Art Mann Presents...

Episode Number: 221

Episode Title: Halloween In Hollywood

Description: This is THE biggest Hollywood street party! There are easily 500,000 people in the most elaborate and creative costumes you will ever see. The party goes deep into the night with plenty of freaks and mayhem for your viewing pleasure.

Transcript:

[ "Dance of the Sugar Plum Fairy" ]

Man: BILLY! [ Sobbing ] WHAT HAVE YOU DONE? WHAT HAVE YOU DONE?

Man: DEEP BREATH... Man: SET. ACTION.

CUT. [ Ringing of bell ] Woman: I'M RIPPING IT OFF. AND I DON'T KNOW IF WE DID IT AS WELL. "BLACK CHRISTMAS"... THERE WAS A PAY CHANNEL IN SAN DIEGO CALLED CHANNEL 100 AND YOU KNOW, MY FAMILY MOVED FROM SYRACUSE TO SAN DIEGO IN '75. I SAW IT ON THAT.

AGAIN AND AGAIN AND AGAIN. WELL, IT'S A PRODUCER BUT IT'S A GUEST HERE THAT I WANT TO WELCOME. IT'S THE REASON WE'RE ALL HERE. THIS IS BOB CLARK. HE DIRECTED THE ORIGINAL "BLACK CHRISTMAS". [ Applause ] Man: WHOO!

