we filmed. We actually shot the first part of the film, first.

RW: As a serious student of cinema, I must ask: was that real sheep shit or special effects?

DN: (laughs) Everything about those sheep was real. Very smelly. They found a local rancher for that scene. In fact most of the people in the pub were locals. They were very natural, so John (Landis) used them instead of actors.

RW: You and Griffin Dunne played well together. It was real ‘buddy chemistry."

DN: We just connected right away. We hit it off.

We are distracted by a sexy-young woman in a leather Catwoman suit doing battle with a Kato wannabe. Dragon*Con is all about relaxed inhibitions. You never know what is going to happen next. I think to myself "Who knew nerds knew how to party like this?" followed by "And that they attracted so many babes!?!"

DN: Did you go to the ‘Dawn’ costume contest last night?

RW: No (damn it!)

DN: It was just crazy. The contestants were flashing the crowd. The crowd was flashing them back. Just crazy!

The Catwoman and Kato move their show down the aisle and we get back to business.

RW: Tell me about your training.

DN: I attended The London Academy of Dramatic Arts. I loved it. We lived and breathed acting. As students we could see any play in London for $5.00. It was a wonderful experience and education. I worked at the Royal

Theater as an usher. That was a big part of my education, seeing such great actors night after night. In fact, I saw Jenny Agutter in "Equus" several times. On the set of "Werewolf" I realized that this was the same woman I had lusted after when I was in school.

RW: That must have been nice!

Mr. Naughton smiles.

DN: I was in a three-year program. I left after two years to work, but I can’t say enough about how wonderful an experience it was as a young actor. I mean, we had guest speakers come in to talk about acting. I’m talking about Laurence Olivier, John Gielgud, Ralph Richardson. This isn’t a lecture hall either. I’m sitting in an intimate classroom, as close as I am to you and they are casually talking about their craft. It was amazing.

RW: I asked Robert Picardo if his "Billy the Mangler" from "The Howling" could take you. I don’t think he got it.

DN: (Laughs) I’d kick his ass! John’s film was the first of the werewolf films at that time. Once he got started, all the other studios green-lighted their own werewolf movies. You had "The Howling," "Wolfen" and some others that weren’t as good as those two. But we were the first and the best.

RW: It’s a great date film. It’s very funny and very scary.

DN: Yes. John walked a fine line between humor and horror. He pulled it off. He makes you laugh and then laugh harder, and then some one gets ripped apart.

RW: How long did the transformation scene take to shoot?

DN: It was a six-day shoot with six hours a day for make-up and body prosthetics. Rick Baker was amazing. He won his first Oscar for "Werewolf."

RW: I remember reading "Famous Monsters of Filmland" as a kid. Rick Baker was always sending in his makeup creations when he was still a teenager. Then he and John Landis got together at age 18 and…

DN: "Schlock!" Did you see it?

RW: Yes.

DN: I remember those days. Rick is a genius. Funny story. Rick couldn’t get a work permit in England to do the movie. John got him in the country as a tourist. Rick and his crew had to smuggle in all of their equipment. They had trunks full of heads and arms. I would have loved to see the faces of the security agents if they had been caught.

RW: It would be worse today.

I told Mr. Naughton about Lou Ferrigno’s experience with racial profiling at the Phoenix airport.

DN: You’re kidding? They didn’t recognize the "Hulk"? They’re lucky he didn’t turn green on them!

RW: I know it was early in your career, but you were the lead in "Werewolf." Did you get residuals?

DN: No. Because it was a ‘foreign film’ I didn’t get a SAG contract. At that time, if you appeared in a film made overseas you didn’t get a SAG contract. The result was we got a flat fee and no residuals. A SAG contract would have made a huge difference on that film.

RW: So, the rule has changed?

DN: Yes, now, no matter what country, if you are a SAG actor, you get a SAG contract.

RW: What do you have coming down the pike?

DN: I did a film in Brazil called "The Flying Virus." It was written and directed by a guy named Jeff Hare. Rutger Hauer, Gabrielle Anwar and Craig Sheffer were in it.

