All language subtitles for Friday The 13Th Memories The Complete History Of Crystal Lake (Part. 1)

So you guys all know the story
of Camp Crystal Lake, right?

I mean, come on, surely you
have to know about the legend.

All right, well listen.

I don't want to scare anyone...

but I'm gonna give it to you
straight about Jason.

It all happened
at Camp Crystal Lake...

Camp Blood.

And Jason...was just
a little boy at the time.

He drowned one night.

His mom, who worked
at the camp...

she blamed all the counselors.

Said it was their fault.

She decided to kill
each and every one of them.

Well, legend has it
that Jason didn't drown.

He survived.

And he watched his mother
get beheaded that night.

He took his revenge.

Every year, on Friday the 1 3th,

Jason would just keep
coming back.

Now if you listen
to the old timers in town,

they say that Jason's
still out there,

Which means the Voorhees Curse
is alive and well.

Friday the 13th is his day.

And Camp Crystal Lake...

is his domain.

We had this tiny little movie
that cost $500,000,

which to date has grossed
just under a billion dollars.

It's just an amazing phenomenon.

And not only were we shocked
and surprised and pleased,

but amazed that we even
finished the film.

I hear from people
all over the world,

and I don't quite understand
what the wonderful,

captivating thing is
about this particular film.

I never dreamed when
I was doing the film then

the effect it would have
on so many people.

There's actually a lot
of thought

and a lot of real talent
that goes into these pictures.

"Friday the 1 3th"
was one of the innovators,

I would say,
of this slasher movie

but where the characters
all represented people

that each one of us knew.

The best horror
movies find a way

to tap into something
that's truly human.

And there is something so
compelling about the genre

that people will always
come back to it.

I think that the goal is about
scaring the audience

and fear and vulnerability.

We don't know why but
it's something in us

that likes to be scared.

I don't watch the movie,

I pick somebody out
in the audience,

and then watch the evolution
of their heart attack.

It's not rocket science.
It's fun. It's exciting.

The fans so adore
this character.

They like Jason more
than they like the survivors.

They sort of
brought a life to it,

that it would have never had
without 'em.

That's where the power lies
is Jason never dies

because the audience
brings him back to life,

the devoted fans of Jason.

It's a great character to watch
and see what he'll do next.

I don't think it'll really ever
come to a complete end.

A lot of us relate to Jason
because Jason is the outcast.

Like in school, either you're
too tall, you're too short,

you're too heavy,
you have buck teeth,

you speak with a lisp,
we all tie in somehow,

going, 'Oh, I understand that,
I was the different kid.'

It's just a basic part
of the human struggle.

Jason represents that force that
you're going to come up against.

You know, we all want to be
that person

that feels like we can,
you know, stop evil

and save the person
that we love.

I think that we need
these monsters, these bogeymen,

these characters who embody
all evil

because we can't deal
with the real evil

that we have to
in our day to day lives.

If you can take that darkness
out and look at it,

then you can conquer it,
you can defeat it,

you can actually deal with it.

It's when we try and hide it
from the light

that it overcomes us.

In the early 1 970's,

Connecticut-based filmmaker
Sean S. Cunningham

was struggling to make
a name for himself,

scraping by on a diet

of industrial shorts
and commercials

and even the occasional
soft-core porn.

Back in the early 70's,
a big change was happening

in the movie business.

There had been success
with documentary forms

and with hand-held cameras.

And there was a sense of
anything was possible.

You know, just grab your camera,
grab your equipment,

get in the back of the station
wagon and go shoot it.

You can compete
with the big guys.

He was making little movies.

There was a film he made
called "Together,"

and it starred Marilyn Chambers

who went to the local
high school.

It was a marital aid film

for couples who were trying to
strengthen their marital bond,

as it would be, in the bedroom.

We had a mutual friend.
His name was Bud Talbot,

who I was working with
on a film.

I think he helped Sean raise
some of the money,

and uh, this movie, "Case of the
Full Moon Murders,"

and it starred Harry Reams.
It was very soft.

In the softcore world.

7:35 a. m.
We were shown to a bedroom.

A male corpse
with an enormous erection

was covered with a blanket.

Our suspicions
were immediately aroused.

In the mid-seventies,
everybody said we need

nice, clean, wholesome films.

So we did two very nice, clean,
wholesome films.

And they made absolutely
zero dollars.

And now I had to get
another job.

Somehow or other I had to get
something going.

That something turned out to be
1 972's "Last House On the Left."

To avoid fainting,
keep repeating:

"It's only a movie.
Only a movie..."

The film
produced by Cunningham,

and directed by Wes Craven,

who would go on to create 1 984's
"A Nightmare On Elm Street,"

presented a brutal portrait

of violence and visceral horror
in small-town America.

Well, we were co-producers
of "Last House on the Left,"

which I think was
a very important horror film.

And it's still playing today
all over the world.

Although none of
Sean Cunningham's early efforts

achieved mainstream success,

his next brainchild,
with a considerable debt

owed to John Carpenter's 1 978
screen shocker "Halloween,"

would launch a whole new
sub-genre of horror.

I had thought of this title
some time ago

called Friday the 1 3th.
And I said to myself,

'lf I had a film called
Friday the 1 3th,

I could sell that.

And Sean called me up and said,

"Halloween" is making incredible
money at the box office,

Iet's rip it off."

That is keeping it real.

And I said,
"Here's what we're gonna do.

We're gonna take out an ad
in Variety,

and put at the top 'From the
people who brought you

"Last House on the Left"

comes the most terrifying
film ever made.

"Friday the 1 3th."

And that's all we had.

We really didn't know what we
were going to make.

We just wanted to see if anybody
would be interested

in buying it.

Cunningham was able
to secure financing

for "Friday the 1 3th"
through the same trio

of east coast investors

who funded and distributed

"Last House on the Left."

Robert Barsamian, Stephen
Minasian, and Philip Scuderi,

owners of
the Esquire Theaters chain,

and who, under their Georgetown
Productions banner,

were ready to make their mark
on motion picture history.

But first, they needed
one thing: a script.

The longest part
of the process

of creating the first
"Friday the 1 3th"

was figuring out the venue.

So I had to find some territory

that was adult-free,
more-or-less.

Camp Crystal Lake is jinxed!

Oh, terrific.

So we came up with summer camp,
Sean said, "let's go with it,"

and that was that.

The thing about the story
in "Friday the 1 3th,"

is that it's so
profoundly simple.

I think part of that
had to do with the fact

that we had very little time
to waste

on conventional things
like character and plot.

We had this notion
that these kids

would be out at a summer camp,

and would be threatened by some
kind of serial killer,

and we would then be surprised
to discover

who the serial killer was
at the end.

Who are you!?.

I thought that basically
what I had done

was I had taken
mom and apple pie,

and the clean, wonderful, let's
have a ball Pepsi generation,

these clean cut kids who are out
having fun

and unfettered
by adult restrictions,

and stood it on its head.

And I just knocked them off
one-by-one.

By the fall of 1 979,
with a script in hand

and a production budget of
approximately $550,000,

Cunningham and his prot�g�
Steve Miner

began searching
for the ideal location

that would become the cursed
hamlet of Crystal Lake.

The film was shot in a small
little Boy Scout camp

called 'Camp No-be-Bo-Sco.'

It was off-season so all
the kids had gone home,

and we were able
to take it over.

So it was a standing,
working camp.

And, it was a whole bunch of
log cabins and all that stuff.

It was an archery range, it was
a lake, it was everything.

It was just a little bit colder

than it normally would be
in the summer.

Like most tales set at
summer camp,

"Friday the 1 3th" begins around
a campfire.

It's Friday, June 1 3, 1 958,

and lovelorn counselors
Claudette and Barry

soon find their late-night tryst
interrupted

by a murderous stranger,

making them the first
on-screen victims

in what would become
one of the biggest body counts

in film history.

Fans have often asked
if we planned to shoot

a more gruesome on-screen death
for the character of Claudette.

There are even photos that show
her throat being sliced open

by a machete.

I think it was Savini, you know,

fooling around
in the makeup room,

because we didn't have time
to shoot

that kind of a big production,

As I originally laid out the
character of the killer,

and the clues as to who
the killer was,

in the original scene,
you saw a missing finger.

And so that every time you saw
this hand without a finger,

that would be your clue
that this was the killer.

And for time
and budgetary constraints,

that got dropped out.

As the film shifts
to present day,

we are introduced to a cast
of fresh faces

culled from New York's
thriving theater scene.

And as would become the rule for
all future Fridays,

the young, would-be victims
had to be likable,

and they had to work cheap.

My partner at the time,
Julie Hughes and l,

were pretty much the major
casting people on Broadway.

But we had done a few films.

So we looked forward
to doing this,

particularly with the idea of
finding all sorts of new talent

for the young kids in the film.

Julie Hughes had said, 'You
know, you're not right for this,

but they're doing this movie,
and they need camp counselors,

and you would be perfect.'

So then they sent me
to meet Sean

and audition for
"Friday the 1 3th."

Hi, I'm going
to Camp Crystal Lake.

You have to figure out as
many different ways

of making the teenagers dumb
without being really stupid.

Uh, I think we better stop.

Because the audience
has got to be saying

as they sit there as part of
this roller coaster ride,

'Don't go in there, girl!
Don't go in there!

Oh, no!

To play their heroine,
the filmmakers required

a resourceful and intelligent
young actress

who could not only fight back

against the machete-wielding
killer,

but could also hold her own
against the amorous advances

of doomed camp owner,
Steve Christy.

Do I really look like that?.

You did last night.

My backstory to Alice was
she was an art student,

art major, psychology minor,

and she had gotten her job
through a friend of a friend

who knew Steve Christy.

Give me another chance.

He obviously had the hots
for her.

Alice was big on space,
you know?.

She needed lots of elbow room.
She had to think things out.

She was very confused.

I'll give it a week.

And who knows, maybe at
the end of the summer

something would have happened.

But he was gonna
have to be patient.

And he didn't seem like
the patient type.

Well, there's no crazy
people around here!

In the role of resident
prankster Ned was Mark Nelson,

who had recently starred
on Broadway

with his "Friday the 1 3th"
co-star Jeannine Taylor,

whose happy-go-lucky character
Marcie

was given a fitting
posthumous surname.

The character wasn't named
Marcie Cunningham.

She didn't really have
a last name at first,

and later on, after we wrapped,

Sean Cunningham decided,
I guess, to adopt me,

because I ended up
with his last name.

For the role of Bill,
the proverbial 'good guy'

who proves to be a contender
for Alice's affections

as well as a potential suspect,
the filmmakers cast the son

of one of Hollywood's
most beloved legends.

Harry Crosby was the son of the
legendary singer, Bing Crosby,

who was a popular singer
in the 30's, 40's, and 50's.

He had so many great stories
about his dad,

who had just passed away,

so it was probably kind of
emotional for him

to share much about his father.

How can you guys eat that stuff?.
It looks like dead animals!

Playing the nurturing
and animal loving Brenda,

who learned just how dangerous
and deadly

an archery range could be,
was the late Laurie Bartram,

who sadly lost a long battle
with cancer in 2007.

Laurie Bartram,
we miss her so dearly.

She was truly the heart and soul
on that production.

I remember her,
she was who you saw.

You know,
worried about everyone.

I was really shocked and upset
to hear she'd died so young.

Beautiful person,
inside and out.

But the young man whose fame

would far surpass
six degrees of Friday the 1 3th

was, at the time,
a struggling New York actor

whose biggest film role to date

had been in the blockbuster
1 978 comedy, "Animal House."

I was surrounded
by terrific young talent,

and particularly Kevin Bacon.

I just thought he was so good
and so professional.

I remember
when I called his agent

to see if l, if he would do
"Friday the 1 3th."

The agent said, 'Well, what does
he do in the film?. '

I said, 'Well, mostly he just,
you know,

makes love to a lot of girls.'

And the agent said,
'Well, Kevin loves to do that.'

"Footloose" was his
breakout moment.

Let's DANCE!

And of course he skyrocketed,

but it was very obvious to me

that he was going to be a star.

One of the most memorable
characters in "Friday the 1 3th"

was Crystal Lake's resident
'prophet of doom,'

played by veteran actor
Walt Gorney,

who passed away in 2004.

I know a lot of the fans
of "Friday the 1 3th"

Iove and admire Crazy Ralph.

It's got a death curse!

And this sounds strange,
but it's the truth.

I thought that Walt Gorney
really was crazy.

He kind of frightened me.

And I realize now he might have
been a little eccentric,

but he was just a very, very
fine character actor.

It's so sad that he wasn't here

to share all this acclaim
over "Friday the 1 3th."

He would have would have
loved it.

As filming commenced
on September 4, 1 979,

cast and crew
experienced their share

of low-budget filmmaking
misfortunes.

And Cunningham's silent partner
Phil Scuderi

remained dissatisfied
with certain elements

of Victor Miller's script.

Enter Ron Kurz.

I was sent down there to do
some rewrites and basically

to also see what was going on.

I don't want to say I was a spy,
but (laughs)

The only scene
I had a problem with

was the inclusionary scene
of the motorcycle policeman,

which really argued against
the concept

that this was a geography

that was kind of off bounds
for the police.

I had never been
on a motorcycle before,

and in fact, I did fall on
my ass. (laughs)

The motorcycle fell on me,

and course, Sean and Steve Miner
come running to help me,

'You okay, Ron?. ' They lifted it
off me I says, 'I'm fine.

Although all of the human actors
who met their on-screen demise

came out of the film unscathed,

one on-screen fatality was,
in fact, very real.

I remember all of us
playing the scene,

and the poor snake,
it was a real snake.

And he was chopped into bits.

And for that,
on behalf of myself

and anyone
who's ever harmed a snake,

I would like to tell all snakes,

poisonous or not, I'm sorry.

Wanting to up the ante on
Halloween's minimalist shocks,

Sean Cunningham
needed to find someone

who could create the realistic,
larger-than-life death sequences

called for in the script.

In the world of practical
special effects,

a new Dawn was emerging.

When I decided to make
"Friday the 1 3th,"

my job was to try to figure out

how to make something scary
for very little money

and very little
production value.

The original
Friday the 1 3th came out

after "Dawn of the Dead."

And "Dawn of the Dead"
was sort of the first film

that put gore effects
really in the forefront.

Sean had seen
"Dawn of the Dead,

or somebody had seen "Dawn of
the Dead" and said,

'You know you're doing
"Friday the 1 3th,"

you gotta get this guy.

And there were other
make-up artists, you know,

but my effects
had a reputation

of being more realistic.
And that could be

because I was a combat
photographer in Vietnam.

If the stuff I created didn't
give me the same feeling I got

when I saw the real stuff,

then the fake stuff wasn't good
enough, it wasn't real enough.

And I think that had a lot to do

with the reputation
for my effects.

Up comes this guy in a BMW,
and it's Tom Savini.

He comes in, he's got this
script all marked up,

and he said,
Okay now, let's see.

We've got a hunting arrow up
through the chest,

that's not a problem.

I've got an axe in the face
here on page 40.

Do you want a real face
and a fake axe,

or do you want a fake face
and real axe?. '

It's porno really, isn't it?.

So the money shot
in these slasher movies

is the big kill.

Sean was very insistent that we
borrow from Hitchcock,

that piece of "Psycho," which
was to surprise the audience

within the first twenty minutes

with, 'These people are not
screwing around!'

People have said to me
that my character was sort of

Iike the Janet Leigh
in "Psycho,"

because I'm, I'm the set-up.

You know?. I'm the set-up
character to follow.

Excuse me, how far is
Camp Crystal Lake from here?.

It is a lot of fun being
the first person killed

in 'present-day' time of
"Friday the 1 3th."

But I didn't last too long.

We did the little stunt,
jumping out of the jeep

and running through the woods,
and that was really,

that was really great fun.

You see her up against
the tree.

And the knife comes up
(makes a swish sound)

and passes through frame.

And she's standing there
for a second.

she puts her hand up,
and you're thinking,

'Oh, maybe she's okay.'

And then the blood pours out.

The piece was very small
that was on my neck.

So, there was already a slit
in the piece.

And it was covered very well.

So, the tube, you know,
just ran down my sleeve,

and Tom was right there
working the blood.

Just right off camera.
It really did look great.

The beauty of these movies

and kind of the slasher movie
genre ultimately is,

you can go and just, if you want
to go see people get killed

in a variety of interesting
and compelling ways,

you can go and have that.

If you want
a little bit of nudity,

chances are you're going to
get that as well.

And I know as a young man,
that's what I wanted.

I needed the T&A for me,

to hell with the audience.

You know, bikinis and
swimming, and it's all just

young and hormonal.

Everybody wants to have sex
with each other.

Oh my god! I actually took
my clothes off!

Yes, it was for a great reason.

I got to have 'screen sex'
with Kevin Bacon.

Then, when poor Neddy
is on top,

we don't actually
see him killed,

but I thought that
was so brilliant.

With the blood dripping down.
It's like AHHH.

There you have Kevin Bacon all
satiated and smoking dope,

and he gets an arrow
through his neck.

I thought that was so creative
and so brilliant.

Probably my favorite.

But I had done
George Romero's Martin,

and in Martin the guy had to get
a stick in his neck.

And in Kevin Bacon's case,

we put that wife beater
on the fake body.

He's like on his knees
under the bed

with his head here,
and here's the fake body.

And me and my buddy, Taso,
under there and you know,

I'm pushing the arrow through
and Taso was pumping the blood.

But an accident occurred.

The tube separated
from Taso's pump,

so he grabbed it and blew in it.

And that's what made the blood
shoot out and gurgle.

Which was a happy accident,
it made the effect,

you know, bloodier and grislier.

She screams and the axe
comes up.

And you see the axe make contact
with the light.

You know, that was completely
Tom's idea,

as to make the audience realize
that this axe is a real axe.

It has substance to it,
and it's heavy.

I don't remember precisely
what showed up on film,

but I do know that the scene
was a lot longer

than what ended up in
the final cut. No pun intended.

Sex is part of
the driving thing.

There is this war between
sex and violence that goes on.

Sex...die
You know, have sex, die.

That's the premise, that's
the underlying thing, you know,

going through
the "Friday the 1 3th" movies.

Is Sean Cunningham
like a devout,

born-again Christian
or something?.

I don't believe "Friday the
1 3th" was a morality play.

Alice had sensibilities,

and she was not part of
what I called the clique,

or the in-group or whatever.

The reason the girl
who didn't make love survived

was that she was not distracted.

It's not that she was more moral
than the others,

she just had had nobody to
make it with

so she was not busy.

I remember one particular one

where Adrienne
is in the kitchen.

And she thinks she's safe.

And there's a place
where she just goes, [sigh]

and just as that happens --

WHAM! Somebody comes flying
through the window.

You didn't see
Laurie Bartram die,

the girl on the archery range?.

She was just thrown
through the window.

It was actually me

in her nightgown and wig,
going through the window.

But Cunningham's insistence

that he would not
give the audience any clues

that would hint at the killer's
real identity

resulted in "Friday the 1 3th's"
penultimate surprise.

Where is the killer?.
Who is the killer?.

And we bring in Betsy Palmer.

We cast Betsy Palmer.

And this was really my strong
feeling for Mrs. Voorhees,

that she should be somebody
warm and comforting.

So when that door opens,

and the audience sees
it's this nice mother type.

I'm Mrs. Voorhees.
An old friend of the Christies.

And you would think of her
and be predisposed

to think of her as
a nice person,

who then we find out is crazy.

I had heard,
I think probably from Sean,

that Estelle Parsons had been
offered the role first.

And because Estelle and l

are actresses of the same age
and all

Because "Friday the 1 3th's"
production schedule

got moved back,
she could no longer do it.

So it was strictly
a time thing.

It wasn't that she didn't like
it, or they didn't like her.

By the way, when l
read this script,

I said 'What a piece of junk'.

I thought,
'This will come. It will go.

Nobody will ever know
or ever see it'.

So I run into Mrs. Voorhees,

thinking she is the one
who is going to save me

I felt, 'Oh, this poor thing'

and she's telling me
about all this disastrous stuff

that was going on

They're all dead.
They're all dead.

And then we find out
that she had this kid

Did you know
that a young boy drowned?.

The year before those two others
were killed?.

Poor woman.
She lost her son, Jason,

while the camp counselors
were fooling around.

Jason was my son,
and today is his birthday.