THIS ONE IS FEELING FABULOUS. I'M TELLING YOU GUYS, EVERYTHING ABOUT IT JUST FEELS FABULOUS. "BLACK CHRISTMAS" IS A PSYCHOLOGICAL HORROR FILM. IT'S SET IN A SMALL COLLEGE TOWN AT A SORORITY WHERE GIRLS ARE CELEBRATING THE LAST DAY BEFORE THEY GO FOR THEIR CHRISTMAS HOLIDAY AND THEY'RE NOT AWARE OF IT BUT THERE'S A STALKER AMONGST THEM AND IS MAKING MONSTROUS PHONE CALLS WITHIN THIS VERY LARGE HOUSE. [ Ringing of phone ] THAT MUST BE KYLE. WHAT DO I DO? ANSWER IT. Clark: WHAT WAS SAID TO US WAS, "YOU EITHER MADE PORNO FILMS OR HORROR FILMS." THAT WAS YOUR CHOICE. AND I WASN'T INTERESTED IN MAKING PORNO FILMS SO, AH, THAT'S HOW WE CAME TO THE POINT WHERE WE SHOT "BLACK CHRISTMAS" IN 1974. IT DID VERY WELL IN CANADA. IT NEVER REALLY CAUGHT ON IN THE STATES BUT IT BEGAN VERY QUICKLY TO BECOME KIND OF AN UNDERGROUND FILM. Man: IT WAS ONE OF THOSE FILMS THAT KIND OF WENT OUT OF CIRCULATION. WASN'T AVAILABLE FOR YEARS AND YEARS. MANY PEOPLE HAD SEEN "BLACK CHRISTMAS" BUT PEOPLE DIDN'T KNOW WHAT IT WAS THAT THEY'D SEEN. THEY COULDN'T REMEMBER THE TITLE OF IT. IT'D BEEN "SILENT NIGHT, EVIL NIGHT", IT'D BEEN "A STRANGER IN THE HOUSE", AND THEN YOU'VE GOT THE CONFUSION OF "WHEN A STRANGER CALLS", AND ITS REMAKE AS WELL, SO PEOPLE ALWAYS REMEMBER THAT TALE OF... THE KILLER IN THE SORORITY HOUSE OR THE HOUSE MAKING PHONE CALLS. BUT I DON'T THINK PEOPLE REALLY ASSOCIATED IT WITH "BLACK CHRISTMAS", SO TO SPEAK. THEY'RE REAL CHARACTERS IN JEOPARDY. THERE ARE SOCIAL ISSUES INVOLVED. YOU HAD A MOVIE THAT HAD VERY LITTLE GORE. THE NEXT STEP TO THAT IS "HALLOWEEN", WHICH IS STILL A PRETTY GREAT MOVIE BUT WHEN YOU GO BACK AND LOOK AT "BLACK CHRISTMAS", YOU GO, "OH MY GOD!" THAT WAS WHEN THE INNOVATIONS THAT THE ORIGINAL "BLACK CHRISTMAS" HAD... THEY HAD THIS THING FOR THE CAMERA MAN TO STRAP THE CAMERA ONTO HIS BODY, AND SO HE COULD CLIMB, YOU KNOW, WITH HIS HANDS AND YOU SEE HIS HAND IN FRAME. THAT WAS JUST... WHICH WAS SOMETHING THEY HADN'T DONE BEFORE. Morgan: THE HAND-HELD WIDE-ANGLE STUFF, THE WAY THE GIRLS ARE, THE WAY THE SCENES KIND OF DEVELOP WITH THE MURDER, HOW MUCH "BLACK CHRISTMAS", THE ORIGINAL, INFLUENCED "HALLOWEEN". A LOT OF PEOPLE WHEN YOU TELL THEM THAT "BLACK CHRISTMAS" WAS MADE FOUR YEARS BEFORE "HALLOWEEN", THEY'RE KIND OF TAKEN ABACK. AND I THINK NOW IT'S STARTING TO GET THE CREDIT THAT IT DESERVES. AND OF COURSE, WITH THE REMAKE GOING ON, IT BRINGS EVEN MORE TO THE PUBLIC ATTENTION, YOU KNOW? [ ] WHENEVER ANYBODY TACKLES A CULT CLASSIC, THE FANS OF THE ORIGINAL ARE ALWAYS GOING TO SCREAM AND CRY ON THE INTERNET AND SAY, "WHY, WHY, WHY YOU KILLING SUCH A CLASSIC?" AND THAT'S NOT WHAT'S BEING DONE. IT SEEMS TO ME LIKE A WHOLE BRAND-NEW FILM IS BEING CREATED. IF FANS OF THE ORIGINAL DON'T WANT TO SEE IT, THEY CAN KEEP THE 1974 ORIGINAL INTACT, BUT WHATEVER HAPPENS, AT THE END OF THIS YEAR, TWO FILMS ARE GOING TO EXIST AND I GUESS PEOPLE ARE JUST GOING TO HAVE TO DEAL WITH IT. I'M AN INTERNET NERD SO I READ EVERYTHING THAT'S OUT THERE THAT PEOPLE SAY ON THE MESSAGE BOARDS, AND THE DIE-HARD HORROR FANS, YOU KNOW, THEY ASSUME IT'S GOING TO BE "PG-13" AND ALL THIS STUFF. BUT IT'S "R", IT'S FRIGHTENING, IT TAKES IT TO A DIFFERENT PLACE. I ALMOST DON'T EVEN THINK OF IT AS A REMAKE. I FEEL LIKE IT'S JUST SORT OF BASED ON THE ORIGINAL. IT'S DIFFERENT WITH A MOVIE LIKE THIS BECAUSE WE'RE TALKING ABOUT A CULT MOVIE THAT WASN'T AS MAINSTREAM AS SOME OF THESE OTHER REMAKES LIKE "AMITYVILLE" AND "TEXAS CHAINSAW". THIS IS SOMETHING THAT THE SELECT FEW HAVE SEEN. YOU KNOW, I THINK THAT THIS WILL STAND ON ITS OWN. GLEN REALLY LOVED THIS MOVIE AND TOLD ME HOW MUCH HE LOVED IT AND WANTED TO DO THIS. AND THEY HAVEN'T SAID, "HEY, WHY DON'T WE JUST COPY EVERY SINGLE THING THAT BOB CLARK DID AND EVERY SINGLE THING THE WRITERS DID AND JUST SPIT IT OUT AGAIN." THEY TOOK IT TO ANOTHER LEVEL WHERE THEY SAID, "LET'S MAKE IT OUR OWN, BUT RESPECT THE FACT THAT IT WAS A GREAT MOVIE TO BEGIN WITH, AND WRITE A NEW SCRIPT." AND THAT'S WHAT THEY'VE DONE. AND I THINK THAT THE FANATIC FANS OUT THERE WILL BE OKAY WITH IT BECAUSE BOB CLARK'S ATTACHED. SO YOU SEE THE BOB CLARK LAMP? PAYING HIM RESPECT. IT WAS IN MY OFFICE FOR A WHILE AND I REALLY ENJOYED COMING TO WORK AND TURNING ON THE LIGHT. I KNOW GLEN AND JIM ARE GREAT BUT THE REST OF THE WORLD MAY NOT KNOW HOW GREAT THEY ARE SO IT MAKES ME FEEL LIKE, YOU KNOW, PEOPLE WILL BE MUCH MORE ACCEPTING. OH... [ Humming ] DA-NA-NA.... Morgan: HE'S BEEN REALLY SUPPORTIVE. I THINK HE IS AWARE THAT I HAVE RESPECT FOR WHAT HE DID, AND IN TURN, HE HAS RESPECT FOR WHAT DIFFERENT THINGS THAT I WANT TO DO. I PRETTY MUCH STAYED OUT OF IT. YOU DON'T NEED THE OLD HAND WEAVING WITH THE NEW HAND AND MY CONFIDENCE IN GLEN AND JAMES IS VERY, VERY HIGH. OKAY. Clark: I TALKED WITH... A LITTLE BIT ABOUT SOME OF THE IDEAS AS HE WAS WRITING THE SCREENPLAY, AND HIS BASIC IDEA OF GOING BACK AND UNTHREADING BILLY AND AGNES AND WHAT THAT'S ALL ABOUT AND BRINGING IT FORWARD THROUGH THE STORY, I THOUGHT WAS... BRILLIANT BECAUSE IT'S STILL "BLACK CHRISTMAS" BUT IT'S EXPLORING MORE, RATHER THAN SIMPLY REPEATING. Woman: WHY YOU BOTHERING PUTTING OUT THOSE COOKIES? SANTA AIN'T COMING TO SEE YOU. Morgan: REMEMBER, SHE JUST SAID THAT, LIKE, SANTA CLAUS IS NOT GOING TO BRING YOU ANYTHING. YOU GOT TO GIVE HER A SUPER-MEAN LOOK. GIVE IT ALL. YOU'RE... THAT'S THE WORST THING ANYONE'S EVER SAID TO YOU. SANTA CLAUS... IS DEAD. Morgan: THE NUART IN LOS ANGELES HAD A MIDNIGHT SCREENING AND BOB SPOKE. SAID, "WELL, SOMETHING HAPPENED. BILLY HAD ABUSED THE BABY." I WAS SORT OF SURPRISED THAT HE DIDN'T HAVE A MORE DEFINITIVE... ORIGIN. BILLY! Morgan: YOU KNOW, I WANTED TO DEAL WITH SOME OF THE FAMILY THEMATICS OR ELEMENTS, AND, UH, EDMUND KEMPER WAS A SERIAL KILLER WHOSE MOTHER LOCKED HIM IN THE BASEMENT BECAUSE SHE WAS AFRAID THAT HE WAS GOING TO ATTACK AND RAPE HER. AND NOW HE HAD THESE FEELINGS OF GUILT FOR FEELINGS THAT HE DIDN'T REALLY HAVE, BUT THEN HE HAD THEM, AND SO HE HAD HATE, AND AROUSAL, AND EVERYTHING JUST MIXED TOGETHER DOWN IN THE BASEMENT SO THEY JUST KIND OF COOKED A SERIAL KILLER. ULTIMATELY, HE ATTACKED HIS MOTHER AND RIPPED OUT HER LARYNX OR SOMETHING AND PUT HER HEAD ON A MANTLE AND THREW DARTS AT IT FOR THREE DAYS. BELIEVE IT OR NOT, THAT'S WHERE THE BILLY THING STARTED. Man: I'M ROBERT MANN AND I PLAY BILLY THE PSYCHOPATH. THERE ARE SOME FLASHBACKS RIGHT FROM THE START. BILLY'S MOM ISN'T TOO FOND OF THE JAUNDICED BILLY, AND, UM... HE'S TREATED RATHER BADLY. BILLY'S MADE TO LIVE IN THE ATTIC AND... IT'S JUST A TIME BOMB. Woman: DO YOU WANT A CHRISTMAS COOKIE? YOU'RE MY COOKIE AND I COULD GOBBLE YOU UP.