RW: Did you film in the Amazon? My wife spent a week down there and loved it.

DN: No, we filmed in Sao Paulo. It was a city, so I didn’t get my shots. When I got down there, I wished I had.

RW: Michael Caine said that he did several films just because he wanted to travel. Ever done that?

DN: Yeah. I wanted to go to Rome. I got an offer to do an Italian film and I went. Kate Capshaw and I were the only American actors on the film. It was called "Ti Presento Un’Amica." I was told the Italian actors would be speaking English. It turned out, they spoke broken English, and didn’t understand a word they were saying. (imitates) "I’ma gonna breaka you ina halfa!"

RW: Sounds like it co-starred Chico Marx.

DN: Right! I remember I was shooting a scene with an Italian actress and I had to say the line "There’s a feast tonight, I’ll do the cooking." The actress yelled "Cut!" and went off on a tirade. She was complaining to the director that I was changing the script. She said, "He said "Aldo" is cooking! Who is "Aldo"? I didn’t see an "Aldo" in the script." She thought the words "I’ll do" was a character named "Aldo." It was like that all the way through. I don’t think the movie was ever released in America. Maybe on video. At least I got to see Rome!

RW: Most Italian films are shot without sound and the dialogue is looped in later. What was that like?

DN: Actually, this movie was shoot with synchronous sound, but you could tell that was unusual over there. We would do a scene and the crew would talk right through our shots. It was very disconcerting. The crew had to be reminded that the sound was being recorded and to be quiet.

Traci Lords’ one hour autograph session breaks up. The fans gathered around her disperse to seek new prey. A crowd moves in on Mr. Naughton. Not wanting to stand in the way, I thank my gracious host for his time. Mr. Naughton struck me as a sincere and open human being. I found Mr. Naughton to be free of pretension. I found him to be an all-around nice guy. He could eat "Billy the Mangler" for breakfast any day of the week!

TOM SAVINI: 2003 INTERVIEW

This was my 2003 interview with make-up and special effects genius Tom Savini at WonderFest.

I went to “Wonderfest 2003” to meet and interview the legendary Ray Harryhausen. However, “Wonderfest 2003” will always be a memorable experience for me because of actor/writer/director/special effects master Tom Savini. In fact, much of my interview with Mr. Savini can’t even be published. After writing this article, I erased the tape. No, he didn’t admit that he was really the killer of OJ’s wife. It was nothing like that. Mr. Savini just sat around with me and talked. We both were able to vent about things in our lives. I realized that except for Tom’s talent, good looks and money, he and I have a lot in common. Pretty cool. He realized later that the tape recorder was going. I offered to turn it off. “No, you said you wouldn’t print it.” Talk about disarming. If I were a greedy bottom-feeder from one of the tabloids, I’d be laughing to myself and counting the dollars. Mr. Savini didn’t reveal anything earth-shattering, he just opened up on a human level. Don’t be disheartened that I’m keeping a lot of this to myself; later, I will share with you the story of Tom Savini and my daughter’s underwear.

Horror film fans revere Tom Savini as one of the master’s of make-up and special effects. Savini’s work has been on display in numerous genre films from “Friday the 13th” to “Maniac” and “From Dusk Til Dawn.” In addition to his behind the scenes work, Mr. Savini has turned in a number of memorable performance, most notably in the aforementioned “From Dusk Til Dawn.” Mr. Savini was a combat photographer in Vietnam. Through his artistry, Mr. Savini has been able to recreate much of the real life horror he witnessed into the type of make-believe carnage so many people (myself included) crave.

In between the times our conversation detoured into the personal, Mr. Savini shared some of his thoughts on the craft of moviemaking.

Rusty White: Movies have had a profound effect on my life. Whether it is just because of the pure magic of the film or on a deeper level, like say “Billy Jack” effected me.

Tom Savini: The one scene in “Billy Jack” with the sheriff, you know I used to have my video tape of it wound to that spot so I that when ever I wanted to I could just go to it. Now that I have the DVD I just go right to it. You know that scene where he smacks the sheriff on the side of the head.