And this becomes,
'Oh boy, look out now.

Now I get it.'

You let him drown!
You never paid any attention!

Look what you did to him.

In retrospect,
I think "Psycho" got in

in a way that I was not
conscious of at all.

Well, a boy's best friend
is his mother.

I basically reversed
Tony Perkins and his mother.

And I had the mother alive,
and the kid dead.

She's revenging
poor Jason's death.

And she believes
that it's our fault.

All of a sudden, I hear the
voice in my head saying

Kill her, Mommy! Kill her!

There's another place
where Betsy,

who's really
an incredible actress,

she did a thing,

and I even pointed it out
to her one day,

and when you say the line

He wasn't a very good swimmer.

And you smiled.

You're crazy, you know it,

and you don't care. (laughs)

And that's really scary.

I won't, Jason. I won't.

I came up with the idea
for Jason's name

'cause originally I had called
him, it was going to be Josh.

But the more I worked
on the film,

and the creepier the whole
subject of that got,

I stuck with the 'J'
and went to Jason.

And I knew a kid named Jason
when I was, oh,

about 8, 9 or 1 0 years old.

And he was one of them sneaky
little bastards,

who was always
telling on people.

And he was a mean little guy.

And so I never really
liked his name.

Despite having played arguably

one of the most
demented villainesses

ever to appear on screen,

Betsy Palmer
has amassed a large,

and largely-sympathetic,
cult following.

When I'm doing the autographs,
signing, conventions,

they put their babies in my arms

and this killer lady (laughs)
holds the little child.

The little children
come up and all.

I've said to people, I've said,
'Why?. Why do you love her

as much as you do,

when she's supposed to be
this dreadful human being?. '

And they say,
"Because we understand

why you did it."

Mrs. Voorhees, is,
to my thinking,

had every reason
to keep a camp closed

because otherwise
somebody else's son would drown

just like her little Jason.

And that's all she was doing,

was making sure that that
never happened to another mother

ever again.

I've never felt that
she was anything

but a mother who was trying
to care for a poor,

wounded cub.

I mean I couldn't imagine.
I'd just go crazy, myself,

if my grandson,
who I'm raising as my son,

if something happened to him.

So I can clearly identify
with Betsy Palmer's character.

Here's a child who's been
ignored, neglected.

I honestly felt like, 'Hey,
here's one for all those kids

who have been set to the side
because they were different.

Many years ago, with the help of
a very fine psychologist,

I saw that Mrs. Voorhees
is the mother I never had.

She is the mother
who will kill people

to avenge her son's death.

Undeniably, one of the film's
most memorable characters

is its iconic musical score.

and the now-infamous
sound effect

created by composer
Harry Manfredini.

So much of the delight
of "Friday the 1 3th"

and the experience of it,
came from the sound effects

and the music.

Somehow or the other, the music

had to evoke
and point out the fact

that the killer was there.

It wasn't
just the camera shooting.

it was the POV of the killer.

Harry's delightful
signature piece,

the ma-ma-ma-ki-ki-ki...

If you go to the end
of the film,

you'll see a very close-up
of Betsy Palmer's,

Mrs. Voorhees' mouth.

Where she's saying, to herself--

kill her, Mommy.

Kill her, Mommy.
Kill her.

I just went, and I took the
consonant sound of the 'K',

'Kl' from kill her,
and 'MA' from 'Mommy.'

I went up to a microphone
and just went 'k-k-k-' 'ma'.

And we ran it through something
called an Echoplex,

which was a gizmo back
in the late 70's, early 80's.

And it ended up becoming
'k-k-k-ma- ma-ma',

and that of course,
became the instant sound

that I needed
to bring the killer

into the first reel,
and throughout the picture.

And I'm sure that without
Harry's music,

and without the sound effects,

we never would have had
the success

that finally happened.

I think the women
were stronger in this film

than the guys were.

You know, look who
it came down to.

The battle was between
Mrs. Voorhees and Alice.

There was a sequence
that I was to,

well, I'd begun
to really lose it.

Smack her, you know, give her
a hit alongside of her chops.

Well, when we hit somebody
on stage,

we hit somebody.

So I hauled off,
and I gave her a smack.

Well, she fell
to the ground crying,

'Sean, Sean, she hit me.
She hit me.'

And he came over and he said,
'No, no, no, Betsy.

We don't do that in movies.'

I said, 'Well, what are we
supposed to do?. '

He said, 'You'll miss her.'

And he said, "We'll just bring
in the sound afterwards."

Alice doesn't want to die.
And she fights back.

And then they go through this
incredible beach ballet.

We're, of course,
pounding away at one another,

and I have her hair.

And then she goes at me
with some sort of a boat oar.

My favorite kill of all--
Mrs. Voorhees slow-mo.

It doesn't get better than that.
The ultimate kill by Alice.

The assistant director
came up, and said,

'Hey, we're gonna
cut your head off.'

He said, 'Don't ya wanna see
how we're gonna do it??'

I said,
'You've got to be kidding.

I could care less how you're
going to chop my head off'.

Taso Strevakis was my
assistant on that movie.

We actually made a cast
of Betsy Palmer's head,

made a rubber dummy of it.

We decorated the inside so when
it severed you would see

anatomically-correct
gore in there.

It was Tommy Savini's assistant.

It was attached to him
in some way.

And Tommy Savini
is the one that cut it off.

What I did was I attached it
with toothpicks.

So the toothpicks were just
kind of holding it in place,

knowing that when I whacked
it with that machete,

it would go through
the toothpicks.

And I wanted to whack it
so the head would spin,

which luckily it did
in the first take.

Oh, I mean, I don't have hair
on the back of my hands,

you know, like he did.

I thought that was
a little weird in one shot.

If you watch the movie when
Betsy Palmer is decapitated,

her hands come up
into the frame,

in kind of like grabbing air.

They're Taso's hands
with hairy knuckles.

It's not Betsy Palmer.

It's these big meat puffs
that he's got as hands.

Even after the dramatic
death of Mrs. Voorhees,

a final, crucial scene remained.

One that would prove to be
Cunningham's master stroke,

and a defining moment

that would, unbeknownst
to anyone at the time,

spawn a franchise.

You know, in talking to Sean
about the ending,

They really didn't
have an ending so,

and I had just seen Carrie.

You know in Carrie
they did a beautiful job.

Brian De Palma convinced you
the movie is over.

She's walking around
in the graveyard,

the hand comes up and grabs her.

Scared the bejesus out of me,

and I'm sure anyone else
who ever saw it.

So I said to Sean,

'Why don't we have Jason
jump out of the lake, you know,

and attack her?. '

But Jason's dead,' he said.

And I clearly remember that,
you know, if it's a dream,

you can get away with anything.

You could call it an homage,

I call it a theft.
You know, grand theft cinema.

I mean everybody, including
the special effects man

(laughs) to the girl
who typed up the memos,

to the girl
who went out for lunch,

claimed to have
written this scene (laughs).

But, I wrote it.

At first, they were thinking

of having Noel Cunningham,
Sean's son, do it.

But his wife
would have none of that.

My mother said,
'You're out of your mind

if I'm going to let my kid
spend four hours in a lake

in the middle of fall
in New Jersey

to be in your stupid movie.

Were it not for her,
I would have been Jason.

I would have been
the first Jason.

And I'm not bitter

Prior to that I had been
in "Manny's Orphans,"

and I played this kid Roger,

who was like a slightly
sex-obsessed little kid.

So Steve Miner
just kind of said,

'Hey, let's get Ari to do it.'

My investors in Boston

wanted to have it more
extreme and seaweed,

and maybe he could be deformed
a little bit,

and Tom Savini said,
'Oh, I've got a great idea.'

And he started to make his head
lopsided

and put a weird eye on him.

And it just became
more and more extreme.

We dredged up
part of the pond

and Tom Savini
used real swamp muck for that.

I came upon a picture
in this group of Polaroids

and I said, 'And who's this??'

And he said,
'Oh, that's your son.'

And I said, 'Well, why does he
look so strange?. '

And he said, 'Well, he said,
he's a mongoloid.

I said, 'He's what?.!'

I said, that wasn't
in the script!'

That's a nightmare Jason
that comes out of the water.

The real Jason was probably just
an almost ordinary child.

And so that part
is a total dream,

or it was in my mind.

We wind up having this gorgeous,
idyllic setting.

You know, on the lake,
in the canoe.

I did everything I could
to tell the audience

that it's okay now.
You can relax. It's over.

But the strongest aspect is
Harry Manfredini's soundtrack.

That was really the first
time in the film

where the music stopped being
the music for the killer

and started to really
manipulate you.

It's over. The police have come.
The cavalry's here.

It went on so long
that even the people

who were positive something
was going to happen

pretty much gave up that
something was going to happen.

Alice has this look of hope.

And she's just trailing her
fingers in the water.

And BAM!

And it was a wonderful addition.

I mean I think
that Sean's idea is right.

That it really wasn't finished
until that.

One of the really delightful
things that we could do

is go to a screening and watch
the people jump at the end,

because for whatever reasons,
this ending got 'em.

I'm telling you, people just
flew out of the seats

and ran out of the theater

and Sean was just like
a little kid going,

'l got 'em, I got 'em all!'

I think without
that single moment,

I don't think Friday would have
been half as successful

as it was.

Because the people got to leave,
strangely enough,

with a smile on their face.

They got tricked,
and they loved it.

And then the next scene
Alice wakes up,

and they tell her
no one else was found.

It was only her.
Everyone else is dead.

I remember the scene
in the hospital vividly

because, when I sort of ask,

when she asks me
about the boy and I go,

Ma'am, we didn't find any boy.

And she says

Then he's still there.

And he certainly was.

I knew that we're looking
at a Part 2 here.

Those little drops at the end,

Those little ripples
in the water at the end.

It's like, well, was it a dream,
wasn't it at dream?.

Were those raindrops,
or were those air bubbles?.

And I think now
we know the answer.

In early 1 980,
the film was picked up

for domestic distribution
by Frank Mancuso, Sr.

VP of Paramount Pictures,
who planned a national release

and a multi-million dollar
marketing campaign.

The risk paid off,
and for Paramount,

Sean Cunningham
and Georgetown Productions,

"Friday the 1 3th"
was about to become

their lucky day.

Frank Mancuso was head
of distribution at Paramount.

And he had the idea
of treating this little movie

as if it were a real movie.

And had no stars,
and nothing recognizable

except this sort of strange,
superstitious title.

And went out
and sold it like crazy.

1

2

3

Friday the 1 3th.
You may only see it once.

But that will be enough.

"Friday the 1 3th"
opened on May 9, 1 980,

eventually taking in $39.7
million at the U.S. box office.

If the reason behind the film's
immense popularity

was lost
on mainstream critics,

who not only hated the film,
but eviscerated it.

no one was more stunned by its
success than its creators.

For better or worse,
"Friday the 1 3th"

would change their lives.

and the horror genre...forever.

When it first started,
it was repeat business

that made it successful.

It was teenage girls
going to see it

and then bringing
their girlfriends,

and then dragging
their boyfriend to see it.

It was all this repeat business.

Before "Friday the 1 3th,"
maybe the most successful

quote-unquote horror movies

were handled on a very
limited basis,

Iike "Halloween"
or even "Carrie."

They weren't treated
as major motion pictures.

The fact that that one
became so wildly successful,

the producers jumped on it
as this is an opportunity

for us to sell this off
and make more and more films.

You also have to remember
this was back in 1 980.

This was before cable TV.
Before the internet.

Before VHS really. Before DVD.

So if you wanted to get anything
that was really titillating,

horror was the only place
you could go.

There was something,
um, exciting about it

'cause it was breaking
new ground.

And of course your parents
didn't want you to see it,

which only made you want to
see it that much more,

and made it that much
better when you did see it.

The modern horror movie
was kind of born,

because it now became
a possible player

in the mainstream distribution
of movies.

It's like "Night of the
Living Dead" with Romero.

Those guys involved in that
all had careers after that.

I thought it was
a piece of crap.

And l, truthfully, didn't care
if my name got on it or not.

At that time. (laughs)
And then when it opened,

(laughs) My god!

The critical reaction
to "Friday the 13th,"

was so abysmal that I knew
we were going to be a success.

I mean, there was one critic
who wanted us all arrested

and tried for horrible crimes
against humanity.

I'm convinced it has
something to do

with the growth of the women's
movement in America

in the last decade.

I think that these films are
some sort of primordial response

by some very sick people,
of men

saying 'get back
in your place, women.'

And I was upset by all of
the terrible publicity,

and the scorn
and the ridicule.

Gene Siskel gave us
this scathing review.

I think he even may have
published Betsy Palmer's address

saying, 'write to her
nasty things

because she's a terrible person.

How dare Betsy Palmer
play a role like this

in "Friday the 1 3th,"

when she has made herself
so lovable,

on "I've Got a Secret
all these years,

and all the television shows
she's done.

How dare she play a role
like that,

and insult her viewing audience?.

And I thought, 'Well,
those who can, do,

and those who can't, criticize.'

The first of the slashers

were to reflect the changing
attitudes and ideas

about women
and what they could do.

I think we go back to Jamie Lee
Curtis in "Halloween,"

Sissy Spacek in "Carrie."

Sigourney Weaver.

Alice, all of a sudden,
is the sole survivor.

And I believe it was
a direct reflection

of what was going on
in the world.

And I think "Friday the 1 3th"
really empowered women.

So after "Friday the 1 3th"
was released,

there spawned
a whole new industry

of teenage horror films
based on holidays,

or based on a serial killer,

based on very low budgets
and low writing.

Strangely enough, I think that
people often sort of imitated

my mistakes rather than
the stuff that I got right.

Well, "Friday the 1 3th" was
the greatest experience for me

up until the point
of after it opening.

It was huge. It was fabulous.

It was an actor's dream
come true.

It certainly was for me.

And then, slowly I realized
I had a stalker.

Stalking was not taken seriously
back in 1 980.

And it wasn't,
it wasn't something

that everyone was aware of.

I was starting to get
phone calls back then,

it was so easy
to get phone numbers.

He, he got into my apartment.

For over a year, I didn't know
who my stalker was

and what happened was,
he befriended me,

he actually worked his way
into my life

so I was actually
giving him information

about my stalker.

I had an ordeal with
him up close at one point,

which in itself,
is a horror movie.

Eventually, I had a gun
to my head.

And I was able to talk
the fan down.

It really took its toll
for a while.

But, it's all okay now.
It's all good now.

And having three generations
of fans

from around the world
that fly in to wherever I am,

at a city or a convention,

that really talk to me
and care,

and tell me how much
it affected them

when they found out.

It's just a gift.
It's a beautiful thing.

And, I thank them.

I've turned around
my thinking about it.

I think it worked out just
the way it was supposed to.

And I have never felt
that I damaged my career.

If anything, there are people
that would never know I existed.

We had this tiny little movie
that cost $500,000,

made in a boy scout camp
in New Jersey.

I (laughs) just cannot imagine
how we got here from there.

It kind of launched
the whole mythology.

And it wasn't by accident,
but it was kind of good fortune.

And it wasn't by accident,
but it was kind of good fortune.

By the end of 1 980,
Friday the 1 3th

had already unleashed
a slew of imitators,

throwing open
the floodgates

for fledgling independent
distributors

and major Hollywood
studios

Iooking to cash in on
the new slasher film craze.

With each film seemingly
made faster,

cheaper and gorier
than the last.

With Paramount Pictures
pushing for a sequel,

Sean S. Cunningham grappled
with the question

of what to do when
virtually the entire cast

of your film
and its villain - are dead.

So, now this phenomenon
takes place,

and 'Friday the 1 3th'
opens around the world,

and it's a big hit.

And the powers that be said,

We have to make a sequel.

And I'm saying,
Why would you make a sequel?.

I didn't think there was
going to be any others

after the first one.

We were never led
to believe that.

Mrs. Voorhees is dead,

and the image of Jason
in the lake

is completely a fabrication
of the mind.

I don't know what in the world
we could do for a sequel.

Let me make one thing
totally clear:

at the beginning of my movie

Jason is dead.
There's no two ways about it.

Jason is totally,
unalterably dead.

They offer me Part 2,
and then I got the script,

and Jason is running around.

I thought, What are you doing?.
There is no Jason?.

You know,
the mother is the killer.

Jason was the kid that
drowned in the lake.

Oh oh, we're going
to change all that.

Well, they never did.
So I chose something else.

I chose "The Burning,
which is sort of a rip off

of 'Friday the 13th."

I understand that it would
be very expensive

to bring Mrs. Voorhees
back to life,

especially after we cut off
her head.

So, we had to go somewhere,
and of course

Jason was the most
logical place to go.

Part 2 was basically
his journey

of seeking revenge
of the death of his mother.

And that's a very basic
foundation of storytelling.

Legend has it that Jason saw
his mother beheaded that night.

If you try to track that
on any kind of a timeline,

it makes no sense whatsoever.

He just shows up some X number
of years later.

And I don't know
if I'd want to try

to fill in the blanks
of what happened

in between all those years.

If you listen to the
old-timers in town,

they'll tell you
he's still out there.

He didn't drown in the lake.

The mother thought
he drowned in the lake.

So what happened to this child?.
He was young.

He kind of found
a way to survive,

and he grew up
in the woods.

Surviving any way he can.

So what is he?.

Is he living off crayfish
by the pond for 35 years

and nobody saw this weird kid
out there, you know?.

The first film
was obviously a thriller.

It was, you know,
almost a murder mystery.

Who's doing all this
killing and why?.

Oh, my sweet, innocent Jason

So the notion of having
a surprise

as to who it is, or what it is,
changed completely.

So, what the stories became

was sort of a ritualized telling

of a group of young people
who go someplace

where they shouldn't go.

You change the characters
a little bit,

but it stayed inside
of a very deliberate form.

While Cunningham
ultimately went on

to pursue other projects,

including "A Stranger
is Watching,"

"Spring Break"
and "Deep Star Six,"

his 29-year-old prot�g�,
Steve Miner,

was given his first feature
directing assignment

on 'Friday the 1 3th, Part 2."

Steve Miner
was definitely up for

'Friday the 13th' Part 2,
for directing it.

He and probably
with Sean's help, cast it.

They found the location.

They did all the preliminary
work on the show.

And I know that he was involved
with some of the writing of it.

Steve had been around all
of us for many years

so thathe actually was so
young at the time,

they called him 'The Kid'.

That was his nickname.

By the end of September 1 980,
a mere four months

after the release
of the original film,

Steve Miner and his crew
were already back in production

with 'Friday the 1 3th Part 2.

Code-named Jason.

New to the team
was 22-year-old

Frank Mancuso Jr.,

who would become
the driving force

behind the 'Friday the 1 3th'
franchise

Frank Mancuso, Jr. called me up
before the show,

and said that he was going
to come down

and be a P.A. on the movie.

I knew, of course, by this time

his father was the president
of Paramount Pictures.

I got involved in "Part 2" when
I was just graduating college.

And my dad knew
the guys from Boston,

Phil Scuderi and
Bob Barsamian,

who sort of initiated
the first movie.

He, you know,
went to work with us

and was treated like a member
of the crew,

became a member
of the crew.

Those kinds of experiences
I really feel helped, you know,

kind of form what I became
as far as having, you know,

a keen understanding
of what everybody does,

how they do it.

And he was really just there
to learn, I think.

And that's how it started.
He quickly caught on.

And a couple of the people

that were above the line
weren't working out

so they were getting rid
of some of those people,

so I kept on, like moving up
the food chain

kind of strangely.

And I think that that can only
happen on that kind of a movie.

"Part 2" picks up two months
after the events of "Part 1,"

with an extended prologue that
would see the return

and the demise of the original
film's traumatized final girl.

The fans have told me
at convention after convention

that they felt, quote-unquote,
ripped off

about the way Alice died
in "Part 2."

I do, too.

I mean she was such a tough
cookie in "Part 1,"

and then (throat cutting sound).

That was pretty much
a necessity.

I think originally she had been
approached to star in "Part 2,"

but her agent,
as I understand it,

just wanted too much money.

So, she was basically
written out.

Honestly, when I got
on the set that weekend,

I didn't know it was over
for Alice until I got there.

So, surprise!

They never gave me a script
for "Part 2."

They said, 'Oh, it's just
gonna be improv.'

I'm not kidding you.
This is how it happened.