Morgan: BILLY! Mann: OFTEN, A LOT OF ANGER IS REALLY SADNESS... [ Whispering ] IS THAT SANTA'S REINDEER? Mann: BUT OPENING UP THAT PANDORA'S BOX OF DEEP SADNESS, IT'S OFTEN EASIER TO SWITCH TO ANGER AND, UNFORTUNATELY TO LET HATRED BOIL. OKAY, FIGHT, FIGHT, STRUGGLE. HARDER. MORE, MORE. STRUGGLE, STR... GO. GO. CAMERA.

AND LOOK.

GO!

GO! Woman: BILLY! Man: [ Yelling ] WHERE'S AGNES? [ Ringing of phone ]

I DON'T INTEND TO REVEAL IT BUT I HAD A HISTORY FOR BILLY. [ Ringing of phone ] I CREATED THAT AS I CREATED THE PHONE CALLS. SO WHAT WENT OVER THE PHONE, AS OUTRAGEOUS AS IT SOUNDS, ALL MAKES SENSE. Woman: I THINK SOMEONE'S IN TROUBLE. [ Beep of phone/ distorted voices on speakerphone ] It was the night before Christmas... I see you... Billy! The house.... What your mother and I must know is where is Agnes? Each other... what's done... monster... She's alive behind the house. Winstead: THE FACT THAT THE CALLS ARE COMING FROM INSIDE THE HOUSE REALLY ISN'T THE TWIST. YOU KNOW, IT HAD TO BE TAKEN TO A DIFFERENT LEVEL BECAUSE EVERYBODY KNOWS THAT THE KILLER'S UP IN THE HOUSE. IT'S AN IDEA THAT PEOPLE ARE FAMILIAR WITH BY NOW, AND IT'S NOT THIS BIG SHOCK LIKE IT WAS WHEN IT FIRST CAME OUT. [ Distorted voice on speakerphone ] I'm gonna kill you. CALL THE POLICE. THERE'S A LOT MORE TWISTS TO COME AFTER THAT SO YOU DON'T HAVE TO WORRY ABOUT, "OH, THAT'S IT? THEY GAVE THAT AWAY?" AND YOU KNOW, "NOW THE REST OF IT IS BORING." SO THEN WE'LL GIVE YOU A CUE, YOU GUYS CAN COME TO THE TABLE EXCEPT FOR CRYSTAL, WHO STAYS THERE. HAH! SO ANDREA YOU'RE HERE, MICHELLE, YOU GET KIND OF RIGHT IN BEHIND HER. YOU KNOW, THE PHONE... YOU CAN LOOK AT THE PHONE, BUT WHAT'S COMING OUT OF THERE IS SO CREEPY THAT YOU'RE NOT FOCUSING ON IT. Woman: OKAY.

ALPHA KAPPA. WE HAD JUST BEEN HAVING THE SCRIPT SUPERVISOR READ THE LINES, YOU KNOW, "IT'S BILLY", AND, YOU KNOW, IN THIS KIND OF A NORMAL VOICE. WHERE IS AGNES? SHE'S OUR FAMILY NOW. Lowe: [ As Lauren ] SHOULDN'T YOU GET GOING? DON'T YOU HAVE LOTS OF TOYS TO DELIVER TO GOOD LITTLE BOYS AND GIRLS? Chabert: WELL, WE'RE DOING OUR CLOSE-UPS, AND GLEN DIDN'T TELL US THAT HE WAS GOING TO READ IT, AND THE FIRST TIME HE READ IT, I WAS SO STARTLED! [ Chuckling ] BILLY! WHAT HAVE YOU DONE? WHAT YOUR MOTHER AND I MUST KNOW IS WHAT DID YOU DO WITH THE BABY? Woman: IT WAS KIND OF FREAKY BECAUSE THE WAY HE DID IT, HE WAS LIKE... [ Raspy grunting ] MAKING ALL THESE WEIRD NOISES... AND IT WAS DEFINITELY KIND OF SHOCKING, WHICH IS GOOD, YOU KNOW. WE ALL KIND OF HAD A LITTLE REACTION TO IT, BUT IT HELPED US A LOT. THANK YOU, GLEN. [ Chuckling ] [ Distorted voice ] YOU'RE MY FAMILY NOW! Cassidy: [ As Kelli ] I THINK SOMEONE'S IN TROUBLE. THIS IS OUR PRODUCTION COORDINATOR... [ Distorted voice on recorder] YOU'RE MY FAMILY NOW! OOH, THAT SOUNDS BAD. [ Distorted voice ] YOU'RE MY FAMILY NOW! SHE LOST HER VOICE AND WE MADE HER COME IN AND DO THE VOICE-OVER FOR BILLY. [ Distorted voice ] BILLY... [ Chuckling ] [ Distorted voice ] BILLY! Woman: I'D PHONED GLEN MORGAN AT HIS HOTEL AND LEFT THE MESSAGE, "YOU'RE MY FAMILY NOW," IN MY HIDEOUS, SICK VOICE, BOTH HIS... AT BOTH HIS HOTEL AND HIS CELL PHONE, AND I SIMPLY HUNG UP. I DIDN'T IDENTIFY MYSELF AT ALL. [ Distorted voice ] YOU'RE MY FAMILY NOW. I THINK JUST AFTER THIS, SHE THREW UP. [ Childish voice ] BILLY, WHAT HAVE YOU DONE, BILLY? [ Demonic voice ] YOUR MOTHER SUCKS COCK IN HELL. [ Chuckling ] Morgan: YOU KNOW, THERE'S THREE KNOWN ACTRESSES FROM THE ORIGINAL... CUT. [ Laughter ]

I THINK MARGOT KIDDER'S PRETTY GREAT, BUT MY BROTHER AND I... WE'D JUST NOT GO OUT ON WEEKENDS TO WATCH "SCTV" AND JUST TO BE ABLE TO WORK WITH ANDREA MARTIN... SHE'S TERRIFIC. DOOR KICKS, YOU GET IN.