RW:: “I’m going to take my right foot, and wop you on that side of your face, and you want to know something, there’s not a damn thing you’re going to be able to do about it.”

TS: And then what they did, they didn’t just keep the camera on the sheriff and him, they went to an overhead shot for the impact, which jolted you, just like it jolted him. Brilliant filmmaking. It’s like in “ET,” if you ever see “ET” again, notice that almost every single camera angle is about this high. (Mr. Savini holds his hand about three and a half feet off of the ground. You know, you’re looking at the dangling keys straight ahead. That’s how tall you are when you are twelve years old. So, Spielberg made you feel and become one of the kids. Because your point of view is from the height you were when you were twelve.

RW: I never noticed that.

TS: Yeah. It’s brilliant. I mean, you don’t learn that in directing school. That’s Spielberg. So, it’s moments like that if you’re an ardent movie watcher, you can’t help but learn from shit like that, man!

A fan walks up with several DVDs.

TS: What did you buy there?

Fan: I got a couple of Vincent Price movies for my son. He likes Vincent Price.

TS: Isn’t that amazing. Vincent Price does not miss a generation.

One thing leads to another and the conversation veers off into unexpected territory. A little while later, another craftsman comes up to talk with Tom. Tom mentions that one of his students might be interested in working on a project. I steer the conversation back to the movies.

RW: Where do you teach?

TS: I don’t really teach. I’ve been approached several times by lawyers about starting a school. They never called back. This guy came up to me. He owned a business school in Pittsburgh. The school has been around since 1904. He rolled the dice. He put a lot of…a quarter of a million dollars behind it, he bought the building and everything. It’s going gangbusters. People come from all over the world to go there. Our teachers are from LA, guys like Greg, who used to work for me and came back. They have a lot of credentials. I just do seminars for the new semester when they come in. When I’m in town, I’ll go up there a couple times a week to make sure their portfolios are up to snuff. It cost $25,000 for 16 months. They get their degree. We have 150 students now and 56 more coming in. This is my retirement plan.

RW: What are the job prospects for the graduates.

TS: Well some of them get jobs like that (snaps his fingers). It depends on your portfolio. The portfolio is what you are. You can be standing in a room with no portfolio and that guy over there has a portfolio, he gets the job. You can be a hundred times more talented than the other guy, but you are just talking. He has something to show. So we make sure that when they leave, they have a portfolio that will get them work. And some of them don’t! Some of them, after 16 months, one guy had like three sketches. ‘That’s all you did in 16 months?!’ Some guys have 50 pages of superior stuff. The last graduating class, two guys got jobs when they drove into Hollywood.

RW: I was watching “Maniac,” there was a lot of disturbing stuff in that movie. I thought the highlight was your work. Especially the scene where you got shot through the car windshield.

TS: Yeah, where I blew my own head off! (Mr. Savini doubled for star Joe Spinell in a scene in which Spinell’s character murdered Savini’s character!) We had six cameras on that. I sat on the hood of the car with a double-barreled shotgun loaded with magnum pellets. I had goggles on because I had never fired through a windshield before. And my fake head was in their filled with rubbers filled with blood and shrimp dip and apple cores and anything we could find we threw in that head. We had six cameras. We did this in New York. Now, you’re not allowed to fire a gun in New York. We had an off duty cop who was a friend of ours. After I shot my head, within a minute and a half, there was nobody there. We were gone. I threw the rifle to the cop who drove it away. They threw me in a car and drove me away. The crew jumped in the car and drove it away. The camera and lights were all gone. So, we just stole that shot. But when I shot my head, I flew off the car into somebody’s arms. The impact was so strong. But even after I threw the gun to the cop, I had to come around and see what the damage was to the head. And it was just spectacular. And there were six cameras in slo-mo, so it was a gorgeous shot.