They, 'Slam-bam-thank you,
ma'am?. '

Roll around
on the bed for a while.

Intercut. Okay, go to the door,

that whole phone conversation...

I just have to put my life
back together,

and this is the only way
I know how!

Not scripted. All improv.
All improv.

After Alice's discovery

of Mrs. Voorhees' decomposing
head in her refrigerator,

she is confronted by the
vengeful, and fully-grown,

Jason.

I shot that scene
in one night.

And it was a prop man I met,

one who didn't check his props.

And so the first time the
ice pick went into my temple,

it did not retract.

Yikes!

After an explosive
main title sequence,

the story jumps ahead
five years in time

as another group
of unwary counselors

arrives at Crystal Lake to open
a new summer camp

headed by the enterprising
Paul Holt.

I'm also sure there's one thing
I don't have to tell any of you.

Being a counselor
isn't the gravy summer job

everybody thinks it is.

And I was a little older
than everybody

because I was the head
camp counselor.

He, you know, thought he was
somewhat older,

and knew more than these people,

he was a little prissy
and stuffy or something.

You know I thought that would
be kind of a funny thing to do

with the character.

Assisting Paul is the spunky
and intelligent Ginny.

Who would become one of the most
memorable

and well-regarded characters in
the 'Friday the 1 3th' series.

To know that I did
one of these films

where they get all these
women in that are so vulnerable,

and to be the one that people
think was strong

and intelligent,
it just, it feels good.

There's always the last damsel
in distress

who, you know,
summons up the courage

to fight back.

And then I guess with
my character,

it was pretty great because
somebody who was strong enough

to fight back and kind of
stay present

in the face of danger.

And I was so young
that I didn't create

a whole other life

'cause I think that
what was really called for

was exactly who you were
as a person,

to bring that to screen.

Her character was
written for her,

and it was written well.

She was very, very well liked
on the crew as well.

Amy slept with everybody
in the entire crew,

the actors and most
of the people in Kent.

I'm just kidding.

Well, there's something
about the chemistry

that we both have a very similar
sense of humor.

It's a little bit sarcastic.

(laughs) So we could look
at each other and kind of laugh.

I think that's why
it might have worked.

PAUL: Ginny, I was starting
to worry about you.

GlNNY: Bullshit, Paul.'

We actually stayed
in a camp

that was no longer in use
because the season had passed.

So we were in these
big barracks.

I mean, it was insane.

Basically, it was
a children's camp,

and we wanted
to keep it that way.

We didn't want anything
to stand between

the good feelings that people
had about the children

and a healthy environment,
which was a little bit different

than the Jason environment.

It was cold.
Everybody had heaters and stuff.

And it was pretty basic.

It was like living at night
for two months.

You just start getting
kind of creeped out.

You know, everything looks
so calm down here.

I'm looking pretty closely,
I don't know,

it would be amazing if all of a
sudden Jason just popped out.

They weren't sure which role
they wanted me to play,

so I wound up auditioning
but I think there was a point

where Steve said,
'Hey Stu, tell a joke.'

I did, I told a joke.

They wound up,
in the movie, using jokes

that I had invented like this

TED: 'What's brown
and sits on a piano?. '

VlCKlE: 'Your face.'

TED: 'Beethoven's
last movement.'

There was a sign on the side
of the road

in the beginning of the movie,

but we do have that sign
as a remembrance

of that particular scene.

We come back to Crystal Lake to
open up this camp again,

I thought all of us
would have been smart enough

not to go back to a place
like that,

but here we are going back
to a place

where all these people
were murdered.

The first night that we're
there and everybody's gathered,

and everybody's
made it to the camp,

Paul Holt basically scares
the shit out of everybody.

I don't want to scare anyone...

but I'm gonna give it
to you straight about Jason.

I had never been to a camp
in the country,

so while he's doing
that monologue,

Iittle Lauren-Marie Taylor is
thinking inside her head,

Ahhh! -- For real.

I thought that John did
a great job of, you know,

kind of, in the scene,
of building the tension,

you know, then to break with
Ted, you know,

jumping out
and scaring everybody.

[Ted howls and Group Screaming]

And we just think it's going
to be a regular summer,

the kids are going
to arrive.

And then these horrible,
horrible things start happening.

And one by one
Jason Voorhees kills us

and continues to do
what he does best.

With the departure
of gore wizard Tom Savini,

another renowned Hollywood
special effects artist,

the late Stan Winston,
was initially brought on

to create the film's
bloody set pieces.

Due to scheduling conflicts,
however,

Winston was forced
to drop out of the project,

handing his duties over
to up-and-coming

special make-up effects
designer, Carl Fullerton.

But a key casting decision
still needed to be made.

Who would play murderous
mama's boy Jason Voorhees?.

That question would,
like the character himself,

grow into the stuff of legend.

They give me a black script.

It said "Jason"
on the front of it.

'Well, we like you, you know,
for this counselor role.'

I guess this was the role
that ultimately John Furey got.

And so then they said, 'Well,
would you like to be Jason?. '

Well, sure, yeah (laughs),

I'd love to do anything
you want me to do.

I could never figure out
the deal with Jason.

They had a guy for a while.

I believe his name
was Warrington.

And then he didn't seem to like
doing it,

or he didn't want to do
stunts or something.

And then, he didn't stay
for the whole movie

I got a call from
Cliff Cudney,

who happened to be
the stunt coordinator

on 'Friday the 1 3th 2,"

and he had called me and said,

'Listen, I'm up here
in Connecticut doing this film,

and the guy that they hired
to play Jason

can't do his own stunts.
We got big problems.'

He says, 'Can you get up
to Kent, Connecticut?. '

I know that the rest
of us on set,

we knew that there was stuff
going on about Warrington

and Steve and in terms
of who was doing what.

If you had asked me
who was Jason,

I would have said Warrington.

Warrington Gillette
was my Jason Voorhees.

He got all the hoopla,
you know,

for everything that I did.

Cliff Cudney, the stunt
coordinator, said to me,

'You're the guy
that was the Jason.

Tell your story.
You did all the work.

Ironically, neither actor
played Jason the first time

the character appears on screen.

For the film's moody opening,

Jason was played,
for the first and only time

in the series' history
by a woman--

costume designer Ellen Lutter.

It also fell to Lutter
to come up with a disguise

for the hideously-deformed
Jason.

One that could only be called
a first step

in the evolution of one of
horror's most iconic faces.

It was through Steve,
I remember him and Sean

having these talks
up in Sean's office

and coming up with designs

for you know "Part 2"
with that canvas bag.

Instead of using an ugly face
or an ugly mask for Jason,

he would just cover it
completely

in a sack or a bandage,
or whatever.

And everybody in the audience
would have their own images

of what is the most horrible
person they can think of.

And it worked pretty well.

The movie,
"The Town that Dreaded Sundown"

had a serial killer
wearing a potato sack,

and so I think that could
have been, you know,

an idea that was definitely
well utilized.

The costume designer
was the one that brought us

the pillowcase to cover Jason.

I didn't like it at the time.

But, I know why it was chosen.

It was chosen because it was
an artifact

that was readily available.

That was the bridge
to the hockey mask,

which became the icon,
and it was a great icon.

Once I put the bag over my head,
and I ran in the woods,

I couldn't see anything
'cause the bag flopped

back and forth.

We'll put double face tape,

and we'll hold it
right close to your eye.

This way you'll see
where you're going.

And it worked marvelously.
It was terrific.

But to me, you know,
the real talent came in

with Carl Fullerton
trying to create this face

that was pretty pretty intense.

And yeah, you would get in the
makeup chair at noon

they'd be ready
to go at seven.

So it's a process.

Another notable character
from the first film

would also meet an untimely and
early demise in "Part 2."

I told the others.
They didn't believe me.

Walt Gorney was just there
for a very short time

at the beginning
of the movie,

and at the beginning
of our production.

I'd say near,
between the American flag

and that stop sign,

that's where they had
the phone booth.

And the actor came
riding through on a bicycle

when they were in
the phone booth, and said,

'You are all Doomed!'

You're all doomed.

Amazing guy.

I remember Walt being sort of
quiet, but very, very nice.

Veryand very,
very kind of elegant.

A really good actor.

It was interesting,
when they did set up that booth

in New Preston,

they took a break for lunch, and
while they were eating lunch,

two young girls came and they
tried to use the telephone.

And of course,
it was a dummy phone,

and everyone was just hysterical
watching them

trying to use it
and coming out angry.

Crazy Ralph was choked.

He was, I believe,
the first death

in 'Friday the 1 3th' Part 2.

Yeah, yeah, I killed Ralph
with a garrote and a thin wire

and you take his head like that.

What are you kids
doin' out here?.

I'm proud to be known
as Deputy Winslow.

In the original script,
I wasn't named.

I was just kind of
an officer of the law.

But in the book that followed,
I was given a name,

and the name was Winslow.

An interesting anecdote is that
I was hired as this cop.

And I had to drive a police car.

Now, I've never driven
a car in my life,

before or since.

And for a time they were
giving me some lessons,

and I almost killed
more people than Jason.

Now if you were a policeman,
and you were doing your job

and you came driving down
the road here,

and you saw a shape rush across
the road into the woods,

you probably would do

what that policeman in
'Friday the 1 3th' Part 2 did.

He pulled over, got out of
the car and ran into the woods,

chasing the figure.

Unfortunately, the results
weren't so good to him.

In shooting that death scene,
Jason has this hammer.

The claw end of the hammer

went right in the back
of the cop's head.

Before we started to shoot,

I went to this make-up place

and they made this exact
replica of me.

And they put some blood bags
in there,

and they were gonna smack me in
the head and (raspberry)

everything was gonna
go like that,

and they never used it.

It intrigued me that we killed
Walt and the sheriff so early.

And I think it was
just to remove any possibility

that the cavalry would come over
the hill and save the campers.

So you knew that they were
in jeopardy,

and that there was just
no turning back, or no help

from the outside
going to come.

So there I was, sitting in this
fast food joint.

I think that Muffin was,

I don't know if it was
someone's personal dog,

or it was actually a trained
performing dog.

It was very likable,
very friendly.

I think it actually got
its name above my name

in the credits.

Do you want to dance?.

No, thank you.

My character, you know,
was just striking out

with women
and with the girl he was after.

But the dog, she showed me a lot
of love in that movie.

One of the cuts that I love
from 'Friday the 1 3th Part 2,"

is the camera is on the dog
and all of a sudden

it cuts to hot dogs
on a barbeque grill.

And it's just funny,
and Steve is like that.

He has a sort of like a very wry
sense of humor.

Well, I think that if Muffin
was still around,

you know, we probably
would have stayed together

and but I don't want to get too
specific about that. (laughs)

One of the actresses went
swimming in the nude,

and of course that was a big
talk in the group,

and everybody volunteered
to come there

and help with the scene.

They were looking
for a towel boy.

Somebody who would wrap
towels around,

I believe it was Kristen

who would come out of the water
in the nude,

and everybody volunteered.

Looking for something?.

I was so innocent. You know,
I don't know why I was killed.

I don't know why Jason had it in
for me. It's crazy.

My mother calls me
the night before and she goes,

'Do you die today
in the movie?. '

I go, 'Yeah.'

She goes, 'Why are they
save that to the very end?.

Is this a snuff movie?.
Are they going to kill you??'

I said, 'No, I don't
think so, mom.

This is Paramount.'

The snare was attached
to a sapling tree.

And when he cut the rope
on the sapling tree,

it pulled the rope up, which
would have the victim's foot

in the rope and he'd be hanging
upside down.

AAAAHHHHHHH!
AHH! HELP!

In effect, it worked perfectly
and nobody was hurt.

My head gets pulled back by
Jason, and he slits my throat.

First they put the machete
against it,

and then he would pull it
and as he slit,

it looked like he was
actually cutting it.

But they used the dull side of
the machete and many times

people have said to me,
'lt looks like you were cut

from the wrong side
of that machete.'

And it's quite true.

The role
of wheelchair-bound Mark

was played by openly gay actor
and model Tom McBride,

who sadly passed away in 1 995.

I started flirting
with Tom McBride very early

in the process.

And he finally said,
'Lauren, not gonna happen.'

And I went, 'Oh, shucks.'

He's actually the only one
I flirted with,

but Tom McBride was great.

And he was just
a sweetheart.

If you watch the movie,

the most uncomfortable moment
I have

is when I look at Tom McBride
in the wheelchair,

and I'm supposed to be
smoking a joint?.

And I say...Toke?.

You can tell I have no idea
what I'm talking about.

And everyone on the set knew it.

And they never let me forget it.

I was such a good Catholic Girl.

McBride's death scene in
'Friday the 1 3th Part 2"

remains one of the series' most
memorable and controversial.

I thought Tom McBride's
kill was cool.

He got a machete in his head and
went down a series of steps.

It was just, seemed so cruel.

You know, here's a guy
in a wheelchair,

and you know he's got no way
to defend himself really.

To me that's like,
how could you

go much further than that?.
That's really far.

Actually, he had
constructed a rail

for the wheelchair
to travel on,

and to make sure that the actor
wouldn't get hurt.

It was a tremendous amount
of work put into it.

It was a fantastic,
fantastic stunt

back down that staircase.

I don't know
if you've ever tried

to go down backwards,
on a wheelchair,

with a make-believe machete
in your head,

but it's a challenge.

Many of the film's
most inventive murder sequences

were actually suggested
by the late Phil Scuderi,

who never took credit for his
creative contributions

to the 'Friday the 1 3th' films.

Phil Scuderi was more,
I would say,

Iike the architect
of the series.

He came up with some great
scenes himself.

I mean he, and it was
embarrassing sometimes,

he'd get up in a restaurant
and act them out for me.

You know, 'This is what I want
you to write,' you know,

and he'd act a scene out for me.

Of course there was a couple
in the bed having sex.

And we all know
in a horror movie,

if you have sex,
you have to die.

Because it's wrong.

Which is not the case
in real life.

Oh, I thought it was great,
are you kidding?.

You know, I remember
I was a young guy, you know.

You'd be able to, you know,
film this, you know, love scene.

And then, and then get a spear.
I thought it was terrific.

Essentially, there's a hole in
the floor and both characters

were standing in this hole.

Carl Fullerton who was
our make-up guy,

I had gone to his place
in New Jersey

and they had made a latex back,

which actually you never see
in the film.

So he was actually
skewered on camera.

That spear actually went into
his back on camera.

It was fabulous.

It was just really fun.

The sound guy at one point,

I'm sitting there on my knees
and he comes over to me,

and he says, he says,
How are you?. How you doin'?.

Are you okay?.
I said, 'You know, yeah.

I'm alright, you know my, you
know I'm a little uncomfortable.

He said, Open your mouth.

And he blows some powder
into my mouth.

And I'm telling you, they could
have filmed it 1 5 times.

I was having a great time
after that.

Fullerton's human-shish-kebob

was one of the many graphic
special effects

deemed too disturbing

by the Motion Picture
Association of America.

To date, the scene has
never been released

in its uncut form.

That skewering scene was
actually really fun to set up

and really fun to shoot.

And what a disappointment
that it all hit the floor.

When we were prepping
"Day of the Dead,"

Carl Fullerton said,
'Oh, do you guys want to see

some of the gags
from 'Friday the 1 3th' Part 2?. '

We're like, 'Yeah, of course.
That would be great.'

Before it got butchered
by the ratings board,

the fact that
the guy's on top of her,

and she sees Jason coming,
and she's struggling

and she's trying to push him
off of her

so she could get out of the way.

It was such an effective,
disturbing sequence

that, to this day,
I could, I still remember

exactly what it looked like.

For all its gory inventiveness,

the scene has been
widely accused of ripping off

a nearly identical
murder sequence

from Mario Bava's
1 971 Giallo thriller,

"Twitch of the Death Nerve."

It was kind of fun
after the fact

to discover that Mario Bava
had made a film

called "Twitch
of the Death Nerve,"

which I had never heard of
and never seen

until long after the fact.

This is going to sound
really, really weird,

but I was a great screamer.

I hope nobody takes that
the wrong way.

But, I was. I could scream,
I mean -- (screams)

I was really good at that,

and I think once they figured
that out,

they decided, 'Okay, we're gonna
have her scream a lot.'

So they made it really long.

And it started with just that
little swipe on the leg.

Where he, kind of, missed
whatever he wanted to cut off.

But then he kept,
you know, it was like...

(makes Psycho sound effect)

They didn't use a dummy for that

when they dragged me
down the stairs.

They actually dragged me
down the stairs!

So when you saw my feet going
blump, blump, blump,

that was a crew member
dragging me down the stairs.

There was a scene later on,
where everybody's at the bar,

and everybody's you know,

partying while the rest of us
are getting killed.

Ginny: What if there is a Jason?.

Paul: Oh, bullshit, Ginny!

Ginny: I mean, let's try to
think beyond the legend

and put it in real terms.

I mean,
what would he be like today?.

The character of Ginny Field,

she somehow really understood

that there's more to a person
than just the bad side.

You know, and everyone
wants to demonize somebody.

And so, she had some kind of
insight that this,

something had to go wrong
somewhere in his childhood

or his upbringing.

He must have seen his mother
get killed,

and all just because
she loved him.

I think Ginny kind of
understood that some,

that there's more to it
than just this demon guy

with a pillowcase over his head.

We went to that bar
and none of those people,

I think, had ever seen a movie,

had been around a movie.

And they were all hired
as extras.

And it was pretty funny.

And we actually started
drinking a bit in that scene,

so by the time
four in the morning came along,

we just kept drinking.

Arguably the luckiest character
is fun-loving prankster Ted,

who decides to stay behind
at the bar,

thereby escaping certain death.

I did another movie, a John
Carpenter film, "Christine,"

and there's a scene in that
where I got killed.

Where I got squished.

And they originally filmed it
as me getting crushed

underneath a car coming down.

In the movie they wound up
not using that scene.

And I'm convinced that it's
because I don't die good.

(laughs) So I'm glad that they
didn't try to kill me here,

'cause, you know, to make
believe me dying as an actor,

has got to be
one of the silliest things

for a grown-up to do.

This is the site of the old
Lake Waramaug Casino,

and this burned down
about a year after it was used

for some scenes
in 'Friday the 1 3th Part 2."

It starts to rain
and Amy Steel and John Furey

are coming out of the bar.

And they're
about to get into their,

her little red Volkswagen.

But I convinced Steve Miner

that I could run
through the scene

in the parking lot.

As they're getting in the car,

you can see me
running into the restaurant.

You can't even tell
that it's anything

other than a body running
through the rain, but it's me.

I come back from the dead.

Unaware of the carnage that
has occurred in the main cabin,

Ginny and Paul
make a gruesome discovery,

and the terrifying final
confrontation with Jason begins.

When I'm down there waiting,
and they're coming in,

and I'm behind the couch,
I was like a little kid.

You know what I mean?.

I was like, I couldn't wait,

I was, oh,
this is gonna be good.

Paul, there's someone
in this fuckin' room!

Amy with the screaming,
and the whole thing.

And that's when
the chase scene started.

There was a lot of physical
action in the film.

I had to jump out
of this window.

And I remember the stunt guy
said you know,

'Maybe you could get
a stunt adjustment for that.'

But yeah, it was
a lot of running.

Splashing through the puddles.

Jumping, hiding,
a lot of it was hiding.

I really like Amy,
I mean, I always liked Amy.

She brought a great sort of
buoyancy to whatever she did.

I mean, she came in,
she was enthusiastic,

she was down with whatever
the program was.

Here I am under the bed,

and Jason's walking around,
and I'm scared to death,

and all of a sudden a rat comes
right in front of my face.

I thought Ginny was so scared
she peed her pants.

Maybe it was the rat,
I don't know.

But it wasn't a large amount
of pee for a rat?.

I gotta give Amy Steel
a lot of credit

because all during the filming
Amy never spoke to me.

Off camera.

I didn't have much
communication with him,

or I kind of kept him
very separate.

Amy was non-existent.
She didn't want to come near me.

She didn't want to know
anything about me.

I respected that.
I stayed away from her as well.

But mostly, you know,

they would shoot him
and then shoot me.

So we were never exactly at
the same place at the same time,

with the exception
of the sweater scene.

That final scene we used to call
Chez Jason.

Where Amy goes and dresses up
as Mrs. Voorhees.

And Jason is somewhat
stunned by, wait a minute.

This is my mom.

And she psyches him out.