WELL, THAT'S SOME GOOD DIRECTION. ALL RIGHT, LET'S GO! Martin: ABOUT A WEEK INTO THE PRODUCTION, GLEN VERY SHYLY SAID THAT HE WAS A FAN OF "SCTV", BUT HE DIDN'T TELL ME THAT INITIALLY. Morgan: I'VE GONE AND DONE JOBS WITH IDOLS, AND PEOPLE THAT YOU GO, "IT'LL BE A DREAM COME TRUE," AND IT WAS JUST A FREAKING NIGHTMARE. SO FOR ANDREA TO BE SO PROFESSIONAL AND WONDERFUL AND SUPPORTIVE, YOU KNOW, ON A MOVIE THAT WAS 35 YEARS AGO THAT'S NOT THE HIGHLIGHT OF HER CAREER... WELL, THAT'S THE SPIRIT. Morgan: TO BE... JUST SO GREAT WAS JUST WONDERFUL.

Martin: MRS. MAC IS THE HOUSE SORORITY MOTHER. HMM, I'D SAY THERE WAS NO CHANNELLING FROM THE ORIGINAL PERSON. IN FACT I HAVEN'T SEEN "BLACK CHRISTMAS" FOR ABOUT 30 YEARS, SO... I WISH MY MEMORY WAS MORE ACCURATE THAN IT IS BECAUSE I CAN'T REALLY REMEMBER WHAT SHE DID IN THE MOVIE OTHER THAN... I THINK SHE HID LIQUOR, BUT THAT'S NOT THE DIRECTION I CHOSE. IS THERE ANY OF THE GIRLS NEEDING TO BE CONSOLED BY THE ADULT? YOU KNOW, TIMES ARE CHANGED, AND THE GIRLS ARE MUCH MORE SOPHISTICATED. SO I THINK A HOUSE MOTHER HAS TO BE PRETTY ON TOP OF HER GAME. SO NO HAIR OR MAKEUP. FINE, THAT'S OKAY. [ ] Woman: THIS IS SCENE 37, WHICH IS THE FIRST SCENE THAT WE SEE ALL THE SORORITY GIRLS IN THE HOUSE. THIS IS THE FIRST TIME WE SEE THE INSIDE OF THE HOUSE, ESTABLISH FIVE OF THE DIFFERENT CHARACTERS. [ Chuckling ] OKAY. MERRY CHRISTMAS. BYE. Cassidy: THIS WAS DEFINITELY MY FIRST TIME WORKING WITH A BUNCH OF MY PEERS AT THE SAME TIME. I'VE DONE MOVIES, YOU KNOW, WITH ONE OR TWO GIRLS, BUT TO HAVE, I THINK IT'S SEVEN, EIGHT... Woman: IT'S SORT OF BEEN LIKE A SORORITY ON SET. WE'VE HAD A REALLY FUN TIME. THERE HASN'T BEEN ANY BITCH-FIGHTING OR ANYTHING. YET. WHY DON'T YOU JUST LOOK OUTSIDE? Chabert: [ As Dana ] WELL, LET'S SEE. I MEAN, SHOULD I GO HOME AND GO TO SOME FAMILY'S CHRISTMAS PARTY, OR... Winstead: GLEN AND JIM WANTED ACTRESSES THAT WERE ALL, SORT OF, OF THE SAME CALIBRE, SO THAT YOU WOULDN'T REALLY KNOW, "OH, THIS PERSON IS THE NAME, THIS PERSON IS A STAR; THAT MEANS THEY'RE GOING TO LIVE TILL THE END, THAT MEANS THEY'RE GOING TO, YOU KNOW, SURVIVE." SO I THOUGHT THAT WAS AN INTERESTING WAY OF DOING IT, THAT IT'S NOT GOING TO BE LIKE A BUNCH OF ACTORS WHO NEVER DONE ANYTHING GETTING KILLED OFF, AND THEN THE ONE GIRL, WHO WE ALL KNOW, LIVES IN THE END. Man: A-ONLY MARK. Winstead: I PLAY HEATHER FITZGERALD. SHE'S SORT OF THE SOUTHERN DEBUTANTE OF THE SORORITY HOUSE. SHE'S A BIT OF A PRUDE. A LITTLE SNOBBY AND A LITTLE UPTIGHT. YOU SHOULDN'T PROVOKE SOMEONE LIKE THAT. [ Scoff ] WHAT WOULD YOU KNOW ABOUT DEALING WITH ANYONE OTHER THAN A NASCAR DADDY? HEATHER, WHO IS PLAYED BY MARY, IS LIKE MY POLAR OPPOSITE, BUT WE'RE ACTUALLY ROOMMATES. Winstead: YEAH, WE FOUND THAT ODD, SINCE, BASICALLY, IN EVERY SCENE, WE'RE AT ODDS WITH EACH OTHER. BUT, I GUESS, WE SORT OF CAME UP WITH THE IDEA THAT MAYBE THAT'S WHY WE CAN'T STAND EACH OTHER IS BECAUSE WE DON'T GET ALONG AND WE CAN'T STAND BEING ROOMMATES AND WE JUST WANT TO, YOU KNOW, CUT EACH OTHER'S THROATS. SO I GUESS THAT COULD BE THE REASON BEHIND IT. AT LEAST MY FAMILY WANTS ME TO COME HOME. Man: OUCH. Morgan: YEAH, I LIKE THAT. Man: CUT.