You know when I scalped the girl’s head. We shot that at the St. James Hotel in New York City. A week later, a hooker was decapitated at that same hotel. I mean, the movie hadn’t even been out yet, but the coincidence was amazing.

RW: Tell me about Joe Spinell.

TS: Very nice man. Alcoholic. Died of emphysema, but he fell and hit his head in his apartment.

RW: Kind of like William Holden?

TS: Exactly, exactly. He fell feet toward the door of his apartment and his head away. Now, when “Maniac” was over, I gave him his fake head. He kept it on his television. When he fell, he bled a lot. So when the cops get into the apartment, they saw his body there and the fake head on the TV and they though he had been decapitated. It took them a minute to figure what really happened.

RW: I thought the documentary about Joe Spinell on the “Maniac” DVD was the best thing about the disk. It was a nice tribute.

TS: I haven’t watched it yet. I own it, but I haven’t watched it. We were talking at dinner the other night, and would you believe that Caroline Munro would go on a date with Joe Spinell? (laughs)

RW: I was surprised by that subplot. To me, it gave the movie what little depth it had. It’s kind of like “Red Dragon” or better yet, “Manhunter.” When Tom Noonan is in bed with the blind lady, he gets this tortured look on his face as he realizes what a monster he is, yet he is sharing such a tender moment with this woman.

TS: Exactly. Tom Noonan was great. I like “Manhunter” better than “Red Dragon.”

RW: Spinell’s moment with Caroline Munro was like that.

TS: Her casting was an accident. Daria Argento was originally cast in that role. She begged off for some reason. There was a convention in New York that Caroline was at. I knew that Joe had done “Starcrash” with her. So, I told Joe, ‘Hey, there’s a convention. Caroline Munro is here.’ So he went to say hello and gave her the part right away.

Joe was great. He took me to the set of “Night Hawks” ‘cause he was in that. I got to meet Sylvester Stallone. He was a very generous man, Joe Spinell, but some of the stuff he wanted to do in that movie we had to say ‘No.’ I know he wants an exploitation film, but biting the clitoris off of a woman, I mean…I could build it for you, but do you really want to show that?!

I only got $5,000 for all of the effects in that movie. I just came from the first “Friday the 13th.” For me it was two months of living in New York, getting my name on another film. I’m glad I did it. But there’s a misconception about that movie. I still get it. The rumor is that I hated the people I worked with on that movie. I made a comment once in a magazine that the movie was ‘trash.’ Because the director Bill Lustig was saying that in interviews all the time. “This is crap, this is trash.” Now they thought I was talking about the people. I wasn’t. I love Bill Lustig. Now, I’m doing “Tales From the Darkside” and Joe Spinell is doing a cameo. He stops me and starts screaming at me “What are you saying all that shit about us for?” I didn’t know what he was talking about because I hadn’t heard it yet. Later on, at conventions I hear it again. I didn’t say that! What the fuck is going on? So now I realize what Spinell is talking about. So every chance I get, in front of convention crowds, I tell them what a mistake that was. I tell them that I said the movie is ‘Trash,’ and I say that because the director himself says that. The subject matter is trash, not the people. On the DVD I did the audio commentary with Bill Lustig and I made a point of clearing that up once and for all. Those rumors come out, and no matter what you do, you can’t fight them.

RW: I read Bruce Campbell’s book “If Chins Could Talk,” and was struck by how much fun those guys have making movies. Was that your impression of working with them.

TS: That was a good book. I’m shopping my book to the same publisher. But, yeah. Lots of fun. The nature of what we do makes it fun. You are in different circumstances all the time. The opportunities are not just at work. I was dating a girl once. I loved to scare her. I had a fake head of myself. She got up from the bed to go to the kitchen. I jumped up and got my fake head. I put it in the bed and then fluffed up the covers to make it look like I was still there. I hide in the closet to watch. Now she was the same way. She sneaks in real slow to try and scare me! She jumps on the bed to scare me and the head rolls down the pillow into her lap. She screams and jumps out of bed heading for the door. I jump out of the closet and get her again! Two scares for the price of one.