In her only cameo in any of
the 'Friday the 1 3th' sequels,

Betsy Palmer appears to Jason

as the ghostly visage
of Mrs. Voorhees.

They said, would I come
and let them make up my head?.

Again.

And that they needed that
and do a few voice-overs.

And I said,
Sure, I'll do that.

Which I did.

He's a tragic figure because he
was looking for his mother.

Now here, after all this time,

Amy's in the lair,
and she says

Jason, mother is talking to you!

Jason, Mother
is talking to you.

And when I listen
to what she said,

that's when I did the,
you know, the tilt the head.

Is that my mother?.
Is that my mother?.

My heart broke. I really
felt bad for poor Jason.

I felt what I was doing
through the whole thing,

I really did.

That was the point
of the film where I went,

'That's really
where we're going.

That's what the sound
of this is.'

So there was a certain
ethereal, sort of spacey,

kind of sound that permeated
the picture from the beginning.

I have the machete
behind my back.

And I'm instructed
to pull the machete up.

And just as Mrs. Voorhees'
face is revealed,

he's supposed to bring up
this pickaxe.

And then that's when I bring
the machete down.

There was a lot of discussion
before that scene was shot.

It was ultimately decided
that Amy could do it.

So Cliff took her,
and he walked her through it

a couple of times,
on what would happen.

'Make sure you hit the pickaxe
in the middle,

and so forth, and so on.

She is a great actress, but
unfortunately that day for me,

she was trying to kill me.

So I guess I got really anxious,

and I brought the machete down

when he still had the pick-axe
like this,

as opposed to this.

She missed the pick-axe,
and she came down on my finger.

And I felt so bad.

But the actor who played Jason
was really cool about it.

You know, he just said,
'Hey, this is what happens.

This is what happens when you're
a stunt person.'

So then he goes to the hospital.

I think he had the machete
through his chest or something,

and walks into the
emergency room and they're like,

Oh, my god!

I come walking in
with the machete

sticking out of my shoulder,

and everybody
in the emergency room went...

And I walked up to the desk,

I says, Have you got anything
for a headache?.

I've got a very bad headache.

They stitched him up.

But, he was professional,
he came back,

and they finished the scene with
the bandage under the shirt.

And I have 13 stitches
in this finger to show you.

It's right here,
this, it's 1 3 stitches.

So, very apropos.

Muffin comes tottering in.
(laughs)

'Oh, Muffin. You're alive!'

Come here, Muffin.

The scene where Jason comes
careening through the window?.

Look, you thought
he was dead.

And it's the greatest shock.

I know that the Jason
coming through the window

was a nightmare for me.

I had to do it three times.

And it was really scary.

And yeah, it's plenty scary.

The mystery of the unknown.

What is behind that
potato sack?.

We never saw the make-up.

And he didn't want me to see it.

And he wanted to look
really real.

You know, because we could have
walked up to the make-up area

and seen what this guy
looked like

so we wouldn't have been
as shocked, you know,

when he blasts
through the window.

They built a platform
outside the house.

The platform was probably
4 feet long.

So we coordinated how
many steps it takes.

One, two three, bah, you know,
through the window.

And at this time in my life,

I was not a well-seasoned
stuntman.

So this was the first time
I jumped through a window.

Steve was, he knew how I felt
about that scene.

And I remember he was,
you know he goes,

Hey, let's go have lunch.

And he was trying to kind of
play it really cool

and not let me know.

And then all of a sudden
he said, Guess what?.

We have to re-shoot
that scene again.

Ruined my day.

But anyway, look, the proof
is in the scene.

Cause we got it right,
and people are still talking.

Much like its predecessor,

Part 2's ending would ultimately
pose more questions

than it answered.

Chief among them,
what happened to Paul?.

The end of
'Friday the 1 3th Part 2"

is still one of the most
confusing endings

of that series.

You didn't know what happened
to my character.

Like she says
at the end of the movie,

she says, "Where's Paul?. "

And they said, "We don't know.
We haven't found him yet."

So they purposely
left it ambiguous.

And I'm not sure exactly
what did happen to Paul.

Too bad he didn't come back
in Part 3. (laughs)

As noted, we've seen a dog
that earlier in the film

it's suggested has been killed,
shows up again.

There is, of course,
some speculation

that it's a dream ultimately.

Maybe that's one of
the good parts of the movie

is that you get to decide that
for yourself.

I guess there was talk
of an alternate ending.

It was not anything
that was prominent

when we were shooting it.

At the very end, they zoom in
on Mrs. Voorhees' head.

It was just sort of
sitting there on the altar.

I know when they were
shooting it,

I think they couldn't decide

whether the eyes
should open or not.

I think that they did
make her eyes go open.

Although the alternate ending
of 'Friday the 13th Part 2"

remains unreleased,

production stills have surfaced
of actress Connie Hogan,

who played the decapitated head
of Mrs. Voorhees

in the film's unused final shot.

In my world that was never
a serious contender

for an alternative ending.

And we spent a lot of time
getting it right.

And we did.
It's a fabulous ending.

One of the guys came to me,

I was from the camp office.
And he said, "Thanks a lot.

We left you a Thank You
down at the lake."

I came down there
and what I found was a head

hanging from a tree
in a little net basket.

And, I guess
that was my thank you

for the courtesies extended
to these guys and the cast

who were down there.

So I still have that head and
I've had a lot of fun with it

over the years.

As a matter of fact,

I've had a number of people
who wanted

to purchase that
and the Crystal Lake sign,

but they bring back too many
happy memories to me.

Paramount Pictures released
"Friday the 1 3th Part 2"

on April 30, 1 981.

Continuing the original film's
winning ad campaign

highlighting the escalating
body count,

PART 2 brought in a final
domestic box office take

of $21.7 million.

Even if the sequel didn't
achieve the monster success

of the original,

it was still a bona fide
moneymaker.

If nothing more, it proved
there was much more lifeblood

to be drained
from Jason Voorhees.

The film came out,
and it was amazingly successful.

We were all very proud of it.

We made it
on a very small budget

and pretty adverse
circumstances.

You know, somebody from
Paramount called me up one day

and they said, 'You're starring

in the number one box office
movie in America.'

You know, it sort of
sinks in then.

And I'm glad that it's an
iconic kind of horror movie.

I was shocked.

I had no idea that there was
such a fan base

for this film,and for Ginny.

And everyone I've met
has been excited

and just been nothing
but gracious.

When I got involved in
the second 'Friday the 1 3th'

I had never seen the first one,

so I didn't know
what I was getting into.

And I very quickly had to sort
of get up to speed,

and I had to very quickly sort
of had to assimilate myself

into a place that I hadn't been
because of the opportunity,

and the faith that people had
in me, that they gave me,

it turned out to be a, you know,

Iike a life changing sort of
dynamic for me.

We were actually shooting
the end of the movie,

and Frank comes up and says,

'Can I talk to you
for a minute?. '

and I said, 'Sure.'
So he said,

'l have two job offers
when this film is over.

One is I can be
Robert Evans' assistant.

He's doing a film
for Paramount.

Or, I can produce my own film.

Which do you think
I should do??'

And I said, 'You know, I think
you should do your own film.

I think that that would be
great for you.

I think you're ready
to do that.'

And I was just really thrilled
that he asked.

And I had no idea
what he was talking about.

And it turned out to be
Friday the 1 3th Part 3.

And off he went.

And he did a great job
with the series.

I had no idea it was going to
work the way it did.

In fact I really thought

it wasn't going to work
the way it did.

And I'm delighted
to have been so wrong.

And I'm delighted
to have been so wrong.

Bolstered by the success
of 'Part 2.'

'Friday the 13th' managed to
survive its sophomore slump.

A third installment
seemed a foregone conclusion.

This time, however,

the previous film's
surviving character

would not return to face Jason.

'Part 3' was going to have
me as a trauma patient

in a mental hospital

and that Jason was going to come
to find me

and now his focus of revenge
was all on me.

And then he started offing
all the patients,

and they were going to call it
'Friday the 1 3th

Meets Cuckoo's Nest."

I was offered to write "Part 3"
but I turned it down.

I didn't want to be pigeon-holed

as 'Friday the 1 3th' guy.

I said no because I thought
I was going to go on

to all these like other things,
and I didn't have time.

But in hindsight I should have
just done it

and had a great time.

Once again, Steve Miner returned
to the director's chair

while script supervisor
Martin Kitrosser,

along with his wife
Carol Watson,

wrote the screenplay.

This time,
the Boston-based investors

put the film into the hands
of a young,

but extremely capable,
new producer.

These guys in Boston were
used to working

with people that they knew,

Iike they knew Steve Miner
from the first movie.

He was a PA. Then
the second movie he directed.

He directed the third movie.

So they liked sort of
hanging onto people.

Despite receiving a serviceable
first draft

from Kitrosser and Watson,

the producers ultimately
decided that the script

needed more work before
the project could be green lit

for production.

I was friendly with
Frank Mancuso,

and he mentioned
that they had the screenplay

in a series of horror movies,

it was called
'Friday the 1 3th.'

It's not a bad script,
but it has to be re-written.

It has to have a different kind
of atmosphere.

It has to be
a lot more sinister,

a lot more menacing.

In addition to injecting
the screenplay

with more horror and menace,

Steve Miner felt that 'Part 3'
could benefit

from the revival of a gimmick

that he hoped would draw
audiences back into theaters.

And one that would make
it possible for Jason

to literally
jump off the screen.

'Friday the 1 3th Part 3'
would be shot in 3D.

Back in the early 80s,
Frank Mancuso, Sr. and l

sat in an office in Toronto

and discussed the idea
of really trying to do

something radically new in film

that would help the theaters out
a great deal.

And what kind of a movie
should we make?.

Should we do something like
"Star Trek 3D"

which is what was
originally discussed,

or should we try to do
something that's horror

and to try to really break
the ground in horror films?.

We spoke a lot about
the horror films

that came out in the 50s in 3D.

I had not seen many 3D movies,
maybe one or two only.

He took me to a 3D screening of
"Dial M for Murder"

which was he, Steve Miner
was a fan of that movie,

and a fan of Hitchcock
in general.

Frank Mancuso, Jr.
really saw the idea

of what the potential was.

That whole idea
of going to a theater,

putting these kind of goofy
glasses on.

You want to have that fun
and so, you know,

that was part of the charm,
I think.

To help defray costs associated
with the new 3D technology,

the production team moved
to the west coast.

and by the spring of 1 982,

the search was underway for yet
another resourceful

female survivor
and a youthful cast

of soon-to-be victims.

I sat in on the casting,

and I was surprised
how different my ideas

of who should be the girl were

compared to who was selected
by Steve Miner.

Well, I had done a film called
"Sweet Sixteen,"

and I guess
the producer/director

saw me in that,

And I went for an audition and
basically met with Steve Miner

and that was it.

I didn't really have to do a
whole lot of auditioning for it.

There was a group of us.
There was the jock,

and the good-looking girl,

and the nerd
and his good-looking date...

I don't think so.

And the stoners.

They didn't really tell us much
on the interview.

It was very secret. There
wasn't a lot talked about.

My mother was an agent
at the time,

and I was getting ready
to go to college.

I had been working as a child
as an actress,

and it was time to go
to college,

and I was excited about that.

My mom called my agent and said,

"There's an interview
for a movie of some sort.

Crystal Japan.

But when we finally found out
what it was,

oh, it was so exciting.
It was wonderful.

Actor Larry Zerner was literally
approached on the street

by the film's screenwriters,

who thought he was perfect
for the role

of the overweight,
insecure prankster.

Andy: Relax. Be yourself.

Shelly: Would you be yourself
if you looked like this?.

Shelly was unattractive
and heavy,

and he just had very poor
self- esteem

so he thought that if he had
these little tricks,

that would bring attention
to him,

which would make people
like him.

Shelly: I guess
I fooled you, huh?.

He's a little misguided
that way.

Vera: Why do you do
these stupid things?.

Shelly: I just want you
to like me.

I think given Vera's character,

she did see the good in him,

despite the fact that
she was supposed to be a babe.

And I talk to people
who go, you know,

I really love Shelly or I love
the character and I love you.

And then I do talk to a certain
amount of people who go--

Hated Shelly.
Worst character in the series.

After the dilemma

of finding a capable stuntman
in "Part 2,"

the filmmakers decided they
needed someone more agile,

more athletic and more powerful
to play the savage killer.

I was actually working
as a stuntman in LA.

My background
is actually circus.

I spent most of my life
as a flying trapeze artist

in the circus.

He looked like the boogeyman.

He looked creepy and scary

in the way that Richard Brooker
had him moving.

There's a certain
malevolent intelligence

to the character in 3 that's not
seen in the other movies per se.

I didn't get any direction from
Steve Miner at all actually.

He actually came to me and said,
you know,

"Don't ever come to me and ask
me what your motivation is

because you have no motivation.

You're just a mindless killer,
and you just go out and kill.

You're like the living
version of "Jaws."

The creative choice
that Steve Miner made

to keep Jason
lurking and unseen,

I think was just a masterful
creative choice

that added to the suspense.

Steve knew that it was better
to try to keep Jason

kind of in the background
as a shadowy figure

as opposed to, you know,

just turning around
and having Jason stand there.

And he kept that going
throughout the whole movie

so you really didn't know
or see, you know,

how big Jason was until right
at the climax of the movie.

Steve Miner was a very
laid-back director,

and there was not
a lot of tension on the set

so it was easy to work with him.

I had worked in the business
since I was 2 years old,

and I had worked
with a lot of directors.

And a lot of in my mind,
directors were grown-ups

and Steve was another kid.

Never difficult.
Never hard on us.

Just a nice guy.

In an homage
to his idol Alfred Hitchcock,

Steve Miner appears
in an early cameo

playing the newscaster reporting
on the grisly aftermath

of "Part 2."

Crystal Lake
was shocked today

with reports of a grisly,
mass-murder scene.

Naturally, the ominous warning
goes unheeded

by Jason's
next batch of victims.

I have warned thee!

You know, a lot of kids don't
listen to the news, you know?.

They got better things to do
with their life.

So I think it's understandable
that all of us would be,

you know, heading up
to Crystal Lake

to be with our friends.

The day after
the events in "Part 2,"

so it's technically
Saturday the 1 4th,

but don't tell anyone.

It was filmed at a ranch
in Saugus, California.

They actually built
the set there

so everything
was in one location.

They built a little lake.

They built the barn.

They built the house and so
everything was done right there.

Shooting was put off
for a day or so

because there was an infestation
of bees around.

So there were
rattlesnakes everywhere

and some of the guys,
some of the grips had guns

and then they'd hear
this gun going off

because they were shooting
rattlesnakes.

Here we are on the set of
"Friday the 1 3th Part 3,"

In 3D.

Over here's the house
that we used,

that unfortunately burned
about a year ago,

but the fireplace
is still there.

But this house was built
just for us.

It was a great atmosphere.

Our producer was young.
Our director was young.

The whole cast
were a bunch of young kids.

And it was a very relaxed
atmosphere.

Everyone having a good time,
and everyone having fun.

Well, it was also the first
movie with the 3D camera,

which was kind of exciting.

I mean, it was a very
unusual camera.

This was the lens that was used

to shoot "Friday the 1 3th
Part 3 in 3D."

As you can see, it's really
light weight and handheld,

and it permitted you to really
make a horror movie

the way other horror movies
are made.

We could do things like shoot
long lenses with it.

We could do rack focuses
with it.

Steve Miner did wonderful work
with Gerry Fiel

by shooting a whole picture
on a moving Louma crane.

The first feature film

to utilize the all-new
Marks 3D system,

"Friday the 1 3th Part 3"
encountered more than its share

of technical mishaps
along the way.

The 3D was very difficult.

It was a brand new process.
No one had ever used it before.

Today 3D, I'm sure,
has come much farther

and is a lot easier to shoot.

Back then it would take hours
to set up a shot.

There was a lot of time
to just, as an actor,

to just sit around and wait.

That's what we did mostly.

And there was always
something going wrong with it.

We were using at the time,
which was very new,

a Louma crane.

And in the first run they did
down the track,

it collapsed.

The whole thing went over.

So, you know, they had to start
all over again.

And I remember
the guy who ran it,

he showed up one day
with a shirt that said,

"l Hate the Louma."

The first thing we shot
was the scene at the store,

and they ended up
basically throwing that away

because it was really
just a test

to see if it could be done
and then they revised it,

and we came back a week later
and then we did it.

You had to do it exactly
the way you were directed,

or the 3D effect
wouldn't turn out.

So it was very precise.

Often times we would do
additional takes

just because
there were technical issues.

So as an actor
that was a little frustrating.

When we're doing takes,
you know,

I'm throwing the wallet at
the camera in the store just

it's just take after take

because you have to hit
right to the camera

otherwise it doesn't work.

So things did take
more takes than usual

because I had to be perfectly
right into the camera.

You weren't really worried so
much about your acting skills

as much as could you get
that yo-yo

to go right in the lens.

That was more important
than anything else.

Director Steve Miner
focused on creating

a totally new look for Jason

and a host of gory
practical effects

that needed to leap out
at the audience in 3D.

Some of the good 3D gags,

he puts a knitting needle
through a woman's mouth

so it comes out the front.

When it comes out her mouth,

it's actually a plastic version
of the knitting needle

connected to the original one,

and it's actually behind
Richard's hand.

She just has her mouth open,

and it's being fed
down the side of his hand

and out through his fingers.

It's definitely a movie
that should be seen in 3D.

If you watch it on DVD,

itjust a lot of the stuff
just doesn't work.

When you watch it on 3D,
it's like a whole other movie.

People who see it
in a good 3D projection

do say
it is one of their favorites.

"Part 3" had me at the credits.

When those credits came out
part way and the whole music,

the whole disco thing,

and then they came out further,
was so cool.

The creative force behind the
film's now famous disco theme

was renowned music producer
Michael Zager,

who shared credit
with a fictional band

that he named "Hot lce."

I'm not sure if disco was dead,

but it was certainly
it was still around.

Disco really never
goes away anyway.

Once you hear it,
you start to move,

you feel you feel the groove,
I guess, you know.

I had no idea that this would
become such a huge

and popular thing.

For example, in all the discos,
gay clubs.

I understand there's actually
a tribute band

who plays that particular piece
live which astounds me.

People just come to me and like,

"l just really love that tune."

Get yourself
a little drum machine

and you're on your way.

You, too, can be Hot lce.

In one of the film's
more memorable scenes,

Shelly and Vera
are accosted at a general store

by a fearsome
motorcycle-riding trio.

Hey, we're back in the store
where we filmed the scene

in "Friday the 1 3th Part 3."

This is
the Spunky Canyon Market.

It is located in Green Valley,
California.

This is the scene where we go
to the store to buy stuff,

and Vera goes to talk to
the cash register girl,

and she says that famous line

We don't accept no food stamps.

The other two members of
the gang, Fox and Ali,

played by Gloria Charles
and Nick Savage,

were great and I think that,
very much like myself,

I don't think that that
was their natural role.

Then they throw
the condom thing in.

Is this your rubber?.

I was more embarrassed
than the character,

the other character
was supposed to be

about someone talking
about a condom.

Right behind me iswas where
the motorcycles were.

There's that scene
where the car backs up

and one time I did
hit the motorcycle on accident,

and they were not happy with me.

One of the first things we shot

when we started shooting
the movie

was the sequence
in the Volkswagen

and somebody smashes
the Volkswagen window out,

and Larry Zerner
looks to the camera and said

You went too far this time.

Shelly gets us out of there

and I think shared experiences,
you know,

Iike that bring people together.

Shelly: I did it! Did I do it?.

Vera: Yes, you did it.
You were great!

So there was a scene
that was in the original script

that we never shot

where the Volkswagen
headed down that road

and then the motorcycle gang
got on the motorcycles

and chased us down.

And Shelly
had a champagne bottle

that he bought at the store,

and what he did is
he popped the cork

into their face

which caused the motorcycle
to fly off

and them to be able to get away.

And it would have been
a whole lot of fun

but we never shot it.

And I don't know why.

One of my favorite shots
in the movie

is when we're going to siphon
the gas out of the van

and that great shot
of Tracie Savage

that goes basically
from her behind to me.

[BARKS LlKE A DOG]

I love the idea
of siphoning gas

with a lit cigarette.

It's amazing.
The barn's still here.

Right above is actually where
my little body

was swinging back and forth.