Man: WHERE PEOPLE ENDED UP IN THE HOUSE WAS BASED PRIMARILY ON THE WAY THAT GLEN NEEDED THE BLOCKING TO WORK. WHEN I DESIGN, I HAVE A TENDENCY TO READ THE SCRIPT, TALK TO THE DIRECTOR, AND PLAN MY SETS BASED ON THAT. I WENT TO THE ORIGINAL FILM BECAUSE I KNOW IT HAD INSPIRED GLEN AND I KNEW THERE WAS A SPECIFIC ATMOSPHERE CREATED. I WANTED TO SEE WHAT IT WAS LIKE.

THE ORIGINAL HOUSE WAS IN TORONTO, ALTHOUGH IN REALITY, IT'S A VERY WARM FAMILY HOME. ITS FIRST IMPRESSION IS PRETTY OMINOUS. IF YOU LOOK AT BOTH FILMS, YOU'LL FIND THAT VISUALLY, THERE ARE CERTAINLY SOME PARALLEL STRUCTURES. THE THING THAT I AM MOST SATISFIED WITH IS THE SEPARATION BETWEEN THE LANZ HOUSE, THE ORIGINAL FAMILY HOME, AND THE SORORITY HOUSE. THE APPROACH THAT WE TOOK WAS THAT HERE WERE TWO CHARACTERS WHO LIVED IN A HOUSE WHO DIDN'T REALLY BELONG THERE, THAT SOMEHOW, THEY'D INHERITED IT FROM GRANNY AND JUST LET IT SLIDE DOWNHILL. IF WE COULD MAKE A HOUSE WHERE YOU DIDN'T WANT TO TOUCH ANYTHING, WE PRETTY MUCH HAD IT. OUR SECOND INCARNATION OF THE HOUSE WAS THE LOCAL UNIVERSITY'S TAKEN IT OVER AND TURNED IT INTO A SORORITY HOUSE FOR COMFORTABLE YOUNG LADIES. WE HAD THE SORORITY HOUSE UNDERNEATH ALL OF THE WALLPAPER AND PAINT IN THE LANZ HOUSE AND STRIPPED SOME WALL COVERING OFF AND GOT AUTOMOTIVE BUFFERS AND POLISHED THE PLACE UP, TO BRING IT UP TO THE SORORITY HOUSE. THERE'S VERY STRONG SIMILARITIES, PHYSICALLY, BUT THEY'RE TOTALLY DIFFERENT ENVIRONMENTS. Man: A-ONLY MARK.

Chabert: I PLAY DANA. I'M A LITTLE BIT OF A SPOILED PRINCESS. I'M VERY RICH, AND I HAVE EVERYTHING I WANT, AND I THINK I THINK QUITE A BIT OF MYSELF. [ Chuckling ] WHAT? I'M NOT THE TOTALLY HELPLESS DADDY'S GIRL THESE BITCHES MAKE ME OUT TO BE. OKAY, THEN GO OUTSIDE AND TURN THE POWER ON. ARE YOU HIGH? SO THE SCENE WHERE I'M GOING UNDERNEATH THE HOUSE TO RESET THE BREAKER, THE TRAPDOOR SLAMS BEHIND ME. WELL, IT SLAMMED A LITTLE TOO SOON AND IT GOT MY ANKLE, AND IT HURT SO BAD, BUT I WAS SO EMBARRASSED. AND IT WAS MY FIRST DAY. I FLEW BACK TO L.A. AND WENT STRAIGHT TO THE EMERGENCY ROOM... THIS IS GOING TO BE MY NEW LOOK. YEAH, WITH THE CRUTCH. [ Chuckling ] I'M EXPLAINING TO THE DOCTOR, AND THEY'RE LIKE, "DID YOU MEAN FOR THE DOOR TO SLAM ON YOUR LEG?" I'M LIKE, "THIS IS NOT A SELF-INFLICTED INJURY. I'M FILMING A MOVIE." Wong: TRY AGAIN. CUT. Chabert: HE SAID, "WAIT A SECOND, I KNOW THIS IS CRAZY, BUT IS THERE ANY WAY THIS IS 'BLACK CHRISTMAS'?" AND, "MY DAUGHTER'S KATIE CASSIDY." SO IT TURNED OUT IT WAS HER STEP-FATHER THAT WAS THE E.R. DOCTOR THAT SAW ME THAT NIGHT. Wong: THAT'S GOOD. [ ] Man: AFTER THE LIGHTS GO OUT, EVERYTHING IS BELOW KEY, WHICH MEANS IT'S UNDER-EXPOSED, AND EVEN THE BRIGHTEST THING IN THE FRAME IS UNDER-EXPOSED AND THEN EVERYTHING ELSE FALLS OFF FROM THERE. AND ANYTIME YOU'RE WORKING AT THOSE LEVELS, YOU HAVE TO BE VERY, VERY CAREFUL BECAUSE THERE'S ALWAYS A POINT AT WHICH, IF YOU GO OVER THE EDGE, YOU HAVE NOTHING. IT MAKES FOR MUCH MORE PAINSTAKING WORK. [ Buzzing of saw ] WE DON'T HAVE ROOM TO GET A LIGHT IN THE ROOM, SO WE'RE GOING TO PUT IT OUT HERE, AND WHEN WE TURN AROUND, WE'LL JUST HANG THE PICTURE BACK OVER THE HOLE. PERFECT. LOOK AT THAT. YOU KNOW, USUALLY PRODUCTION DESIGNERS GET PISSED OFF AT YOU IF YOU PULL A SAW OUT, BUT THIS IS THE FIRST TIME I'VE EVER HAD TO DO IT BEFORE SO, I DON'T THINK HE'S GOING TO GET TOO ANNOYED. Freeborn: I REMEMBER THE FIRST DAY HE BROUGHT DAILIES BACK. THERE WAS A LITTLE BIT OF APPREHENSION ABOUT HOW HE FELT ABOUT THEM, AND I LOOKED AT THEM, GLEN LOOKED AT THEM, JIM LOOKED AT THEM, WE ALL THOUGHT IT WAS FANTASTIC. McLachlan: I'M TRYING TO MAKE IT FEEL AS MUCH LIKE JUST A HOUSE, YOUR HOUSE, MY HOUSE, THAT THE LIGHTS HAVE GONE OUT IN AS I CAN, AND HOW THEY LOOK IN THAT WILL DEPEND ON WHERE THEY LAND IN A PARTICULAR LIGHT AT WHICH TIMES. SOMETIMES THEY LOOK FABULOUS AND SOMETIMES, NOT SO GREAT. BUT MOST OF THE TIME WHEN IT'S NOT SO GREAT, IT'S ALSO GOOD FOR THE STORY TOO BECAUSE EVERYBODY'S HAVING THEIR PANTS SCARED OFF THEM. Trachtenberg: WHEN I READ THE SCRIPT, I WAS ACTUALLY ALONE IN MY HOUSE, AND, UM, IT WAS LIKE 2:00 O'CLOCK IN THE MORNING AND I STARTED READING AND I'M LIKE, "NO, I'LL BE FINE. IT'S PROBABLY NOT THAT SCARY. 'BLACK CHRISTMAS', I MEAN, IT'S A HOLIDAY MOVIE." AND THEN ALL OF A SUDDEN, LIKE, MY TOILET STARTED MAKING WEIRD NOISES, AND MY TV STARTED, LIKE, GOING HAYWIRE. SO IT FREAKED ME OUT. Woman: AND, ONCE MORE FROM THE TOP. [ Sobbing ] OH, GOD! [ Screaming/sobbing ] [ Screaming ] HOLY FUCK! Man: CUT ON "WILD" LINES. THANK YOU VERY MUCH. Trachtenberg: SINCE MY "BUFFY" DAYS, I WANT TO SORT OF STAY AWAY FROM THE HORROR MOVIE GENRE, BUT I'D SPOKEN TO GLEN AND HE JUST HAD A REALLY, REALLY COOL VISION AND I FELT THAT HE HAD THE HEART AND SOUL TO MAKE IT A REALLY COOL FREAKY MOVIE, NOT JUST ABOUT, LIKE, RAW, GORY DEATH. LET'S DO ONE MORE RIGHT AWAY.

