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ENGLUNDS
of people ask me this question about V
because the books about V were different.
than the mini-series. And that's just the ghost
writer fleshing it out, so it's worth paying
$2.95 for.
PART II RUSHED?
No. What happened with II was one of the
best sequences on paper, which is Freddy
thrashing and shredding a rich girl's party
was botched. We shot it at a bitchin' house
in Pasadena. But in Pasadena you're not
allowed to shoot after 10:30 at night. We had
to compromise our shooting schedule so
much that we didn't get enough time out
there to make that sequence work. So the
middle of the movie kind of sags.
FREDDY DOUBLES?
Whenever you see him, it's me. It's always
me. There's only one moment in all the
movies that it's not me, and that's in the
shower scene in Part II)
MAKE-UP?
To put it on is three and a half to four hours,
to create it is about three days, and then
Kevin Yeager and his company do the
sculpting. If we're starting with close-ups
right away, it's a good four hours. If we're star-
ting with me at the end of a hall, back lit, then
it's only three hours.
MORE DIRECTING?
I'm gonna direct. I'm gonna thrash one more
session of television, for the bucks. It's hard
to do. You see everybody blames L.A. for
what's on TV, but all of those decisions come
from New York. That's where all the networks
are. You know who makes those decisions?
It's the guys you might meet at a party. You're
at a party you don't like but you'll see this
guy and say he looks like a cool guy, or he
has a nice wife, or he's reasonable, or he likes
my art or something. They are guys like that,
but they hate what they're working on, which.
is television. So they don't know what they're
working on. You see there's a whole portion
of this country that's based on a system that
I was invented in the late forties on
Madison Ave., called The Burkes.
The Burkes measure recognized
ability, a product, a personality, but
they do not measure whether
somebody likes something or not.
What happens is, all the people that
work on this stuff, sort of Madison
Avenue mindset that uses the Burke,
sort of like Nielsens, to decide how
to advertise things. That's how they
decide to make a commercial for
Disneyland with yuppies going to
Disneyland.
The census thing, the demo
graphic concept, doesn't work. It
never has worked, but the people
that invented it aren't about to tell
everybody this. They've got too good
of a deal going. Consequently,
here's the reality. The reality is this, I can go
out onto the street tomorrow and ask a thou-
sand people who Adolf Hitler is, and
everybody will know. But that doesn't mean
that Adolf Hitler should have a show on
Saturday night at eight o'clock on CBS. It
measures recognized ability, not whether
they like somebody or not, just whether they
recognize it. This is what we're living with.
All of Hollywood was run by guys that were
tailors from New York. But they could cast
chemistry. You wanted to see Cary Grant get
it on with the woman that was playing op-
posite him. But. "I don't want those people
to get it on. I don't care if they screw!" What
I mean is, that when you see those old
movies, the chemistry is there between men
and women, or between buddies. There's
chemistry. They don't have chemistry.
anymore because everything is a package.
These days it's all demographics. "We got
ta have one Saab turbo. We gotta have one
guy with spiked hair. We gotta have one guy
that sounds like Deboroh Winger, or a Jewish
Prince."
There are a lot of poets who shouldn't read
their own poetry. There are a lot of
playwrights who shouldn't be allowed in the
theatre when their play is being rehearsed.
A lot of playwrights should write the play and
give the baby away. You've got to give the
baby up for adoption. I have friends who are
writers and poets, and they want to do it,
some people can't do it. It's so hard to tell
them that they're ruining it, or ruining the at-
titude of it, or they're pompous when they
do it.
HEAVY METAL BANDS?
I've hung out with Stormtroopers of Death
and Anthrax. Recently, Dream Warriors,
Dokken and more recently I've hung out with
Clapton, Mike Bloomfield and Alice Cooper
I did some stuff on their albums. I did some
lines, some singing and some Freddy shit..
I just got back from the Texas Jam, which is
like a thousand poor girls in Dallas, Texas,
with tube tops, on their boyfriend's back
screamin' for Boston, Bon Jovi and
Farhenheit. They were pretty impressed with
Freddy in the 110° heat. Freddy was im-
pressed with the heat and the tube tops.
THE BEGINNING?
of
My parents were separated one summer,
and there was a teenage girl that I had a
hard-on for who was the daughter of my
mother's best friend's mother; she was work-
ing in a professional children's theatre. I sort
got sent along with her one summer to tag
along. I thought I was gonna be an usher or
something. I wound up playing Peter Pan,
Hansel, Aladin...I got all the leads. Huge
budgets. I was flown by the guys who flew
Mary Martin in Peter Pan. I went back to Jr.
High school, sittin' around in pre-algebra, I
was a smart-ass, butthole student. I missed
the grease paint, I missed the scenery and
I missed the laughs. I missed all the girls that
were older than me, smokin' cigarrettes, in
brassieres, combing my hair because I had
it real long to play Hansel.
by
Hey, you get bit by the bug-you get bit
the bug.
High school, more children's theatre, sum-
merstock, college, UCLA industrial film, tons.
and tons and tons of regional theatre and off-
Broadway. I worked with people like Michael
Moriarty and Joe Maher. Then I wound up
doing Buster and Billie with Jan Michael
Vodka (Vincent) and Pamela Sue Martin, and
I've been workin' ever since, I haven't had
a day off. Now I produce plays and am direc-
ting a movie. I've done three television series,
thirty feature films, twelve, classy, grade-A
TV. movies with the likes of Jack Warden,
Lillian Gish, Pamela Reed, Harry Dean Stan-
ton and Seymour Cassel, and lots and lots
of episodic television guest star work. Over
40 guest spots on TV. I've chased Cheryl
Ladd bra-less down the halls with my
Magnum drawn. I've taken the hot lead from
Lindsey Wagner, yeah, I'm right there. I'm
on the re-run.
I
sent Lindsey Wagner to the electric chair
in/Want To Live. I tell Barbra Streisand she's
ac-t in A Star Is Born. I drive across America
with Henry Fonda and a carload of whores
in Last of the Cowboys. I watched Susan
Sarandon take her blouse off in Last of the
Cowboys. I throw Charles Bronson down an
elevator shaft in St. Ives. I shot Burt Reynolds,
the first white man ever to shoot him, in
Hustle with Cathrine Denueve in her A-frame
whorehouse up in the Hollywood
Hills. I'm in Galaxy of Terror, where
the first woman ever in the history
of cinema is raped by a worm. I went
to help those boat-people orphans
in Don't Cry, It's Only Thunder, with
Dennis Christopher and Susan
Sarandon. You saw me in V. I was
the happy-go-lucky E.T. lizard. You
saw me in Downtown, I was the
schizophrenic Woody Allen zealot
parolee. You've seen me, I'm there.
I'm always telling on my friends in
jail in Police Story. I'm that guy go-
ing through withdrawals on Hill Street
Blues
Robert Englund. Be there or be
square.
This prop cat learns what it's like when
"Hell freezes over"
77