The swinging part
was the scariest part for me

because they had this harness
on me inside my pants

that were way too tight.

I was absolutely
afraid of heights.

And I took this
as an opportunity

for me to just face that fear
and say

This feels good!

Inside is where I so
stupidly walked in.

Amazing. That's where
I was pitchforked.

The stunt coordinator had
hooked her up on a wire support

to the rafters
so she was already in position.

The fork was actually
a real pitchfork

but had the two prongs
in the center were collapsible,

and the hard part
was for me to not giggle

while I was hanging there.

Same thing for the one
biker guy who Jason stabs.

So we had to cut off the tangs
in the back

and that welded to a plate
and put that on his back.

We needed to get the impact
of the pitchfork

and then be certain
that the handle

was sticking at the direct point
of the camera.

I didn't put up a struggle.

I didn't, you know I just said
"Okay, it's my turn."

I was a fairly good juggler
before being cast in the movie,

and originally they had asked us
to do paddle balls.

No matter how good you are,

you can't get the ball
to go into the camera.

The ball goes like that.

You can'tit won't go
into the camera.

So it just wasn't working
with the paddle balls.

Jeffrey could juggle
a little bit,

and I helped him
get a little better

and so me and Jeff
did the juggling scene.

Later in the film,
it is revealed

that Chris was attacked by Jason
several years earlier.

But for actress Dana Kimmell,

the implication that her
character may have been

sexually violated by Jason
simply went too far.

He had a knife...
and he attacked me with it!

I came on the set
and Dana and Steve

were arguing about what
the character should be like.

Steve was insisting for a sort
of daring girl

and which she remained
in the end.

But Dana wanted someone that had
a certain kind of purity.

He ran after me.

He caught me, and he pulled me
down to the ground.

As far as the monologue goes,

I don't remember all the
particulars that go with it,

but I know I always wanted Chris
to be portrayed

as a very positive character.

I don't know what happened
after that,

I just don't know!

In fact, the revelation that
she might have been violated

was the most shocking

because that scene was a sort
of controversial scene.

"Should we have it,
should we not have it??"'

At any rate,
it was something that she won,

so to speak.

Dana Kimmell

was and is
the consummate professional,

and she worked hard.

I mean, certainly
the movie had a bunch of goofy

sexuality innuendo in it
as it was,

but I don't think it was hurt
by that

if that was indeed the case.

The film's true defining moment
saw the transformation

of Jason Voorhees
from slasher movie footnote

into movie monster legend.

And no one would ever look
at a hockey mask

the same way again.

In "Friday the 1 3th Part 3,"

Jason wears,
for the very first time,

a hockey mask
which he has taken from Shelly.

You just see Jason suddenly turn
up in Shelly's hockey mask.

So you know that,
you know, Shelly's dead.

He not only has the hockey mask,

he has another mask
that he actually wears

earlier in the movie.

He actually thought to bring
two masks up to Crystal Lake,

along with the spear gun
and a wetsuit

and I guess a change of clothes,
all in this little bag

Vera: What do you got in there?.

Shelly: My whole world.

This dock behind me,

this is where
the legend of Jason was born.

This is the first time we saw
him step out in the hockey mask.

The birth of Jason.

I was never a huge fan
of the sack

because I just felt like

it didn't have
any real substance to it,

and we wanted something
that would mask Jason.

But at the same time, you know,

it had to have
a level of menace to it.

Sam Winston
made a latex mask.

And that's what I wore
all the way through the movie.

For some unknown reason
they didn't like the mask.

They thought it looked too much
like a monster,

and so they came up
with the idea to cover it

with a hockey mask.

I don't think at the time
it really struck me,

when I saw the hockey mask,

that this was going to just go
on and on

to "Friday the 1 3th Part 1 1
and so on.

But I can see why.

It did kind of create this
imposing, ominous character.

I think the whole hockey mask
thing was kind of a fluke.

I'm not really sure
how it came about.

God, who came up
with the hockey mask?.

I don't really know.

My recollection was that,
you know,

multiple kinds of masks
were brought around

and so on and so forth,

and then somebody brought
the hockey mask and said,

"Hockey mask, that's great."

I think it was Frank
that brought the mask.

I'm sure it was Steven.

I mean, he was really thoughtful
and really knew that genre.

The one thing that everybody
likes to take credit for

is who put the hockey mask
on Jason.

And I must admit, in modesty,

that I put the hockey mask
on Jason.

Peter Schindler, Marty Becker

and Marty Sadoff were all
hockey fans...

and it was their idea
to come up with a hockey mask

to cover the face up.

Success has a lot of fathers,

and everybody's willing to take
a little bit of credit for it,

I think,
and maybe that's just the best.

Once we had the mask, it was
sort of said, "This is it.

This is ourthis is our
signature piece."

It's part of the iconography
of what this movie is,

and so I wanted to make sure
that we held onto that.

With the look of its iconic
character now fully realized,

Jason could get back to doing
what he does best.

Hey, now cut that out right now.
That's not funny!

When that spear comes
out in the audience,

everybody is reflexively
avoiding that.

I mean, that was awesome.

And there was a cable that
was actually set up

on the post that ran across

to where she was standing,

and I basically think,

kind of was rigged
in such a way

that I actually hooked the gun
onto the cable

and shot it so it went
straight down the cable.

And then we made an acrylic
plate that fit over her eyeball.

We had to do it in one take

because the minute
I hit the water,

the little prosthetic
was kind of spongy,

and it would absorb the water
and just kind of slide off.

But it was fun.
It was really a lot of fun.

Andy: How do we do it?.

Debbie: Well, first
we take our clothes off.

For me, the most
trying situation

about making this movie
was that I was a kid

and this was the first movie
I had ever done

without my parent on the set.

I was 1 8 and I had to do
a shower scene

where there was
some frontal nudity.

In the beginning,
I might have been

a little uncomfortable with it
but all these years later,

I think, 'Wow, I had
a pretty nice body.' (laughs)

Jeffrey Rogers' part
in the show

was he came walking down
the hallway on his hands,

and he's basically wearing
just a pair of jeans

and then Jason shows up
with a machete

and basically splits him
in half from the groin down

through his chest.

So he splits wide open.

I mean,
that is horrifically gory

but it's classic Jason.

And we did a body cast
of him in pieces.

They actually, in the house,

built a Plexiglas floor that the
camera was mounted down inside

so we could do the shot
through the floor,

up to the ceiling.

Then, of course,
there's the next scene

where Tracie Savage sees Jeffrey
stuffed up in the rafters.

Even actress Tracie Savage
was unaware

of just how closely
her on- screen death

resembled that of a certain
famous, yet ill-fated, character

from the original
"Friday the 1 3th."

I had no idea that Kevin Bacon
and I have so much in common.

Another six degree separation
from Kevin Bacon.

There you go.

We died the same way?.

I was in makeup for 4 hours

so that they could
glue this torso to my neck.

Then it was lighting
for another 2-3 hours.

All for a 3-second shot.

And you had to get it right

because then, if you don't,
you gotta do it all over again.

So we were all kind of
on pins and needles.

I think that line...

Chris: We would have
been there already

if some people didn't have to
go to the bathroom

every five minutes.

Debbie: That's what happens
when you're pregnant.

was put in there just to make
the teenage kids go...ooh.

and then when I'm killed make
it even more grisly and awful.

This is a pregnant woman.

There was never a death scene
filmed for Shelly.

It was always--that's exactly
how it was in the script.

I guess you're supposed
to think, well,

maybe he's joking again?.

Nice make-up job.

Although obviously the audience
knows he's not joking

because they've seen Jason kill
a bunch of people.

I think I did the first take,

and I think I heard
some people chuckling.

They were like -
they were like, 'That's bad.'

I was like--
that all got into my head.

It's not the greatest
death scene in the world.

Well, I don't know
what's going on,

but I'm gonna go outside
and take a look around.

I think my favorite kill
was probably

Rick getting his eye popped out.

They did change the name
of the character.

In the original script
it was Derek,

and the reason
why they changed it

was at the end of the film
when I go outside,

and I get killed,

and she comes out and starts
yelling the name out,

that they wanted a monosyllabic
name for her to say.

Rick?.!

You know, of course,

the death
that my character experienced,

me getting my head crushed,

was I mean, this was, yeah,
that's historic.

I just remember when
Paul's eyeball popped out,

the whole audience just screamed
at that one and it was like,

Oh, that's great.

Technically,
it was very hard to do,

and it was one of those things

you only had one chance
of doing it,

especially the 3D effect.

Well, in actuality we did
the Paul Kratka head twice.

I was actually playing
with a bunch of stuff

trying to figure out how to make
and collapse the head properly.

Anytime they wanted to,
we could just pull the string

and the eye
would pop out of the socket

and come straight down the line
toward camera.

The last part of the filming
was basically Jason and Chris.

(Chris screams)

And a lot of night shooting.

She runs up the stairs, and
I'm at the bottom of the stairs

and she tips the bookcase up
on top of me.

And I have to say
that hurt like hell.

It's Dana who finds me
in the closet later on

with the knife
sticking out of my neck

after I've already been killed.

It was an easy day. I didn't
have to memorize any lines.

When he's breaking down
that door,

and the whole thing where
he gets stabbed in the hand

and stabbed in the leg,
those are intense moments.

I mean, those grip you

because then it becomes him
not so much a monster

as a human who has
monstrous capabilities.

And then I chased her
up the stairs,

and she went in
through the bedroom window

and went out the window.

Then she tried to run away
in the car,

and the car ran out of gas
on the bridge.

No!!

I think I kept in shape
doing that film.

There were --
there was a time or two

where I was running
through the woods

right after the scene
where he grabs me in the van,

and, you know,
breaks the window with his head,

and I bolt out the other side.

There's a place
where I run and fall,

and actually when I did that,
I didn't get hurt

but people in the cast--
in the crew were just gasping

because they thought
I had really fallen

and smacked my face.

So that was good.

When I went into the barn
after her,

you know, it was--Steve and l
had obviously spoken about it,

and Jason at this point is now
really angry

because he hasn't managed to do
what he wanted to do

and that was kill her.

And so, he just said, you know,

we don't need the barn anymore
so just tear it up.

So I grabbed whatever I could
and smashed whatever I could.

But then the scene
in the barn on the beam,

I actually did that
and shimmied out

and that was,
you know, I don't know,

20 feet above the ground,

and I ended up with some bruises
from that one,

but I turned out okay.

Jason gets pushed
out of the barn,

and he's hanging and the mask
has to come off,

and she sees his face
for the first time

and recognizes who he is.
- It's you!

We had a mold
of Richard Brooker's head,

and we wanted the axe
to be able to stick,

so that's why we used
the rigid polyfoam

so the axe had something
to stick into.

There wasn't that much makeup
until the dream sequence.

I used to have to go in
and do about 6,

sometimes 7 hours of makeup.

And it was 1 1 different
appliances

that they glued to my face,

with the one eye lower down,

you know, and certain teeth
and the whole thing.

It was awfully painful.

I mean, he had to be in that
make-up for like 6 hours,

and it was hot and sweaty.

And you could see that he
was very uncomfortable.

The bad part about it was
that as soon as they finished,

it was usually lunch time,
and I couldn't eat.

So they used to give me
Tiger's Milk through a straw

so I would get some nourishment
for the day.

We shot the ending twice.

We actually did another ending.

Dana Kimmell comes up to the
door of the house in a dream,

and Jason comes through the
front door and decapitates her.

And that was just
an alternate ending

that somewhere along the lines
somebody came up with.

It was a very quick thing.

It wasn't something that,
you know,

we knew was going to happen
in advance.

It was just kind of
one of those added scenes

that they said let's just
do this real quick.

It was only when we did
the infamous alternate ending

that you really started
to see his face

and that's what
they didn't like,

and that's why
the alternate ending

was totally scrapped
out of the movie.

So we made the mask.
We sculpted it.

Then they came up with the new
dream sequence

that Jason's at the house,

and she sees him
at the top window

and then comes down and blasts
through the door.

Steve Miner said that he wanted
this creature

to come out of the lake as if
it was Mrs. Voorhees

who had been down there
for awhile.

I have no idea
how she got her body back,

but it's a dream.

They gave us Marilyn Poucher
and just said,

"She's your guinea pig.
Use her."

Little did she know
what she was in for.

Once we started
doing the makeup,

it took about 6 hours,

and I remember
just sort of like,

falling asleep at certain times.

It was just downright horrible

because the water was just
full of mosquito larvae

and baby frogs and tadpoles.

It was just like--
oh, it was pretty nasty.

Covered her in river slime
and vinyl worms,

and the rest is history.

[Chris screams]

So this is the actual mask
that was done of my skin.

It's a little, a little--
oh, here's a worm. (laughs)

Luckily they were able
to cut it off,

and we peeled it off

because then I had to do
the shot three more times.

While not as deliberately
ambiguous

as the ending of "Part 2,"

the film's conclusion suggests

that the door has again
been left open

for the return of Jason.

But what of the fate
of traumatized Chris Higgins

who was never seen
or heard from again?.

I would say Chris has recovered.

Even though she drove away
looking like she was losing it

there in the back
of the cop car,

I think
that she was strong enough

to recover and move on.

And that's the way I wanted
to portray that character,

as a survivor,
and I think Chris did that.

(Screams)

A new dimension in terror.

It will scare you!

"Friday the 1 3th Part 3"
was released on August 1 3, 1 982

with Paramount spending
millions of dollars

to equip theaters
with the new technology

required to show the 3D film.

Their investment
quickly paid off

when the film managed

to knock the year's reigning
box office champion,

Steven Spielberg's "E.T.,"
from the #1 spot.

With a final U.S. take
of $36.7 million,

"Friday the 1 3th Part 3"

ushered in a new wave
of 3D films in the 1 980s.

And remains one of the most
profitable installments

of the franchise.

I believe the choice to do this
in 3D

was really risky but,
in retrospect,

it was brilliant.

"Friday the 1 3th Part 3"
was the first big hit 3D movie

of the 80s and the audience
was just screaming.

And we made our money back

before the first matinee show
in Los Angeles.

And I find that very rewarding,

and it's been great being
able to meet people

that appreciate
and have enjoyed those films

from back then.

Actress Tracie Savage went on
to a successful career

as a broadcast journalist.

Best known for her coverage

of the sensational OJ Simpson
murder trial in 1 995.

As a news reporter

in different markets
all across the country,

people knew where to find me.

They'd see me on the air

and every newsroom I've ever
worked in,

I've always gotten fan mail
from "Friday the 1 3th" fans.

And I still do. I still do.

Part of the charm
of the movies are, is that,

you know, it really
invited people to engage.

It really invited people
to go out, have fun.

And when we did that film,
at the time

that was going to be the last
"Friday the 1 3th."

At the wrap party,
Frank Mancuso declared

that he was not going to produce
another one.

This is the permanent death.

We're not
going to do this again.

This is it. He's dead.

They really stressed the fact

that they wanted to make sure
that I had killed Jason

because that was going to be it.

because that was going to be it.

When Paramount announced
a fourth 'Friday the 1 3th"

at the end of 1 983,

producer Frank Mancuso, Jr.

was feeling
the critical backlash

against slasher films.

And 'Friday the 1 3th"
in particular.

He decided it was time
to kill off Jason

once and for all.

When we got done with 3,

I was like, "Okay,

what I want to do now is l
really want to bring this thing

to an effective close."

With the departure
of Steve Miner,

Mancuso
and investor Phil Scuderi

set their sights on finding
a new director.

Their search led them
to Joseph Zito,

who had impressed Scuderi
with his 1 981 slasher film,

"The Prowler."

With an early draft
of the script

written by the late
Bruce Hidemi Sakow,

the filmmakers set out to make
the best and "final" chapter.

The people at Paramount
said this to me.

They weren't going to do
any more films

and this was the last.

So I knew that it would be
book ended

with a dead Jason
and another dead Jason,

you know, at the end.

We'll do some things
that refer to our past.

Jason's out there.

We'll bring this thing
to its rightful conclusion.

Noooo!

And we'll be done.

So the idea for the last movie,

which we thought
"The Final Chapter" was,

was just to resurrect Jason
one more time

and then kill him in a way
where the film grammar

said he's really dead.

I wanted to pick it up
exactly where Friday 3 left off.

That he was on the ground just
exactly where you had left him.

We crane down on a bunch
of police cars arriving,

helicopter has a searchlight.

You know, gives you kind of
a big-budget feel

and very dramatic opening.

I held off Jason
coming to life for a long time

in the film.

The audience is continuously
on edge through these kind

of languorous, elegant shots.

When is Jason going
to re-awaken?.

The audience certainly is not
going to believe he's dead,

but they become co-conspirators
in bringing him to life.

They start yelling at the screen
for him to get up.

So instead of groaning
that he gets up too soon,

and they say, aw, this is fake,
they make him get up.

As Jason's put into the freezer,

we see a little puff of air
so we get the first hint

that Jason is not dead.

Once again, the producers chose
to recast the role of Jason.

This time turning to a rough
trade Hollywood veteran

to don the hockey mask.

Regarding the actor
to play Jason,

I wanted to go with a really
experienced Hollywood stuntman

and Ted White was a very--

he had doubled famous, you know,
Hollwood actors.

He was an older guy, way older,

twice the age,
almost three times the age

of some of the kids
he was killing.

I actually turned it down
to begin with

and later on I did accept it.

After I accepted it,
I did go down

and rent two of the Jasons,

and I watched Jason itself,

how he moved and so forth.

And I felt that I'd like to
play him a little bit different.

I'd like for him to move
a little bit different.

I didn't want that
slow motion routine anymore,

and I thought that if this is
the final chapter,

then that's the way
I'd like to take it out.

He has a sense
of dramatic timing

that other Jasons, you know,
maybe didn't think about

in the same way because they
didn't have 40 years experience

of being before the camera.

There was a nurse there
that I'm supposed to strangle,

and when I shoved her
up against the wall,

she had a button
on the back of her cap,

and when her head hit the wall,

the button kind of penetrated
her head just a little bit,

and she yelled out.

These are the times
when you back up

and say you're not really Jason,
you know.

You're just doing a thing here.

You're supposed to be making a
few bucks and not hurt anybody.

You know, this is not a guy
who was waiting his whole life,

he's not a fan of
"Friday the 1 3th,"

and someone who was waiting
for the opportunity

to be in 'Friday the 1 3th."

It's a guy who came to work
and had to put a mask on

and had to put fake teeth
in that made him drool

and was embarrassed
by the entire thing,

was happy that you couldn't
see his face.

The job of creating the film's
bloody make-up effects

initially went to future
Oscar winner Greg Cannom.

But when Cannom left the project

due to 'personality
differences,'

director Joe Zito called upon
the one man

who could rightfully be called
Jason's father.

It's almost like
I'm Dr. Frankenstein.

I created the monster.

Thank you for letting me
kill the monster, which I did.

Tom Savini did a wonderful job,
I thought, of makeup.

And that was a 4 1 /2 hour
makeup job every morning.

I actually replaced
a makeup artist

on "The Final Chapter,"

and luckily,
that's what they were doing.

They were designing
the adult Jason

from my makeup design
on the kid,

which is only logical
I would think, you know,

so I was glad
they were doing it,

but I had nothing to do
with the design, you know.

They did a very good job.

It's funny that in all of
our conversations

about Jason coming back to life,

nobody ever used the word
zombie--ever.

We never heard it.

We knew you couldn't
exactly kill him,

and he would always
be coming back to life.

So it's sort of like
he just wouldn't die.

You can't be alive!

After escaping from the morgue,

Jason returns to his familiar
slayground at Crystal Lake

Where he quickly sets his sights
on the Jarvis family.

A recently divorced mother,

a pretty-yet-reserved
teenage daughter,

and a very special boy
named Tommy.

I remember walking into
the casting office

and going "Friday the 1 3th?. "

I thought this was
for "Halloween."

and they were like, "No, no, no.

It's 'Friday the 13th."

And I was like, "Oh, right,
of course. I knew that."

Corey walked in there,
and he was so alive,

and so friendly and he and l,
just we clicked.

I went, I did my audition
and then at the end of it,

I remember my mom
telling me like, "Okay,

they really liked you a lot
but they have some concerns."

And I said,
"What are the concerns?. "

And she said, 'Well, they just
think you're too small,

and, you know,
it's not very believable

that this little tiny kid

is going to pick up the machete
and, you know,

whack the hell out of this
6 foot 5 bad guy.