[ Yelp ] Cassidy: SOMETIMES IT WOULD RAIN, AND THE FAKE SNOW WOULD TURN INTO, LIKE, THIS NASTY GLUE IN OUR HAIR AND ON OUR CLOTHES, AND I HAVE TO FALL IN THE SNOW. KELLI! Cassidy: I THOUGHT IT WAS ALL FAKE SNOW, SO I WAS LIKE, "OH, IT WON'T BE COLD." AND I FALL, LIKE, FACE FORWARD... MIDDLE OF THE SCENE, I FINALLY REALIZE THAT IT'S FREEZING COLD, AND IT'S DEFINITELY NOT FAKE SNOW. BUT I THINK IN THE END YOU HAVE TO BE WILLING TO DO THAT TO MAKE A GOOD MOVIE. YOU KNOW, IT HAS TO BE REAL. SOME OF IT IS GOING TO BE, YOU KNOW, A LITTLE BIT PAINFUL, BUT WHEN YOU DO SOMETHING LIKE THAT, AND THEN WHOEVER IT MIGHT BE, COMES UP AND IS LIKE, "THAT WAS SO GOOD," YOU KNOW, THAT'S WHEN IT REALLY PAYS OFF. AND YOU'RE LIKE, "YES," YOU KNOW. YOU FEEL REALLY GOOD ABOUT IT. I PLAY THE ROLE OF KELLI PRESLEY WHO IS THE FRESHMAN IN THE SORORITY. SHE BASICALLY IS TREATED LIKE EVERYONE'S, YOU KNOW, LITTLE SISTER. THEY BOSS HER AROUND AND MAKE HER DO THINGS BECAUSE SHE'S THE NEWCOMER. I'LL BE YOUR FAMILY NOW. Chabert: [ As Dana ] AWW. YOU WANT ME TO TREAT YOU LIKE I DO MY SISTER? GET THE PHONE. HUH. Cassidy: BUT YET KELLI IS STILL A STRONG CHARACTER. Martin: [ As Mrs. Mac ] OKAY, OKAY, KELLI. GO UPSTAIRS, PLEASE. Man: ACTION!

[ Scream ] OH MY GOD! OLIVER!

[ Laughter ] Hudson: I PLAY KYLE, THE BOYFRIEND OF KELLI. MERRY CHRISTMAS, ASSHOLE. I HAVE PREVIOUSLY DATED ONE OF THE OTHER SISTERS IN THE HOUSE AND I'VE CAUSED SOME KIND OF A COMMOTION. YOU MIGHT THINK I'M INVOLVED, YOU MIGHT THINK I'M NOT. BILLY?

BILLY LANZ, THE GUY THAT USED TO LIVE IN THIS HOUSE?

WOW. THEN YOU'RE DEFINITELY GETTING PUNKED 'CAUSE HE'S DEAD. [ Slam of door ]

CLAIR? McLachlan: GLEN WANTS IT TO FEEL LIKE WE'RE BEING WATCHED ALL THE TIME AND TO GET INTO SOME REALLY EXTREME ANGLES. I THINK IT'S A VERY INTERESTING WAY OF LOOKING AT IT IF YOU'VE GOT A JUSTIFICATION FOR IT. THIS WAY WE CAN ALWAYS LEAVE A LITTLE QUESTION IN THE VIEWER'S MIND, "IS THIS MY P.O.V., THE AUDIENCE'S P.O.V., OR, WHO'S LOOKING AT THIS?" YOU KNOW, WE'RE ON CAMERA 38 TIMES A DAY, ON AVERAGE, WITHOUT KNOWING IT. WE'LL CUT TO AN ANGLE THAT YOU ASSOCIATE WITH THAT CAMERA THAT'S MONITORING YOUR BEHAVIOUR IN A STORE OR BANK. AT HOME I REALLY FELT LIKE WE'RE ALL BEING WATCHED, AND THERE WAS A... KIND OF A PARANOID FEEL GOING ON. THE ORIGINAL HAD THE WHOLE ABORTION THROUGH LINE. I TRY TO REPLACE THOSE THEMES WITH THAT ISSUE. WHAT IF THERE'S SOMETHING ON HER COMPUTER, LIKE AN EMAIL OR SOMETHING THAT SAYS WHERE SHE IS? OH, WHOA, WHOA. YOU KNOW WHAT? THIS ISN'T COOL. I DON'T FEEL COMFORTABLE. UM, WHATEVER, LIKE, INVADING SOMEONE'S PRIVACY LIKE THIS. TRY CALLING THE POLICE AGAIN. [ Thud ]

WHAT WAS THAT?