TALES FROM THE BACKSIDE

On the first morning of “Wonderfest 2003,” I took my daughter to the dealer room to meet the celebrities. I decided to take a picture of her with the actors so EI’s readers would have something other than my bald, fat face to look at with the interviews. We went up to Ken Foree first. Next came Tom Savini. I introduced myself and then Christy, my almost 17 year-old daughter. Tom made her feel at ease with a few jokes. He then broke out some magic tricks. The first consisted of a metal die and a round metal box. Christy placed the die in the box, covered it and Mr. Savini told her which number was facing up. His next trick involved a deck of cards and some homemade animation. It too, was very cool. Finally he asked for my daughter’s hand. “I am going to guess the color of your underwear. After a couple of second’s he declared “Red.” Christy was amazed. How did you do that! I butted in, “Easy, everyone in the room knows, because your underwear is about two inches higher than your pants!”

The next morning, I told Chris to wear a belt. I went downstairs to the convention. On the way out of the door I noticed an orange line at Christy’s waist. I went up to Mr. Savini. “It’s orange today.” “Don’t tell her you told me,” he replied. Later, Christy went up to Tom and asked if he had seen me. Tom extended his hand. Christy thought he wanted to shake hands so she fell for it. Tom squinted. “Orange!” In the middle of my interview with Ken Foree, Christy walked up and interrupted, “Did you tell him?” “Tell him what?” I replied, “Not me!”

Thanks for making my daughter’s weekend Mr. Savini. Good luck in the future.

WILLIAM WINDOM: 2001 INTERVIEW

One the third day of the Memphis Film Festival, the panel discussion featured "Planet of the Apes" actors Kim Hunter, Wright King and William Windom. Afterwards John Beifuss, film critic for The Memphis Commercial Appeal said to me "They could have had William Windom up their by himself and it would have been great." It wasn’t that Ms. Hunter and Mr. King weren’t interesting and informative, it’s just that William Windom was so damn funny.

A veteran of stage, screen and TV, William Windom is one of the most recognizable actors in America. Along with Jon Locke and Don Young, I found Mr. Windom to be the most approachable actors at the festival. Not one to take himself to seriously, Mr. Windom showed great patience at the commands of some fans which upset my southern up-bringing.

I laughed to myself as I waited to in line to meet Mr. Windom. A mercenary fellow Memphian had Mr. Windom sign several stills from the Star Trek TV series. Mr. Windom played Commander Decker in the "Doomsday Machine" episode. From the way the curt fan acted, I imagined he had visions of E-Bay dollars dancing in his head.

William Windom: "Do you want me to personalize it?"

Rude Fan: "No, don’t put my name on it!" (A personalized autograph has less resale value.) "Write ‘Commander Decker’ here." (Pointing to the spot on the photograph he wanted the words.) "Write ‘Doomsday Machine’ under that."

William Windom: "Okay."

Rude Fan: "Now put your name on the back" (Mr. Windom had already signed his name on the front.)

William Windom: "Sorry, I already signed the front."

Rude Fan: "Oh well, that will do"

The fan walked away with the still. Absent were the niceties and respect shown by just about every one else present. Mr. Windom took the abuse like a trooper. "You sure take direction well" I said. Mr. Windom laughed, "You have to son, you have to."

I purchased a still from Mr. Windom’s debut movie "To Kill a Mockingbird." He seemed surprised by my choice as most people wanted stills from "Star Trek" or "Murder She Wrote."

Rusty White: "I’m a lawyer today in large part because of that movie," I told him. Mr. Windom proceeded to tell me a few anecdotes about lawyers and "To Kill a Mockingbird."

William Windom: I went to a law school lecture in L.A. given by W.C. Fields Jr.. He was a very serious attorney. The thing was, he looked and sounded just like his father. I swore if I ever got in trouble, I was going to hire him to defend me. (Laughing) No jury in the world would convict you with W.C. Fields as your lawyer!

RW: What was it like working for Alan Pakula and Robert Mulligan on "To Kill a Mockingbird"?