And I went, "Give me a machete.
Let's give it a shot." (Laughs)

And I think that was
the end of it.

You could see with Corey.
You really could.

This young man
was going to skyrocket.

And I remember
it was a very big deal

because "Gremlins" and "Friday"
were both coming out

pretty much
over the same summer,

within a couple weeks
of each other

from what I remember,

so that was very exciting
as a kid

to have these two giant
blockbusters coming out.

I think Kimberly and Corey and l
got along well

because they're just
nice people.

A Jarvis Sandwich!

I did a lot of work about
the parents being divorced

and then I was going to protect
my brother,

that I would take care of him
emotionally,

and that, you know, we were
going to make it as a family

without my dad.

Trish: My parents are separated.
You know, middle-aged crazies.

And I do remember her doing
a lot of, kind of,

Iooking after me, making sure
that I was taken care of.

She was kind of the person

that I think I could probably
relate to most.

I at least felt that it was
a real connection.

As much as I could bring
to that role,

I wanted to bring to it.

There was thought about making

the surviving characters
outsiders.

So Trish isn't really
one of the guys.

She's an outsider.

She's not ready to become
part of the party,

or the party doesn't want her.

Tommy's an outsider,
like Jason.

Tommy's a kid
that doesn't fit in.

I argue that one of the reasons
Tommy Jarvis

has been as popular as he's been

is because that was a very
relatable character

to the core audience
in these movies

that they could very easily
see themselves in

and ultimately sort of
the challenges that he has,

the kind of outsider kid
who's a little bit freaky.

He's got hobbies that maybe not
everybody approves of per se.

At a roadside cemetery,
the gravesite of Mrs. Voorhees,

and her first name, are revealed
for the first time ever.

I found out her name
was Pamela,

I guess about 1 0 years
after I did the film.

I didn't know.

Of course we were aware putting
a mother character in the film

that fans who knew "Part 1 "
would think about that.

That idea of Joe giving me
a hint

that maybe
I should look sinister

when I looked out the window

because of the mother
being the one

that did the killing in one of
the other movies.

Never occurred to me.

Never occurred to Joe,
I don't think,

or he certainly didn't
tell me that.

We didn't play it hard, and we
didn't try to suggest

that she was going to be
a villain,

but she does make a judgment
on these kids,

and it feels like these kids
are going to bring

trouble and bad stuff
onto my kids.

And, of course,
she's completely right.

With the events
of "The Final Chapter"

picking up directly
after PART 2 and 3,

fans have pointed out
a number of holes

in the series' continuity
and timeline.

My character, Rob,
had a sister named Sandra

who was a counselor
at Crystal Lake

in Part 2, I think.

ROB: My sister Sandra was just
a really great kid.

TRlSH: But the man
that killed your sister is dead.

We butt up against
Friday 3 in chronology,

yet Rob is doing some stuff
that he hasn't been doing

since just a couple
of days ago.

When I read it,

I did not
connect that character

with someone who had died
the same day

or the day before
or a few days before.

So I assumed
Rob had been searching

for a longer time than it turns
out he was actually searching.

TRlSH: What are you
hunting for up here?.

ROB: Bear.
Anybody up at the lake today?.

TOMMY: You can't be
hunting for bear.

Zito said he didn't want to
invent really cool new ways

to kill kids,
although we eventually did.

He said, "All I want you to do

is make real kids
that look like real kids

and whatever we do to them
will be horrifying."

It would be nice to make them
so likeable

that you were sorry
when they got killed.

I wanted the kids
to be a little more real,

and it took a lot of pain
in casting for that.

It was not an easy piece
to bring in "the names."

That's not what
'Friday the 1 3th' was about.

I got lucky.

The people
who were really the stars

were Peter Barton who had just
come off a series

called "Powers of Matthew Star."

and the other one
was Lawrence Monoson

who had starred
in "The Last American Virgin."

I've been lucky in the sense

that I've had certain roles
throughout my career,

part of these legacy franchises,

and this is certainly
one of them,

and it's nice to be
a little part of a big thing.

Arguably one of the most
memorable victims

in the 'Friday the 1 3th' series

was Crispin Glover's
sex-starved,

yet hopelessly insecure, Jimmy.

The film marked the beginning
of a long career

for the young artist,

who became known for his wildly
eccentric behavior,

both on and off camera.

Crispin Glover and l
had a love fest.

I adored him.

He was the most unique
young man that...

he just really--you couldn't
pigeonhole him at all.

On the set,
he was always the oddball.

He was always the one
that kept to himself.

He was always the one that
was kind of like

in his own little world.

He's an eccentric.
He's mysterious.

But he just walks to the beat
of a different drum.

Crispin and I actually worked
really hard on our characters

and the relationship.

And we both loved improv.

He thinks that's funny.

He thinks it's a funny thing
he's doing.

And that stuff
in the back of the van

when we're all driving,
and I'm typing on the beer cans

and the "dead fuck" lines.

TED: It says
you're a dead fuck.

JlMMY: A dead fuck?.

Crispin and I made all that up,
you know,

and they just let us
have fun with it.

The two of them together
really had a great thing going,

a really good rapport.

I think you should run that
through your little computer.

And they were pretty
good buddies on that set

and it did show.

It showed a relationship.

I think that's so important
in these films

to have that.

In one of the film's more
memorable sequences,

Jimmy decides to bust out
his dance moves.

I don't remember what song
Crispin was really dancing to.

I just know that he was
dancing really crazy. (laughs)

In the way that only
Crispin could be.

And it was just fun. It was
just really fun and funny.

There's slightly the weirdest
thing about our roles

which would first be
the sexy girls

who were sort of coming,
you know, from,

to join in with this other group
of people,

and all the boys are madly
attracted to us,

and we're dressed in these
ghastly clothes!

Well, what about our hair
as well.

Our hair put up in sort of
little sort of librarian buns.

I mean, and the pants
seemed to be too big.

Everything was just sort of big
and bulky and very unsexy.

Yeah, I wouldn't bonk
either of us.

The twins, you know, they were
the Doublemint twins

and they were loads of fun.

The biggest thing for me
was boobies!

You know,
I was an 11 -year-old boy.

I'm like, I get to do scenes
with boobies.

Whoa.

Not much has changed.

I have to say the skinny
dipping was very equal

because when we
were shooting it,

we obviously as girls
had to have no tops on,

but then the boys go,

'We'll do it
with no bottoms on as well,'

and there they are
swinging off ropes.

So, you know,
it was a cute group

to work with, that's for sure.

At the time,
I was the kid who was like

always wanting to get up in
everybody's business.

I was like,
"Hey, let's all go out.

Let's go do this.

What do you mean you're all
going to town without me?.

Why can't I come too?. "

I mean, like, I really wanted
to be a part of that group.

The first day
was Halloween actually,

and I took him
trick-or- treating.

And we went out on the street,

and this street was like
a festival

of guys in Jason's masks.

So ironic that we were there
actually creating this stuff

and then this group of people

were actually out there
having a great time with it.

I think everybody was very
sweet to Corey Feldman.

I remember getting along
with everybody on that set.

The only person that I didn't
get along with

or was afraid of was Ted White.

Mean little devil.
I couldn't stand him.

I wanted to kill him
desperately.

There were times when Corey
got close to me

that it took all my reserve
to not just reach out

and grab him and give him
a good spanking.

Ted was very respectful when it
came to the fact

that I was a kid, and he knew
to keep his boundaries.

But at the same time

I don't think that he was really
very aware

of how to deal with children.

Well, I was a child actor

so I had a lot in common
with him.

It's a hard, a hard thing,
a lot of your... I mean,

you miss a lot
of your childhood.

You could see there was
a dark side to Corey.

Not bad but wanting to stay
with the actors

as opposed to getting in the car
and going home

to the so-called "real life"
that he was living.

Frank Mancuso, Jr. was quite
helpful keeping him together

and happy.

Even after the movies,
you know, Frank,

we all stayed in touch
with Corey.

As with Part 3, the filmmakers
chose rural areas

of Southern California
to stand in

for the fictional New Jersey
enclave of Crystal Lake.

We shot
in three different places,

Franklin Canyon
in Beverly Hills,

north of Santa Barbara
in a place called Zaca Lake,

and in Topanga Canyon.

The Jarvis house
would later be featured

in such films as
"Eraser," "My Girl 2,"

and episodes of the HBO series
"Entourage."

But for the cast
of "The Final Chapter,"

working on the set presented a
number of physical challenges.

And we're at the house
where we shot the movie.

Tommy's room was up there
on the second floor.

And the kids' house
is over here, right?.

The kids' house
was right over here.

We built the kids' house, the
house where they have the party,

and the house where they
get killed, right over here.

It was my idea, and I don't mind
telling you

the studio objected a lot

to have the houses
in real proximity.

See, the thing is when we built
this other house,

it was an expensive
thing to do,

building a house as opposed
to finding two houses,

but we really loved
the Jarvis house.

I really loved the Jarvis house,
and I really pushed for it.

So the studio agreed to build
this other house here.

But the thing is
that we had a design for it

where it was a really good house
to shoot in, a big house,

but as they started
doing the numbers

and analyzing the numbers,

the house got
smaller and smaller

so in the end it wasn't a great
house to shoot in,

but it was a cool-looking house.

The young people
we had in the cast

were some of the greatest kids
that I've ever worked with,

and I've worked with a lot of
young kids in the business.

But what they went through
to make this movie

was unbelievable.

Shooting the movie was pretty
horrible

because it was raining
the whole time,

and it was freezing cold
because it was dead winter.

I didn't read the script
when I got the job,

and I didn't read the last
40 pages of the script

said night rain.

ROB: What the hell
are you doing here?.

TRlSH: What are you
trying to do, kill me?.

What I remember the most
about those steps right there

is that for continuity's sake

at the end of the movie,
I had to be wet

because it was raining
all the time,

so in 35-degree weather,

I was hosed down with water
from a tank

that was sitting outside
in 35-degree weather.

Just unbelievable what they
went through

for the amount of money
they were making.

It was, it was a trial
in a good way.

I felt like a Marine
after it was over.

Once again, the real stars
of this 'Friday the 1 3th"

were the elaborate
death sequences

designed by effects wunderkind
Tom Savini.

I had done a movie
called "The Prowler."

It was mostly a lot
of special effects,

really good Tom Savini
special effects.

I think that's what audiences
came to see.

How is the next guy
going to get it?.

So that's what it was about.

And it was almost like
the latest exhibit

from your favorite
makeup artist magician.

How is Jason
going to kill these kids?.

So we spent a lot of time
talking about

how to kill people
in interesting ways.

And that's the number one thing
you do with Savini

because it's his favorite thing
in the world to do,

is talk about
how to kill things.

This just kind of crazy mind
that was always creating.

It was a terrific honor
to work with Tom

and especially to be a part

of one of his last great
effects films.

The choice of name for
the character of the kid Tommy

was a little homage
to Tom Savini

who contributed so much
to these pictures.

I was really kind of fascinated
with the process

of how this was all going
to be put together

at some point

and so I used to hang out
in Tom's trailer all the time

and watch them do the rehearsals
for the different effects.

(Laughter)

The kids would come up to us.

"How am I going to die?.
How am I going to die?. "

The juicier and grosser it was,

the more they loved it,
you know?.

And even the kills that had
conventional things.

Because we had seen in
"Friday the 1 3th"

a blade coming through
the throat before,

right, from the first one.

So we gave the girl a banana.

Mmm. I love bananas.

It's sort of a comedic kill
in a way

and a comedic character,
but it's awful anyway.

I mean, the blade
comes through her neck,

but you're sort of watching
her squish the banana.

I never really met Ted White
who played Jason.

Tom Savini stood in for him

because you only see Jason
from the waist down.

He's the one
that grabbed my head.

He's the one that pulled
the knife down.

And the direction
he gave me was,

'Okay, now this is a real knife.

You're not going to get hurt.

Don't fight me,
just let me move your head

where it needs to be.

That was the scariest thing
of the whole shoot for me.

The way the thing worked,

I had a track around my neck
with a flexible steel blade

that pushed from the back

and then a false neck over it,

which took hours to put on it.

And it also had a little tube
for blood to squirt.

So there were like 3 people
behind me um, um,

Iaying down behind
the sleeping bags

and my gear
to work the entire thing.

It was such a messy
little death.

We did full-on special effects

that were extended
and bloodletting

and actually terrific.

I mean,
the one of Judie Aronson

when she's killed in the boat

with the knife coming through
her body.

I mean, the original cut on that
was really totally cool.

I mean, it was extended,
it was horrible to watch

because you really believed
she was dying in there

and in pain for
an extended period of time.

Sam, Judie Arsonson, thank God
I didn't get that role,

'cause what she
had to go through but,

all naked on a raft,
and then just, very vulnerable.

Kind of almost quasi-sexual.

Even now as I watch it,
I just think, ew, God.

[screams]

Shooting my death scene
was a bit of a challenge.

That's where the horror part
came into the filming for me.

What they did was they made
a fake body.

There was a raft with a hole
cut in it,

and my body
went through the hole.

I was upright in the water and
from here up,

I was just leaning over.

I think this was in January,
and it was around midnight

and it was either
22 or 23 degrees.

It was very, very cold.

And we were all sitting there
bundled up, gloves, boots.

It was very, very cold,
and the water was even colder.

It was hours and hours
in the water.

And it became
really difficult for me.

There were points where I just
felt like

I couldn't go on any more.

I was shivering so badly.

She was freezing.

She was so cold
her teeth were chattering,

and she asked to get out,

and they were reloading
the camera

and the director said no.

They said,
"No, we have to finish.

We have to finish."

I did everything to hold back
from crying,

and I don't think
I was successful.

This girl was actually
turning blue,

and I went to Joe Zito
and told him.

I said, "Joe,
we gotta get her out of there

before she freezes up
completely."

And he said,
"Why don't you just do Jason

and I'll do the direct."

So that's when I got
a little upset with him.

I said, "Well, either
get her out, or I'll walk.

One or the other."
So they pulled her out.

They took me into a trailer
and heated me up

and got me back out there.

And it was great.

I warmed up,
thawed out basically.

Joe, of course,
was not trying to be mean.

He was trying
to get a film made.

Whether he was going
a little too far

with somebody else's feelings,
I would say yes.

And it turns out that I had
gotten hypothermia,

and I was quite sick
for several days after that.

The other gruesome one
really is, you know,

Sam being killed
in the boat naked

and then her boyfriend coming

out and getting it
in the crotch.

When you're looking, you know,
for your girlfriend in a lake,

and you think
she's probably naked,

you do not want to get speared
in the crotch.

That is a bad thing
to happen at that moment.

The guys certainly feel
that one when they watch it.

Pretty much all the deaths
were pretty graphic and grisly,

but you don't see
the mother die.

In most of the Jason movies,

I think there is
no parental supervision.

In ours there was

because we thought
that made it scarier,

especially when the parents
were made to disappear.

In filming that scene

where you see me
come in from the rain,

and you see me turn around
and the shock,

there was no other murder
and mayhem

that you could put
on the screen.

That was it. That one point.

Although Mrs. Jarvis's death
was only implied,

a deleted scene

involving Trish's discovering
her mother's corpse

was originally intended to be
the film's final jump scare.

But I do remember that we
shot a scene of her

in the bathtub all made up
like a cadaver.

Kimberly comes in and she sees
water dripping down,

and she goes upstairs
and opens the bathroom door,

and you see me under the water,
in the bathtub, dead.

It was really intense,
that scene.

And I was surprised
that they left it out,

but I guess it was just,
it was disturbing,

and they didn't
want it in there.

It was excised
almost immediately.

I didn't want to dwell on it.

I didn't think it was good
psychologically

to keep-- to make more of that
than we did.

The main thing
about my death scene

was really
the sort of atmosphere,

it was the flashing
of the lightning,

and the thunder,
and the feeling of it being

very scary out there.

They put a big light
behind me

so that I'm silhouetted
against the side of the house,

and at that moment--
(Sound Effects)

you know the pitchfork
goes through me,

and I get flung
against the wall.

That is not me, you know.
I'm just the shadow.

Crispin does a whole thing
where he's so happy

about being successful
with this girl in bed.

I think you were incredible.

You're incredible.

Which is what I say in bed
to Crispin

when he's like uh-am-l-uh-uh.

Was I a dead fuck?.

That was quite funny.

People talk a lot
about the corkscrew

that gets Crispin Glover.

Hey, Ted, where the hell's
the corkscrew?.!

He's calling for a corkscrew
and, wham,

right through his hand.
The corkscrew nails him.

Jason's clever.
He nails him with the cork screw

and then machete to the face.

I thought that was
really creative,

and it came out of left field.

I just had an idea that we
shouldn't use a weapon at all

in one of the kills
with one of the twins

and just have this
prolonged thing

of her at the window

and the hands
come through the glass,

grab her and throw her out.

It was a pretty big stunt.

I actually don't know
when it's gonna happen,

but what I'm told is
Jason's going to come,

grab me and at that point,
the only thing I have to do

is get my neck out of the window
as it shatters.

After I've done that,

the stunt girl
has to propel herself

out of the window.

That's her first shot.

And she landed on a car top.

We blew the windows out
at the same time.

I thought that was
a really neat stunt

and was well done
and well thought-out.

I didn't suffer as much as
other people did, really,

in terms of coldness
and wetness.

One of the first sequences to
suffer the wrath of the MPAA

was the death of the cocky
yet ultimately rejected Ted,

who was left alone
to spend the night

with a blue movie,
a teddy bear, and a joint.

I remember in mine watching
that sort of old-fashioned,

semi soft-core porn movie.

So the film breaks,
the screen goes white.

Lawrence stands
in front of the screen

and a knife
comes through the back,

stabs him
in the back of the head.

We're not sure exactly
what happens

until we see the blood
on the screen as he slides down.

I remember at first
I had to go visit Tom Savini,

and I went to get
my head created.

Tom rigged up a knife
that was cut away

with a little pump
that was pumping blood,

and you just looked
at the dailies,

and it was just
horrifying to watch.

I was a very young actor
when I did this movie.

I think I was 20 or something.

Really committed, you know.
What are you doing?.

Real. Everything had to be real,

and so my character in the movie
had to be stoned,

(laughing)

and so I thought, hmmm,
wouldn't that be interesting

to actually get stoned

and see what that's like
to actually be stoned

on camera?.

I go to my trailer,
and I'm like [sucking sound].

I'm smoking this joint,
and I get stoned,

and I'm a very
paranoid stoned person.

So it was the worst, worst idea
I could have ever done.

I was unable to comprehend
what the director was saying,

and I just was too paranoid
to do anything.

It was terrible.

Actor Peter Barton,
who had previously starred

with Linda Blair in "Hell Night"

and "Part 2's Amy Steel
in the short-lived series

"The Powers of Matthew Star."

suffered perhaps one of
the most brutal deaths

in 'Friday the 1 3th' history.

My hands
were my weapon of choice.

Once I got my hands on 'em,
the killing was easy then.

I mean, he smashes, you know,
a pretty guy's face

through the shower
with his bare hands.

Breaks his nose with his finger,
blood comes out,

and then smashes the head
against the tiles.

Tom said to me,
'Don't tear the head up.

This is the only one we've got.
Be very careful with it.'

Yet the director
was just the opposite.

He said, 'Ted, I want you

to really be physical
with this thing.'

That was the whole reason
for having a stuntman in there,

to be a little more physical.

To me, that probably
was my favorite kill.

To truly immerse himself
in the role of Jason,

Ted White took great pains

to keep his fellow cast members
at bay.

I think his way
of keeping the character

was kind of separating himself
from everybody else.

I stayed away from the cast
completely.

I sat by myself on the set.

I just stayed away
from everybody,

and I tried to keep in character
as much as possible.

I just felt that Jason
should not be sitting there

Iaughing and cutting up
and kidding,

and the next minute turn into
this horrible killer.

As the night of murderous mayhem
comes to a close,

Trish and Rob are drawn into
the empty house

and Jason claims his last,
though bloodless, kill.

He's killing me!
He's killing me!

The 'he's killing me,
he's killing me' thing,

that was something that I just
reacted to viscerally

as it was happening.

That's sort of why
it wasn't necessary

to do a big, bloody, gory kill

because it wasn't really
about the kill.

it was about the horror
of hearing someone being killed.