[ Thud ]

CHRISTMAS COME ROUND DRIFT TO THE SOUND JOY RINGING LOUD BELLS FILL THE TOWN Man: MY DIRECTION HERE IS TO MIMIC THE MOVEMENT OF BRANCHES WITH THE FALLING OF THE SNOW, GIVING IT A GENTLE SWAYING ACTION. AND OF COURSE WE HAVE CONIFEROUS TREES THAT HOLD THE SNOWFLAKES NICELY, GIVING IT THAT NICE, CHRISTMASSY LOOK. THEN WE HAVE THE DECIDUOUS, LEAFLESS BRANCHES THAT REPRESENT THE COMING EVIL. SO WE'VE JUXTAPOSED GENTLE SNOW WITH THE EVIL BRANCHES. IT'S ALL EVIL IN THE END, EVERYONE DIES...

HAVE YOURSELF A VERY MERRY CHRISTMAS HAVE YOURSELF A VERY MERRY CHRISTMAS [ ] Morgan: FROM "ACTION," YOU'RE THERE. I'M JUST WORKING THE CIGARETTE DOWN. IT'S FOR GLEN. IT'S WHY I'M HAVING THIS. Morgan: GET A SCISSORS AND CUT IT. YOU DON'T HAVE TO... Man: WE'VE GOT SCISSORS. Lowe: I PLAY LAUREN HANON, AND SHE DRINKS REALLY HEAVILY. I MEAN, I CHASE BACK TEQUILA WITH A GLASS OF WINE, THAT'S... THAT'S HOW MUCH I DRINK, BUT, AH, SHE'S KIND OF GOT THAT EDGE TO HER. SHE'S BEEN AROUND, SHE KNOWS WHAT'S GOING ON AND... YOU KNOW, SHE DRINKS NOW BECAUSE IT'S THE CHRISTMAS HOLIDAYS, AND MOST TIMES ON CHRISTMAS IS WHEN PEOPLE GET MOST DEPRESSED, WHICH IS SO WEIRD, YOU KNOW, BECAUSE YOU THINK CHRISTMAS IS HAPPY BUT IT'S ONLY HAPPY FOR THE SELECT FEW THAT HAVE GREAT FAMILIES. FOR THE PEOPLE LIKE MY CHARACTER... I DON'T HAVE A GREAT FAMILY SO IT JUST REMINDS ME HOW MUCH I DON'T HAVE A GREAT FAMILY AND HOW CRAPPY IT IS, AND THAT NOBODY REALLY WANTS ME TO COME HOME, OR IS WAITING. SO SHE'S PRETTY SMART- ASSED AND SARCASTIC. WHAT IN THIS ROOM RESEMBLES ANYTHING CHRISTIAN, HUH? IT'S ALL NEO-PAGAN MAGIC.

CHRISTMAS TREE: A MAGICAL RITE ENSURING THE RETURN OF THE CROPS. THE MISTLETOE IS NOTHING BUT A CONCEPTION CHARM. FIFTH-CENTURY CHRISTIANS JACKED A ROMAN WINTER FESTIVAL. 12 DAYS IN DECEMBER WHERE THE NIGHTS WERE LONG AND THE EARTH WAS ROAMED BY THE DEMONS OF CHAOS. Morgan: YOU KNOW, CHRISTMAS IN GENERAL, THERE'S A CREEPINESS TO IT.

THE WHOLE REASON THAT... YOU KNOW, MARY AND JOSEPH WERE RUNNING TO BETHLEHEM WAS TO ESCAPE THE SLAUGHTER OF THOUSANDS OF CHILDREN, SO JUST ITS ORIGIN IS KIND OF FRIGHTENING. THEN YOU GOT ST. NICK... HOW'D YOU GET IN HERE? THE DOOR WAS OPEN. JUST THE WHOLE IDEA OF THIS GUY THAT YOU ALLOW INTO YOUR HOUSE IN THE MIDDLE OF THE NIGHT, AND THEN NOT THROUGH THE DOOR... I MEAN, WHEN I WAS A KID THAT WAS JUST, UH... KIND OF BOTHERED ME. AMERICAN CHRISTMAS IS BASICALLY WASHINGTON IRVING AND COCA-COLA. BLOOD. Morgan: IF SANTA HAS A RED SUIT BECAUSE COCA-COLA'S RED... Man: CROWN OF THORNS! Morgan: YOU JUST START BREAKING IT ALL DOWN AND YOU REALIZE WHAT NONSENSE THE WHOLE THING IS. BUT I LIKE GETTING PRESENTS. [ Chuckle ]

AH! [ Sigh ]

FUCK YOU, SANTA CLAUS.