WW:Alan was very involved as the producer. He’s a nice guy. Bob was great.

RW: You played the prosecuting attorney. How does it feel to be the man who railroaded Tom Robinson?

WW:(Laughs) I did not. I simply put on the case and the jury convicted him. (Gregory) Peck cracked me up one day. We were sitting at tables side by side. We were supposed to leave him alone because he couldn’t be distracted. This was a serious scene. Greg would sit at the table like this. (He props his elbows on the edge of the table with his forehead resting on his fists as if in prayer.) Now I have to do something to make the scene interesting because I’m just sitting there. The focus is on Greg. So I drape one leg over the arm of my chair, I pull my tie loose to one side and I chew on a pencil. Well this goes on for several days as we film the scene over and over. Finally Peck says to me out of the side of his mouth, (imitating Mr. Peck) "Hey Bill, do you think this would be to much?" At which point his elbow slips off the table like he has fallen asleep.

At the later panel discussion, Mr. Windom shared the story with the crowd and added that Mr. Peck’s little joke was a nice way of telling him to cut out the show-boating.

WW:The girl who played the little red-neck (the alleged rape victim Mayella Ewell) and I were working together at night in a play in L.A.. We would do the film during the day and the play at night. She would change from a back-woods red-neck to an elegant socialite at night. It was a lot of fun. The actor who played her father in the movie was a real redneck. The guy wasn’t an actor. He went on to make a living playing those parts. I thought he did a great job in the movie. We were filming the scene in which he was testifying. He was my witness. I wanted to something to make my scene special rather than just saying "Tell us what happened on the night in question." My mother was a southerner. In the old days, the farmers would gather around the courthouse on trial days. The farmers would squat down on their heels and chew the fat. So, in the middle of my examination of Mr. Ewell, I squatted down and asked him a question. He started to say his line and then stopped. He yelled out "Bob (director Robert Mulligan) cut the film! Make him stand up! He’s mocking me!" Mulligan came up and put his arm on my shoulder. He said "Bill, I loved what you did, but I’ve got to work with this guys for six more weeks." So I stood up and we did it again.

The next day I was able to spend more time with Mr. Windom. We spoke about some of his other work.

RW: What was it like to work for Frankenhiemer in "The Gypsy Moths"?

WW: He's a guy who frothed at the mouth. Him and the guy from the movie with Jason Robards, Hour of the Gun...

RW: John Sturges.

WW: Yeah, John Sturges. When they got talking foam would form at the corner of their mouths. That’s a sign that someone is a bit deranged.

RW: The foam isn't from chewing Tums but more from rabies.

WW: Something like that. I like a freer hand on the reign. Both men liked to crack the whip. Very serious about everything. No sense of humor. I've had more fun on other sets. I enjoyed Deborah Kerr though. I played her wimpy husband.

RW: What was it like to work for Clint Eastwood?

WW: A real softy. He's nothing like his on-screen persona in real life. Just a great guy. I've played tennis with him on many occasions. Clint can't play very well, so I like playing against him. He used to have his own tennis tournament. Always like to play against him. He is great to work for. I just did one movie with him (True Crime). Small part, played the bartender.

RW: Do you remember anything about "The Mephisto Waltz"?

WW: Oh yeah, that was with Alan Alda and Jacqueline Bisset. I played the doctor. They were having a baby if I remember right. I had to tell them that the baby had died. It was a real somber scene. We did it over and over. Everyone was tense and we had a hard time getting the scene right. I decided to break them up, shake things loose. I came in with my hands behind my back. Very somber. As I told them "I did everything I could..." I brought an old hand cranked drill out from behind my back. They're standing there in shock trying to keep a straight face. I really don’t remember anything else about the movie.

RW: It was an occult thriller.

WW: Oh yeah, that would explain my morbid humor.

RW: How about "Attack of the 50 Foot Woman."

WW: That was fun. They would put Darryl Hannah up on a Platform 50 feet in the air and film over her shoulder to give her the perspective of height. I was down below so it looked like she was a giant. It wasn't a very good movie, but fun to do.