They had the rig
for this effect.

They had the gardening tool
with the blood spurting out.

They had all that stuff done,
but it was never used.

And when Rob is getting killed,

Trish should get out of there,

and then she does
get out of there,

and then she comes back.

Part of that was, I think,
in the story making

was to get to the point
where now you were left

with a 1 2-year-old kid
and Kimberly Beck,

and that's all
that was left alive.

The last part of it, we pretty
much shot it in sequence.

The sequence involved
Erich Anderson's character

being thrown through the window.

Jason comes and picks me up
through the window

and scares the hell out of me

which still to this day
was the most terrifying thing

I've ever
shot in my life - ever.

Terror struck
across my face, my heart,

my every nerve
in my body was on end.

And I literally was shaking
and crying in terror.

And I remember once we cut
and that take was over,

everybody took me outside,
"Are you okay?. Are you okay??"'

"No! No, I'm not okay."

I was not okay, and I was not
okay for quite a while.

I enjoyed chasing the girl.

I love the screaming
and all the hollering.

All it did was invigorate me.

It was just grueling physically.

Well, the stopping
and the starting,

and the cat and mouse
with the girl

was not my idea or her idea.

It was our director's idea,

and he felt that
that little play between us

built up the suspense,
and I think it did.

Later on when I saw the film,

I thought it added
quite a bit to it.

You know,
he wasn't brilliant and cunning,

but he was smart,
or he figured some things out,

you know, in an animal plus way.

I never thought of her
as being a heroine

until, you know,
you actually watch the movie

and you go,
"Wow! She's kicking some ass."

But how are we going
to get him in the end?.

Are we going to use
silver bullets?.

Are we going to use garlic?.

Are we going to use a stake?.

Are we going to use any of
the typical clich� ways

to kill a bad man?. No!

We're going to use intelligence
to outsmart him.

And of course, of course,
there's an obvious relationship

between Tommy and Jason

when Tommy takes on the persona
and impersonates him

as a weapon to undo him.

Jason!

I remember when I first
heard this I went,

"Really?. They're going to
make me look like Jason?.

How's that going to work??"'

The choice was made to not
go the truthful, honest,

you know, dedicated actor way
and actually go for it

and shave my head.

Instead we were going to use
Tom Savini's

great, illustrious
makeup effects once again

and put a bald cap on.

We talked about so many ways
to kill Jason.

There were so many
death proposals.

They came from everywhere.

Of course, the producers would
dream them up every night,

but mostly Tom would come up
with really cool ways to do it.

And we described this
elaborate thing with Tommy,

the effects kid,
was also an amateur inventor,

and he's taken a microwave oven
apart, you know,

and put a reflector behind it
with a variat

that goes from 1 to 1 0.

On 1 he melts a toy soldier.

We thought, why don't, you know,

at the end he jams this thing
into Jason's head,

turns it up to 1 0,
cooks his head from within,

and his head explodes.

And the producers took it
very seriously for a while.

And there were others,
there were other things,

but they were generally
clever things

that special effects guys
can sort of laugh about

and high-five each other for,
you know, in the lab.

But in the end,

give the audience a distance
from what really was happening.

I remember thinking, "Okay,
I've really got to show

how mean I can be,
how tough I can be.

You know,
that I'm this little kid,

but I can kill this guy.

I can do this.

Jason is about using
a very simple weapon

to do awful things,

and it would be sort of nice

if we just use
a very simple weapon

to do an awful thing to him.

A change was suggested to us

that Jason's head be lopped off
top down,

not across the neck.

In other words, cut open
from the top to the chin

Iike an artichoke.

And they suggested
we didn't do that.

And we thought, hmm.

I think there's going
to be a sequel here.'

You maybe were expecting
something quick.

Tommy hits him in the head
with a blade and, you know,

the end. No.
He slides down the blade.

I came into the set
with 1 01 fever that day.

I was very sick.

And it's the middle
of the night,

and you're already sick,

and now you're sitting there
using all of your energy

to kill this giant man.

And the fact that I was sick,

and the fact that I was
so under the weather,

and I was like really fighting
just to be there at that moment,

I think comes across
in the look in my eyes.

Tommy!

Die!

Because you can see
the desperation in my eyes

as I'm trying to take him down.

What happened with "Friday 4"

is that the Motion Picture
Association of America

was really on us.

And it was kind of a game

where you would trim them down a
little bit,

send it back,
trim them down a little bit,

and they would wear you down,
and you would wear them down.

We would keep trading off frames
of everybody else's kill scenes

so we could protect
as much of Jason.

The kills are all there
but they were very fast.

But when Jason finally got it,
you dwelled on it.

It made Jason's death
more powerful.

This is the one
you've been screaming for.

'Friday the 1 3th
The Final Chapter"

debuted on April 1 3, 1 984.

Although it still didn't
win over any critics,

the film went on to gross
an impressive $32.9 million.

As far as the filmmakers
were concerned,

they had done their job.

Jason had left the screen
on a high note

and was gone for good.

Or was he?.

It really was this kind of
renegade little group

that was involved
in major motion pictures,

that, you know,
would knock off big movies.

Clint Eastwood would do 7,
and we'd do 9.

I mean, it would be like you
know the people at Warner Bros.

were cursing us up and down.

It's like, you know,
those bastards

with the million dollar movie
beat us!

I remember
in the New York Times,

I think it was Janet Maslin

wrote like an angry review
about the film.

At least from
this critic's point of view

it was actually
kind of disturbing

to see people
that you actually did create

some kind of relationship with,

you know meet their demise
in the horrible ways

that we all did.

We had fun reading the reviews.

We know what they're going
to be like

and especially if someone gets,
you know,

particularly bitchy and clever.
It's great.

I mean,
in a way it's sort of like

the 'Friday the 1 3th"
movie itself.

If they're clever in the way
they're trying to kill you,

you cheer.

At the time I was not
really overly proud

of making the film.

You know, I was offered
the 5th one and 6th one.

I could have done either one
of them, and I turned them down.

I'm sorry now that I did
turn them down.

We all just wanted to make it
as good as we could make it.

We didn't want it to be
campy and stupid.

As much as we could make it
real and scary

and that we would be feeling
the real feelings.

Everybody had the same goals.

We were already at that time
talking about ways

to further the franchise,
elongate the franchise,

bring my character back.

And when we did the end scene
in the hospital,

to Joe and l, that was the nod,

that was the way to kind of
set up the next film.

But I thought what a big win
this would be,

you know, as a new director,

if I could make this thing live

and become something that fans
can appreciate again,

and the studio was surprised,

and they go ahead
and take it out and make more.

What we decided to do was make
a statement about horror.

That horror is contagious.

The horror that Jason dispenses
has been passed on to Tommy.

And maybe I was the next Jason.

Maybe it was The Final Chapter
of this Jason,

but maybe "Part 5"
was going to be

Tommy comes to fruition,

Tommy comes into his own
as the next great serial killer.

And that was really the set-up

for where the franchise
was intended to go.

If somebody had pressed me
at that time

and said how about
six more movies,

it would have been not the
running Tommy Jarvis character,

but this contagion of horror

going from one person
to the next.

And the look of Tommy
in the end was, you know,

it wasn't an accident.

I mean, that was something
that was hoping to give birth

I mean, that was something
that was hoping to give birth

Few modern horror franchises

can commit cinematic suicide
and return to tell the tale.

But the prospect of wringing
a few more dollars

from one of their
least expensive

and most profitable franchises

was hard for Paramount
to ignore.

What else can you do with it?.

We've just killed Jason.

We've just said that
the series is ended.

You've gotta figure out
something to do.

So everybody
was trying to figure out

a way to break the
"you're making the same movie

over and over again."

The title of "New Beginning,"
I think came from Frank.

I think it was how
he was reaching around

for a way
to let the audience know

that we were promising them
something new

after having told them
that it was done.

I had been an assistant editor
for many years,

mostly for Michael Kahn who's
Steven Spielberg's editor,

and I was an assistant editor on
"Raiders of the Lost Ark,"

"lndiana Jones
and the Temple of Doom,"

the "Star Wars."

And Michael said to Frank,
'You should hire Bruce.

I can vouch for him,

and if he doesn't do a job
that you like,

I'll come in, and I'll cut
the film for free.'

After "Part 4,"
I felt like, okay,

I need to take a step back,

and I need to find people
to just sort of have their,

you know, imprint
go on these films.

I'll make sure
they come in on budget,

and I'll make sure
we get people

that are placed
in the right positions

so that they're not
going to get screwed with.

But, you know, that creatively
this is really going to be

sort of
other people's stuff now.

With Frank Mancuso, Jr.

now taking on a more ceremonial
role as an executive producer,

the job of finding a director
for "Friday the 1 3th Part 5"

once again fell
to the uncredited

yet always omnipresent
Phil Scuderi.

This time, he chose a director

from the world of
exploitation cinema and porn.

These guys from Boston

also did
"Last House on the Left."

So before the film was finished,

they were going to Cannes
to sell

"The Last House
on the Left, Part 2."

And they offered me
to write it and direct it.

And I said, Sure.

Then it turns out that they
didn't have their full ownership

of the rights.

Phil Scuderi, he somehow
knew Danny Steinmann.

And thought
that he would be a good choice

to direct the film.

And so, again,

I wasn't going to be in
a situation where I'm saying,

"I'm not going to drive the bus,
I'm going to take a step back"

and then say, "Oh, no,
you can't use this guy,

and you can't do this,
and you can't do that.

I wanted to say, "Ok."

And I knew nothing about

his past filmmaking experiences
at all.

He arrived pumped
and full of energy

and ready to do another draft
of the script,

which was what everybody
had agreed needed to be done.

As far as the script
was concerned,

after they discounted the fact

that Jason is going to be alive
and kicking,

they thought that using Tommy
as a new Jason

would be an interesting
and fun thing to do.

Did Tommy do this?.
Did he not?.

Was Tommy crazy?.

These things were running
through the script.

Unfortunately, Spielberg
fucked up all our plans

because he decided he
wanted me in a couple films.

I was forced,
quite begrudgingly,

to participate in a little film
called "Goonies"

and not participate,
as I would have liked,

in the full version
of "Friday the 1 3th Part 5."

So instead,
a compromise was reached.

I would come do a cameo

to help buy myself
out of the pre-made story

that we had all come up with
years before.

To schedule
to get him back was insane.

He was busier than anybody
I'd ever met in my life.

So what we did,
we went over to his house,

and in his backyard
we put up bushes,

had the rain machine,

and did it all like in like
an hour and a half, two hours,

and got him done that way.

And we used then
a very small woman

to walk through the woods.

And I thought it was really
actually brilliantly executed.

In casting Tommy, uh...

I wanted someone who was tall,
of course,

had some weight on him,

and was good physically.

When I came in for the audition
I again, I resolved

I'm not going to talk
to anybody,

I'm not going to look them
in the eye,

I'll answer yes or no questions.

And then when Danny
called me in,

I just sat down
and looked and stared,

and I started sweating.
And it was great.

And he got it.

So it emboldened me to really
become the character.

After being released
from a mental asylum,

Tommy Jarvis is sent to live
in a halfway house

populated by a group
of at-risk teens.

Taking a cue from the plot
of the original film,

the producers decided
that the identity of the killer

would not be revealed
until the final act.

"Friday the 1 3th Part 5
would be a whodunit.

In a sense the whole picture
becomes one giant red herring

because we're going to
pull the plug on it

right at the very end
of the film.

The guys who started the series

ultimately signed off on that
idea, you know.

I mean, that was--
that came out of Boston

and that was okay,
and everybody wanted

to sort of take this road and
maybe thought it may be cool.

In 5, I actually played
the imposter of Jason.

Dick Warlock, who is known
for Michael Myers,

he was the stunt coordinator.

Part of that job
was to bring in some guys

that could play Jason.

So I brought in three guys

and when I brought them in,
I knew who I wanted.

I wanted Tom Morgan.

This guy's an exceptional
stunt guy.

He's agile and, you know,
and that's why I wanted him.

I knew that if Jason had to do
anything at all

that Tom could carry it off.

My idea was that I was going
to play the character

as Jason.

That's what they wanted.

And at the end they'd sort out
what the answer was.

And I did have a couple moments

where I did play the apparition
of Jason himself.

In the film, it was obvious
they had to distinguish

in some way so they used the
blue for the marks on the mask

for the imposter Jason,

where when I did
the actual Jason,

I was wearing the real mask
with the red marks on it.

There's a shot where the camera
is looking out at Jason

right as he steps out
from behind a tree.

I was just standing still.

I had nothing to do
but to look up at the window.

I'm in the window upstairs.

And he was trying
to make me laugh

standing there in the mask.

I turned around
and mooned him,

and he's laughing
underneath the mask

trying to not do this, you know.

And I'll never forget
the day we shot that scene

where I look up
and in the mirror,

there's a guy with a machete
and a mask on,

and I look again, and he's gone.

And is he real?. Is he there?.

Is he monster or victim?.
Well, he's a little bit of both.

And I find that when I look
at the man in the mirror

that there's a monster there
and there's a victim

depending on which day it is.

Call me Reggie the Reckless.

Shavar Ross was--
he was adorable.

Again, you know,
a little, young talent.

Yes, Miss Osbourne.

There was many times on the set
during "Friday the 1 3th Part 5"

where a lot of screaming,

and, "Hey, he's got
to get off the set.

We ain't got too much time.
He's got to go to school."

Solid.

In keeping with
"Friday the 1 3th" tradition,

the services of a smart
and resourceful leading lady

were required.

This time, however,

the film's final girl
was anything but a happy camper.

John had a very heavy character

and mine was just dealing

with trying to do the best
I could

under bad conditions
because the conditions were bad.

Low-budget movie making
is tough,

and it's tough
on kind of everybody.

She was expecting
to be picked up every day

and brought to the set

and, I think, in a limo
or something to that effect,

and that's another world.

I don't think
anybody gets above,

no matter where you are
in the food chain,

nobody gets above the desire
to do something good,

but the limitations
of what you're dealing with.

Danny, you couldn't go to him.

And actors, especially when
you're young and starting out,

you kind of look to
the director as a father figure.

And I had a question, and he'd
just say, "Just do it."

So from that moment on,

and that was about, I think,

the second or third day
of filming.

So at that moment I said,

"Okay, you're really
on your own here."

I'm sure that's
an uncomfortable part to play,

you know,
when you have a director

that isn't exactly gracious
but you've got a role to play.

So I decided to just do
what I set out to do,

to do the best job I could.

I understand to some people
that Daniel was kind of coarse.

And kind of rough.

I can only say...

it wasn't that way
when I was around,

but I wasn't really around
that much.

In order to maintain the secrecy
of the film's storyline,

the movie went into production
with a befitting code title:

"Repetition."

No way did I know that this was
a "Friday the 1 3th" movie.

So the first day
we're sitting on the set.

There's this guy with
a hockey mask and the blade.

He walks past us, stops
and stares right at us.

We looked at each other,

and the whole energy
just turned into excitement.

We're in "Friday the 1 3th!"
We're in "Friday the 1 3th!"

I want this looney bin
closed down.

You tell 'em, Ma!

I did a fair amount
of ad-libbing as Ethel.

Horse shit.

Shut the fuck up.

You big dildo.

Lots of swear words came out.

Who the fuck are you?.
What the fuck do you want?.

One of my favorite scenes

is in the kitchen
with a chicken.

I'm gonna chop you

into itty bitty little pieces,
my friend.

You know, the stew that Junior
had to eat in the show,

it was foul only because
it was cold Campbell's soup.

Best goddamn stew in the whole
wide world, Momma.

I thought, you know, we're going
to eat this for lunch.

Hey, Junior would eat anything!

[Stupid laughter]

I have a wig from a movie that
I'd done with Burt Reynolds

called "Sharky's Machine"
where I played a hooker.

You fuckin' low-life creep!

They loved it so much

that they wouldn't get me
another one.

I had to use mine.

Eeeeee-yahhh!

Eeeee-yah!

"Part 5's" first turning point
occurs when Joey,

a mentally-challenged
ward of the state,

incites the wrath of
the wood-chopping Vic Faden,

played by the late
Mark Venturini.

Hi, Vic.

Get lost!

And then, like that, he flips,

and the axe is going,
and there's blood flying.

The scene itself
was pretty grisly,

and they did a lot of takes
over and over and over.

Oh, god! [sobbing]

For the film's pivotal role

of soft-spoken ambulance driver
Roy Burns,

director Danny Steinmann
sought out an actor

who could project
an aura of menace

without tipping his hand.

Roy is called
an ambulance driver. He's not.

He's a paramedic.

He had seen
an awful lot of death

because this had been going
on for a little bit.

So when it ends up
being his son,

I think that's what
pushes him over.

My character was,
you know, a wise-ass.

My thing was I blew a bubble
and looked up at them and said

Bunch of pussies.

And then of course,
the moral of the character,

of my character,

is be nice to your co-workers,

or you'll get your throat slit
from ear to ear.

With nearly two dozen
onscreen kills,

"Part 5" boasts one of
the highest body counts

in "Friday the 1 3th" history.

The producers
came up with the idea

that Tommy would be Jason
and then every 8, 9 minutes,

there should be a kill
or a jump, a big jump.

Come on, mother fucker,
fix the fuckin' car!

The death scenes
for Pete and Vinnie

were certainly gory.

I had the machete
across the throat, of course.

And they also
put most of their effort

into the gore
and into the kills.

And most of that footage
wound up on the floor.

I watched when they shot
Vinnie's death scene.

They had made a cast
of his face

and then made another face
of his out of latex,

and then they took
the road flare

and stuck it in his mouth.

You could see
everything glowing.

It was horrific but at
the same time, you know,

it was certainly an inventive
way to bring about his death.

Crap my ass!

Just do it, man!

Some people have supposed
that our characters

were the first gay characters

to be killed in
the "Friday the 1 3th" series,

and I think it's an open-ended
question.

I hadn't made that choice,

but who knows where it went
with Pete,

and where it would have gone,
you know,

if they could have lived
a little longer.

Lana! Hey, Lana!

Sorry, buster, we're closed.

The original scene
of Lana and Billy

were--I guess it was originally
written for "Part 4,"

but for whatever reason,
they didn't use it,

and they put it in "Part 5."

It just said,
"Billy calls for Lana.

He's waiting in the car,
and he starts doing cocaine."

(Coughing)

A couple weeks before that I had
seen the film "All That Jazz"

about Bob Fosse,

and he would throughout
the film say 'It's showtime.'

It's showtime, folks.

And so I came out of my trailer

and went up to Danny Steinmann,
the director,

and I said, "You know, Danny,"

I said, "I'm changing
in the dressing room,

getting ready for my boyfriend.

I said, What if I did
something really cute and sexy

Iike It'sshowtime!

He was like, "l love it!"

Using an axe on a guy's head

almost looks for real
when you're there

because you're looking
at the head,

which is just this guy's head.

It looks just like him.

The dummy had a full head
of hair,

and they were panic stricken
because I had a bald spot

and then Jason was going
to crash this axe

into a guy
with a full head of hair,

and they had
to take the dummy away,

get another head and, you know,

cut the hole but try
and make it look real.

So they got the bald spot
all set, made that up,

put the squibs under there
and then wham.

And that was his target,
the bald spot on my head.

Because I'm killed with an axe,

they built the cast with the axe
actually glued to it

and then they put my pink dress
over it,

and I'm covered with blood.

I kind of played along with it,

and I started walking through
the street going...

in front of the cars
and people were just like,

"Oh, my God."

Because they didn't know
a movie was being made up there.

So we had a lot of laughs
with that.

I played along with that.

These kids, people
were rooting for them to die.

Fuck you.

Exactly. Fuck me.

I don't know
if they were degenerates,

but they were definitely...

not wholesome.

In my mind the movie was more
like, you know, sort of

Fellini meets Hardcore.

I mean, it was just
sort of bizarre.

I was certainly surprised
by the sleazy quality

to the images.

Sleazy is a great word.

I mean, in terms of describing
"Part 5."

Everybody was cast because
of the size of their tits.

It was like a porn film
in a lot of ways.

I did my first nude scene
for Danny.

Sorry...(laughs) I didn't.

I just had to say that.

I think Danny Steinmann
was bringing to it

what he thought would make it
more urgent, you know.

More intense. Not as campy.

And some people
found that sleazy,

Some people found that
difficult to watch.