I PLAY LEIGH, AND SHE'S THE SISTER OF CLAIR WHO LIVES IN THE SORORITY. CLAIR'S TRYING TO BRIDGE THE TIME BETWEEN THEM, AND HAS SAID, YOU KNOW, BASICALLY, "PICK ME UP FOR CHRISTMAS VACATION." LEIGH PROBABLY LIVES A MUCH FASTER-PACED, INTENSE LIFE THAN CLAIR DOES. I THINK SHE EXPECTS TO COME TO THE SORORITY AND FIND CLAIR... CLAIR? Cloke: YOU KNOW, WAITING FOR HER. AND THEN SHE GETS THERE AND SHE CAN'T FIND HER, AND THAT SORT OF STARTS LEIGH'S CHARACTER IN THE MOVIE. YOU KNOW, "WHERE'S CLAIR?" Martin: [ As Mrs. Mac ] CLAIR'S NAME IS CROSBY, THIS SAYS, "COLVIN." THE DIVORCE WILL BE FINAL IN MARCH. WHAT ELSE DO YOU NEED? LOOK, I CAN'T TELL YOU ANYTHING ABOUT THIS PLACE BECAUSE I REALLY HATED IT HERE. Cloke: I NEVER WAS IN A SORORITY. THE CLIQUE THING NEVER APPEALED TO ME. I THINK I WAS ALWAYS AFRAID OF THAT KIND OF THING. I SEE BILLY STILL GETS A CHRISTMAS PRESENT. Cloke: BUT I CERTAINLY DO UNDERSTAND THE DESIRE TO CREATE A FAMILY, ESPECIALLY FOR THOSE PEOPLE WHO FEEL THAT THE FAMILY THAT THEY HAVE IS SOMEHOW NOT INTACT IN THEIR MIND. EVEN THOUGH IT'S IN THE COURSE OF AN EVENING, I THINK THAT IT'S A PIVOTAL EVENING FOR HER BECAUSE, FOR EVERYBODY IN THE MOVIE, IT'S ABOUT CREATING AND FINDING FAMILY. Man: ACTION! UNTIL I SEE THAT THEY'RE DEAD, THEY ARE ALIVE. THIS IS BILLY LANZ WE'RE TALKING ABOUT HERE. HE'S PROBABLY LISTENING TO US RIGHT NOW. [ Whispering ] YEAH, AND IF I HAD A SISTER, I WOULD EXPECT HER TO GO UP THERE. HOW WOULD YOU KNOW? YOU DON'T HAVE A SISTER. [ Scoffing ] SHE DOES.

Morgan: AT HOME, THEY'RE SO UPSET ABOUT GAYS MARRYING AND FAMILY VALUES, AND, "WHAT IS A FAMILY?"... JUST SCREAM FROM THERE. AND SO, "YOUR IDEA IS BETTER THAN SOMEONE ELSE'S IDEA," LIES SOMEWHERE IN THAT. SO THAT, WHEN THAT EYE OPENS, IT'S LIKE, "I'M GONNA SHOW MY LOVE TO HER BY BEATING HER." ACTION. BILLY IS THIS LITTLE BOY WHO SEES HIS MOTHER KILL HIS FATHER, AND NOW HE COMES TO THINK, "WELL, IS THAT HOW YOU SHOW YOUR LOVE?" AND THEN SHE LOCKED HIM IN THE ATTIC AND TOOK AWAY ANY EMOTION... CUT. Morgan: AND, YOU KNOW, IT'S A HORROR MOVIE AND ALL THAT STUFF, BUT THERE ARE PEOPLE WHO'LL GO THROUGH SOME PRETTY DESPERATE ACTS. Man: ALL RIGHT, THIS IS PICTURE, READY? Morgan: FAMILY'S WHAT YOU MAKE IT. IS THAT WRONG? FIGHT, FIGHT, FIGHT, GO. HARDER, HARDER, HARDER, HARDER. IN THIS MOVIE, IT IS WRONG. THEY'RE MURDERING PEOPLE. THEY'VE A FUCKED UP IDEA ABOUT WHAT IT IS. BUT I DON'T KNOW IF I HAVE A DEFINITIVE FAMILY THEME. Woman: MERRY CHRISTMAS, EVERYONE. YOU'RE ALL, LIKE, MY FAMILY NOW. Morgan: LIKE, "OH WE MUST HAVE A FAMILY", OR MAYBE ABOUT HOW YOU CAN'T GET AWAY FROM THEM EVEN IF YOU WANT TO.

THERE'S A REAL SENSE OF FOREBODING AND MYSTERY THAT HE'S CREATING HERE. TAKE THE FLASHLIGHT... YEAH. Hudson: YOU GOT THE HOUSE, YOU GOT CHRISTMAS TIME, YOU GOT THE CHRISTMAS MUSIC. HE'S OPENING THE DOOR. IT GOES "WHAM!" Hudson: TAKE THAT GENERIC SONG THAT YOU HEAR EVERY CHRISTMAS AND IT MAKES YOU HAPPY, AND NOW IT'S THE LAST SONG YOU WANT TO HEAR AT CHRISTMAS AFTER SEEING THIS MOVIE.

[ Grunt ]

McLachlan: YOU KNOW, IT'S A CLASSIC HAUNTED HOUSE STORY. [ Screaming ] NO! McLachlan: IT'S THE THINGS THAT GO BUMP IN THE NIGHT AND WHEN YOU'RE ALONE IN THE HOUSE AND YOU HEAR FUNNY SOUNDS, AND WHAT'S MAKING THE CLOTHES RUSTLE IN THE CLOSET? Winstead: IT'S CREEPY AND DISTURBING. EVERY SCENE, EVERY SHOT. THE CAMERA ANGLES ALLUDING TO SOMETHING HAPPENING WHEN REALLY IT'S SOMETHING ELSE. Man: ACTION. Cassidy: AND IT'S DIFFERENT. FROM WHAT I'VE SEEN, IT'S VERY ARTSY. JUST THE WAY EVERYBODY'S PORTRAYED. AND TO SEE IT ALL COME TOGETHER... I THINK IT'LL BE PRETTY DAMN GOOD. Woman: BILLY!

Man: EVERYONE SHOULD BE HOME FOR CHRISTMAS.

CHRISTMAS COME ROUND DRIFT TO THE SOUND JOY RINGING LOUD BELLS FILL THE TOWN FROST IN THE AIR, SNOW EVERYWHERE YULETIDE IS HERE, GO SING WITH CHEER LA, LA-LA, LA, LA, LA-LA, LA LA, LA-LA, LA, LA, LA-LA, LA AH, LA-LA, LA, AH, LA-LA, LA AH, LA-LA, LA, AH, LA-LA, LA AH, LA-LA, LA-LA, LA-LA AH-LA-LA, LA-LA-LA-LA HAVE YOURSELF A VERY MERRY CHRISTMAS HAVE YOURSELF A VERY MERRY CHRISTMAS