RW: What was Christopher Guest like to work with.

WW: Did he direct that? Oh my God. I loved "Waiting for Guffman." I was going to send him a fan letter I liked it so much. I can't believe (50 Foot Woman) was his. I forgot. I'll have to rethink the fan letter.

RW: You could tell him how much he has improved as a director.

WW: Yeah!

RW: You've been in quite a few John Hughes movies. How is he to work with.

WW: I like John. He likes to keep the camera rolling after the take is over to see what you will do. Fun sets to work on.

RW: How did the one man show "Ernie Pyle" come about?

WW: I was doing "Thurber" at UCLA. They ( UCLA) said that they had received a lot of money to do some experimental theater. They wanted me to do something new. I had a blank check. I looked around for something to develop. I'm serious about a few things, WWII is one of them. The problem with doing a one man show about WWII was getting the rights to the works of authors like Irwin Shaw or Herman Wouk. I came across Ernie Pyle's work. (note: Ernie Pyle was a newspaper man and WWII correspondent. He died at the hands of a Japanese sniper on Okanawa.) He's dead so I just had to get permission of the newspaper that published him. He was a reporter before the war. It was two parts, his civilian life and the war years. By the time I got it together, UCLA had lost their grant. I was very depressed after all the work. My agent booked me to do the "Thurber" show at the University of Indiana. I came out of a building and looked up. There carved in stone right in front of me were the words "Ernie Pyle School of Journalism." I broke into a wild grin. "Do I have a show for you!" The university agreed. They said come back next year and do Thurber 2 (he did two versions of the "Thurber" play) and Ernie Pyle 2.

RW: Did you write "Ernie Pyle"?

WW: I compiled it. All of the words are Ernie Pyle's own. I just compiled and organized them. I did the same thing with "Thurber."

RW: I saw "Thurber" on TV. Are there any tapes available of "Ernie Pyle."

WW: I don't believe so. I once saw a poor video tape that wasn't worth showing. I'm not sure if there are any copies out there or not.

On the third night of the festival, the rascally Mr. Windom joined Jon Locke in an impromptu duet of Roger Miller’s "Massachusetts Transit Authority" much to the joy of the crowd in the exhibition hall. My wife and kids showed up Friday night. Mr. Windom introduced my three year old daughter Lauren to the game of 3 card Monty. Lauren didn’t have any money so I didn’t worry to much. My wife stated that her parents were fans of "Murder She Wrote" and watched seven days a week.

WW: How sad for them. Tell them to get a life.

His dry humor livened up the entire festival.

WW: I pull a little stunt on every new set. I go by Bill. There are always several crew members named Bill. Every time someone calls for "Bill" I have to look around. Whenever I start a new project I tell them to call me "Break." It only takes a couple of days of people yelling "Break" for the joke to wear thin. You have to have a sense of humor.

He does have a sense of humor. During the above-mentioned "Planet of the Apes" panel discussion, Mr. Windom was asked what it was like to act opposite someone in ape make-up. Unfortunately for the questioner, Mr. Windom had no scenes with anyone in make-up.

WW: I do have an ape story though. I was in a well known watering hole in L.A. waiting for a friend. I wanted to light a smoke, but didn’t have any matches. There was a huge guy next to me who had some matches. He had his back to me. I thought about stealing the matches and then thought better of it. He was big. So, I tapped him on the shoulder and asked for a match. He turned and said sure. I was dumfounded. I’ve never been in awe of show people, but this was different. The guy handing me a match was the original ape man himself, Johnny Weissmuller.

I enjoyed William Windom for many years before I met him. I wish his Made-for-TV film "The House on Greenapple Road" was available on VHS. Another favorite of mine is the Jimmy Stewart depression era comedy "Fool’s Parade." I saw "Fool’s Parade" for the first time in years at the festival. It is still a great movie. A movie made that much better by the presence of a witty, intelligent and classy guy by the name of William Windom.