They obviously didn't appreciate
not having Jason around.

Although the part of
sex-starved Tina

was originally intended to be
played by actress Darcy DeMoss,

who would later appear
in "Friday the 1 3th Part 6,"

director Steinmann
ultimately gave the role

to a former Playboy bunny
with a familiar last name.

As soon as they saw
my last name, Voorhees,

they said we absolutely have to
interview this woman.

They told me I had the role
and then they told me

I had to go meet
with the producer

to audition three women.

Two of whom I remember,
one of them was Darcy DeMoss,

who ultimately played in role Vl

and was a long-time
girlfriend of mine after we met.

The other girl
was Gina Gershon,

you know,
"Faceoff,", "Showgirls."

She's been in a lot of stuff.

She went on to do very well.

I went in for my audition and
Danny Steinmann, the director,

asked me to lift my top up
and show my breasts.

I wasn't prepared for that
at all.

So I said "l have no problem
with nudity,

but you need to contact
my agent,

and have him okay it."

We made arrangements
to get together

because obviously we had
to shoot the woods scene,

the sex scene,
like the following Monday.

The next day,
I didn't have a part,

and the excuse was that I wasn't
well enough endowed.

It was one of those things
where the producer

had seen the one woman
and then the director saw me,

and he decided he wanted me.

And if you look at the girl,

her breasts
are absolutely enormous.

I did meet the guy, Eddie,

a couple days before
we actually, you know,

shot the film, the love scene,

and I think probably
one of the funny moments

was when we said goodbye
and said,

"Okay, we'll have sex on Monday.
Bye."

Okay, sugar.

And I get that all the time.

People will say, "Well, you
know, you did this sex scene

with a Playboy bunny
in the woods.

I mean, it must have been
incredible.'

And, it's like, well, you know,

it's not really
comfortable at all.

You got 50 people
standing around.

In the background off-screen

is Danny Steinmann,
the director, yelling,

"Come on. Fuck her. Fuck her.
Fuck her harder.

Come on. Come on. Grab her tits.
Grab her pussy.

Grab her ass."

And I'm sitting there
like dying.

And I'm not a prudish guy.

And I turned to Frank,

who looked just as dumbstruck
as I did, and I said,

"What do you want me
to do with this stuff??"'

And he put his arms around me
and he said,

"Bruce, make it look like
a Pepsi commercial."

I do remember seeing
the final cut and thinking,

"God, it looks like I'm like
Quick Draw McGraw, man,

I mean like, in and done.
Bang, you know,

it's like,
"Okay, I gotta go wash up."

It's like, "Ah wait a minute."

Of course,
I was the classic bad girl

so, you know, I had to die.

I think the garden shears
through the eyes

was pretty bad when I went,
you know.

And the way they did
the little snap

where you could see the bone
right there and stuff.

But at that point,
once they put the mask on me,

they put the red blood
in the eyes,

and I can't see at that point.

So I'm having to be led around
in nothing but a robe.

And, you know, I have to admit
that was a little intense.

Plus that stuff burned bad.

I mean, really burns the eyes.

In the end, you know,
my death was very unique.

I mean, how many people have
been impaled or hatcheted,

or, you know, meat cleaver
in the head.

That's old hat.

You can't say another guy
has ever had a horse strap

thrown across his face
and crushed against a tree.

Some fans have pointed out
that at one point

he's turning it clockwise
and then at another point,

he's turning it
counter- clockwise.

From my understanding,

my death scene was so gory

with the blood being pumped
through the strap,

that they were able to use that
as a bargaining tool

with the censors,

and they were able to get
more nudity and less gore

based on my death.

There was a scene,
there was Miguel Nunez,

who played my brother Demon

Damn enchiladas!

died on the toilet.

I mean, that is not
the way to go.

Just got killed in the bathroom

calling out his
girlfriend's name and singing.

ooh baby, ooh baby

ooh baby, ooh baby

Just spikes coming through
the outhouse.

And his beautiful girlfriend
got just jacked up.

My goodness. Terrible.

Shooting my death scene
was pretty, pretty intense.

That's probably
the only place where Danny

actually put a lot
of pressure on me

because I'm riding a motorcycle
through the woods.

And they have the camera
mounted on the motorcycle.

(Screaming)

Danny said,
"You dump this bike,

that's a $50,000 camera,

I'm going to kill ya.

So you will die
before Jason gets ya."

Kept going around and around
and the next thing you know

(Swoosh)

The MPAA sent a long note
of changes

that we had to make,

and one of them was when
Junior's riding the motorcycle

and gets decapitated,

His head can only bounce
on the ground once.

At the time this really did look
real, you know.

It's cracking and yellowing
and falling apart,

but it was pretty intense.

My death scene,

there was a shot where they used
my prosthetic head

and had put an axe
in the forehead of it.

I don't think the
prosthetic piece with the axe

made it in the movie.

I think it was cut.

Tiffany Helm did the robot

to one of the greatest songs,
I think.

I had never heard that song
until she brought--

she brought it in herself.

?. There's a man with no life
in his eyes?.

?. There's a man no life
in his eyes?.

It was cool because it
was the 80s, you know?.

The kill scene with Tiffany,

they had an idea that they
were going to use

a little more graphic kill.

They were going
to take the machete

and actually stab her
straight up through the legs

and pick her up and pin her.

She was like this, and Jason was
going straight for the gusto.

I remember hearing about it.
I might have seen some stills.

I don't remember if they
actually shot the footage.

It would have been
pretty difficult to look at.

Couldn't show that.
Couldn't show that back then.

That was cut. Rated X.

And they toned that down
a little bit

and ended up sticking her
in the stomach

and pinning her to the wall,
which is probably as good.

You know,
everybody was frustrated.

The editor, and Frank Mancuso.

The stuff that was taken out
had a big, big impact

on the reaction to the kills.

You don't get to see the kills.

How they were set up,
and how they were executed.

So that's what pissed me off
the most.

From the point where I discover
the bodies upstairs,

everything after that
until the end of the film

was my best time.

I was just so excited
to be doing it.

I just remember
having a lot of fun,

running through the woods
in the fake rain.

Where are you?.

I just had fun.

And quite frankly, I think
I only looked good

when they finally
turned on the rain.

(Screaming)

So I was grateful for,
as cold as it was,

I was so grateful
because I said,

"Oh, God, at least
I look good wet."

I didn't shoot a death scene.

It was shot up in the canyon.

I remember
they had a rain machine.

It was cold that night.
I nearly froze my ass off.

But what happened was every
time they would open the door,

and my head would come back,
the water would hit the blood

and so it didn't have as good
of effect as it should.

You could tell it didn't slit,

but they could have done
a better makeup job on that.

I lost my voice,

and I actually screamed
like a girl.

I screamed like a girl,

and I still get people
that email me

to remind me that
that scream was so high.

The most shocking thing when
I saw the film in the theatre

was my pink sweater.

She's running through
the forest

and in some cuts,
she's got this pink sweater

which she wore all the time,

and in other cuts, she doesn't
have the pink sweater.

I can't even look at it anymore
because I just, all I see

is that pink sweater
reappearing and disappearing.

The attitude usually
in an editing room

when there are continuity
problems

is that if there are people
in the audience

that are noticing that sweater,

they're not really engaged
in the story.

The bane of my existence
of that film

is that damn sweater.

And I didn't even like it.

Pink thing.

And I think the thing with
Reggie the Reckless was that

it was that red suit.

It was the red suit.

It was the blood of Jesus
over Reggie.

And I think that helped me some,
you know, throughout the film,

you know, to be able to have fun
running him over

with a tractor.

When that front loader hit me,

that was probably
the most fun for me.

I helped set that up.

It wasn't in cuts.
It was a full hit.

And the distance
I flew through the air

and hit the ground was all real.

So for me that was the most
enjoyable stunt.

And the shooting in the barn,
the infamous chain saw scene

which did take a few takes

because the first three
I couldn't get through.

I was laughing so hard.

Where am I going to do a scene
with a chain saw ever,

you know, except this film?.

The killing that was the most
memorable to me in "Part 5"

was, of course, me taking
the machete to Jason's arm,

and him falling back
out of the barn

and landing down on some kind
of farming instrument.

Tom Morga, he called me,

he wanted me to come out
and take his place

one night on the show.

If you watch the movie,

you'll see that the first guy
that does the fall

coming out the door,
is Tom Morga,

and then you'll see a guy
fall through frame.

That's me.

I love the part
where he just goes

right through those
(laughs) spikes.

I did the graveyard sequence.

When the two guys come up
to the, and dig the grave open,

I was lying down
in the coffin.

They actually dumped
nightcrawlers on top of me.

They had like
five gallon containers,

and they dumped them
all over me.

This is dick head.

They used this when Roy
falls out of the barn

onto the farm implement.

It's really freaky,
really strange.

Well, you know, in "Part 5,"

we didn't have the quote-unquote
real Jason.

Jason was an imposter,
as it turned out,

which was a disappointment
to some fans

to find out that it was a human.

We got to the end,

and I found out it was
the ambulance driver.

That just threw me

because I didn't know
that was going to happen.

Another piece of advice:

Don't allow the overweight,
mentally handicapped son

of the local ambulance driver

to get hacked to shit
over a candy bar.

(Screaming)

Because chances are

that driver's going to turn into
a Jason clone

and try to take people out.

Remains one of the least
satisfying endings

in the history of film
as far as I'm concerned.

So the sheriff,
played by Marco St. John,

we're in the hospital.

He's now explaining
the whole thing to me,

who was chasing me,
and the motive,

and who this person was.

I guess when he was called
to the scene,

and he saw that it was
his own Joey

all hacked to pieces

Jason was a good scapegoat
for Roy

because he was in the papers.
People knew who he was.

And he whips out these clippings

and shows me a mug shot
of Jason,

Iike they got a mug shot
of Jason?.

And I ended up writing
the last three pages of Tommy

in the hospital room--

and I brought it to Danny
and I said, you know,

"Here's the ending."

And I remember him just x'ing
out all the dialogue and going,

"John, you don't talk
the whole movie

and all of a sudden you got
like a 3-page monologue."

But he said, you know,
"This is good,"

and he came back
the next day and said,

'We're going to use that.'

But at the very end,

that's when the metamorphosis
takes place in his hospital bed.

He comes to see Jason there

and then Jason
kind of disappears

and then he gets out of bed,

opens the drawer
and sees the mask.

He's in there freaking out.
You hear a crash.

I rush into the room

because I think he's jumped out
of the window.

And he's behind me
with the Jason mask.

I become Jason
and so in that sense, to me,

he's the most fearsome,
awesome, indestructible,

mysterious figure
in movie history

because you see a side
of yourself

that could become possessed,
if you will,

by this larger-than-life
character.

Despite the backlash
to lmposter Jason,

"Part 5" proved that audiences
still had a bloodlust

for "Friday the 1 3th."

As the film grossed $8 million
in its opening weekend

on March 22, 1985.

Frank Mancuso
called me late that night,

2, 3 o'clock in the morning.

He was so excited,
you know, saying

these numbers are like
the golden times.

I mean, this is unheard of.

Everyone is going
to the next "Friday the 1 3th"

based on their experience
of the last one,

and if they go from 4
and 5, and 5 lets them down,

it's already in profits before
it has a chance to fall off.

I would say that the movie is a
pretty substantive departure

from the rest of the series.

I think it's really interesting.

This film is either loved
or absolutely despised.

Some people say,
"You didn't even play Jason.

It didn't even count."

And they have no respect
for that particular film,

and they think it was the worst
in the series.

And I've had others that tell
me the way it was done,

and they loved it
and it was the best kills,

and it was the most exciting.

You know, it's personal opinion.

And I was kind of proud
to be part of something

that they were taking a chance

of doing something different,
you know.

Whether that worked out
is another story.

It's like "Halloween 3."

Michael's not in the movie
so it's not a "Halloween" movie.

I liked the fact that it wasn't
Jason killing people.

I liked the fact that it was
a bit of a whodunit

and nobody really knew
what was going on.

What the hell's going on here?.

The only mistake that they made

was giving the explanation
that it wasn't Tommy.

I think that if they would
have kept it elusive,

and you really didn't know for
sure at the end of the movie,

I think they could have
gone a great number

of really cool places
with it after that point.

But really, no, lmposter Jason,
it just doesn't work.

I mean, ultimately,
"A New Beginning," not so much.

There's a reason why the
next one's called "Jason Lives."

But, you know, in retrospect,
you know, it's glorious.

I had a really good time
and, you know,

some of it's not bad.

Everybody starts off
trying to do good.

You know, they really do.

And he thought he was doing
a really good job.

And he thought that--

he thought what he was bringing
to this thing

was going to be
a different element

that people might really
appreciate.

that people might really
appreciate.

After the disappointing response
to 'Part 5,'

producer Frank Mancuso, Jr.

received a directive from the
top brass at Paramount Pictures.

Get "Friday the 1 3th"
back on track.

You know, well -intended people
can make mistakes.

And I know
I've certainly made them.

They realized in it,
and the fan response,

that they were not happy
with 'Part 5'

because Jason their
favorite character wasn't in it.

So they had to go back
to the old formula.

Obviously, 5, where you have
an imitation Jason,

angered the fans.

I mean, it was like,
"Let's just ignore this.

Let's move on."

Clean house. Start all over.

Everybody,
let's just start fresh.

5 was a bad dream.

So it was important to me
that Jason come back

in a very spectacular,
fun way.

You know, we needed somebody
who would sort of embrace

that kind of theatricality

and infuse the rest of the movie
with that.

Enter Tom McLoughlin,

who began his career in comedy
and as a professional mime.

During an initial meeting
with Mancuso,

the up-and-coming
writer/director

pitched an idea that everyone
hoped would breathe new life

and bring a bit of levity
into "Friday the 1 3th."

I came to the attention
of Frank Mancuso

because of the movie I made,
'One Dark Night.'

I was not
particularly interested

in doing a 'Friday' sequel

because, as far
as I was concerned,

it basically had kind of
run out of steam.

Oooh, it's those
damn enchiladas!

The idea was still kind of
challenging to me

at the same time so I said,

"Well, let me see, you know,
all the "Fridays,"

and I went to Paramount
and sat in a screening room

and watched them all
back-to-back.

And out of that I thought, okay,
what hasn't been done?.

And, because I've always had
a great love of Gothic horror,

I thought if I could bring in
that element.

It's alive! It's alive!

Mancuso was smart hiring
a young, hip director.

He didn't want somebody that
was just going to phone it in

and take a check.

Being a huge fan of the old
Universal horror movies,

and particularly 'Frankenstein,'
that was the first idea.

You know, let's bring
Jason back to life.

Gotta be a lightning bolt.

Then I actually would go
to these bizarre locations,

you know, cemeteries,
and, I don't know,

somehow I just loved
that whole process

of writing in unusual places
for this

and just sort of see
what the inspiration was.

Originally titled
'Jason Has Risen,'

McLoughlin's script once again

focused on the Jason-obsessed
Tommy Jarvis,

but virtually ignored
the events from "Part 5."

After I did
'Friday the 13th, Part V

I got hired by
Frank Mancuso Jr.

to edit a movie called
'April Fools' Day,'

which, coincidentally,
had Amy Steel in it,

who had been in 'Friday ll.'

After that was over,

Frank wanted me now
to do the next Friday,

which was Vl.

John and I were assigned
to do 'Part 6.'

Pretty soon after I got word
from Paramount through my agent

that John wasn't going to do
'Part 6.'

I was at a crossroads
in my life

where I was trying to decide do
I really want to pursue acting,

or, you know, is this the best
use of my time and talents.

So I made a conscious decision
on 'Part 6.',

that, you know what,
I'm going to pass on this.

And they said we can't use you
because you are intertwined.

They wanted to kill me off
in "Part 6," but we said nope,

not doing that to us.

[high-pitched shriek]

One of the very few brothers
that survived

the "Friday the 1 3th" series
by the way.

6 begins
and it's a different actor,

it's a different story.

And enter Thom Matthews.

I did do a movie,
a horror movie before

called 'Return
of the Living Dead.'

[random screaming]

When Tommy shows up in 6,

Jason has not been cremated
as you thought.

His body was cremated.

He's nothing
but a handful of ash!

And beyond that, Tommy
is no longer bat-shit crazy.

This is between me and Jason.

He has now apparently not only
found his moral center,

he is a hero again.

And he's bringing
Horshack with him no less.

Accompanying Tommy
on his ghoulish quest

was fellow mental patient
Allen Hawes,

played by the late Ron Palillo,

best known as "Horshack"
from the cult 1 970s sitcom,

'Welcome Back Kotter.'

Once Jason was dead
and Tommy was still around,

and he had gotten out of this
institution,

you know, his vow was to go
and make sure, you know,

Jason was dead.

My character goes over
and grabs a metal stake

from the rotting
wrought iron fence,

and I stick it into his heart
several times.

Oh, shit.

It starts to rain,

Iightning bolt hits the rod

that's still stuck
into his chest,

and it kind of revitalizes
his body.

The Hawes character
whacks him with the shovel

and all it does is, you know,
get his attention.

He turns around
and punches his heart out.

That was pretty interesting.

We made a foam rubber heart.

We had it so it could actually
pump off camera,

and there were tubes running in
that the guys on set

had the blood
squirting out of it.

That also to me was important

because, you know,
we've given him this power

with a lightning bolt.

He should be pretty damn,
you know, unstoppable that way.

One of the exciting things
for me

on "Friday the 1 3th Part 6' was
the creation of Jason's mask.

And we wanted it to really
look the same,

but we still had to customize it
to our actor,

which was C. J. Graham in this.

Once he turns around after
taking Horshack's heart out

and puts that hockey mask
back on,

that was the last time you'll
see me with my face exposed.

After that the inside
of the prosthetics

became pretty simple.

But the people, Reel FX,
they did a great job.

He had to be
this unstoppable force.

And nobody
was listening to Tommy

that he had brought him
back to life.

You're gonna be sorry
you didn't listen to me.

You're gonna be sorry
if you don't shut up.

It did create a new rule
which I thought was cool

only because, you know,
how do you kill something

that is already dead?.

From the opening moments
of McLoughlin's gothic,

tongue-in-cheek horror film,

fans were aware
that they were in

for a very different 'Friday.'

I had nothing to do with
the James Bond title sequence,

but when I saw it, I just
absolutely loved it.

I thought it was, like, so cool.

And it was also a wink and a nod
to the audience

saying "You're in store,
this is something different.

We're having fun with this."

Does he think I'm a fart head?.

YES!

It was fun because every time
Frank Mancuso, Jr.

came up with some bogus title

that we were making
the 'Fridays' under,

and he was a huge Bowie fan,

so every movie had some
Bowie song as the title.

'Part 3' was Crystal Japan,

and 'Part 5' was "Repetition,"

and we had the one,
which I thought was the best,

Aladdin Sane.

To play Megan Garris,
the spunky sheriff's daughter,

McLoughlin chose Jennifer Cooke,

who had recently starred

in the science-fiction
television series "V."

Jennifer Cooke was picked
for two reasons.

One, the "Friday" girl always
seemed to have to be blonde,

and I think that was
Frank Mancuso's desire

to kind of carry on

the Hitchcock tradition
of the blonde.

In my particular choice,

I wanted her to have a very kind
of '30s, '40s snappy attitude.

Sheriff: Tommy Jarvis
is a very sick boy.

Megan: How do you know, dad?.
What did you do?.

Take his temperature?.

Like a--you know,
like Barbara Stanwyck was,

or Jean Arthur back in the day.

Playing Megan was terrific, and
she really was a feisty girl.

I would say
like most girls her age,

she was figuring
a few things out in life,

Iike how to fall in love,
and how to say no to your dad.

You keep forgetting,
little Megan,

I'm the parent,
and you're the child!

That's right.

When are you gonna stop
treating me like one?.

When you stop acting like one!

I've been an acting coach
for a long time

and actually
Jennifer studied with me.

And so we knew each other.

David Kagan was also--

his character name
was Sheriff Garris,

and he was cleverly named
after a horror director

named Mick Garris.

And Tom inserted
a lot of those references

throughout the movie.

One was the town of Carpenter,

you know, after John Carpenter
and "Halloween."

The best I can do is call
the station in Carpenter

and have them
keep a look out for them.

And then the other
was Cunningham Road.

Drive out to Cunningham Road
and look for him.

Megan!

If you watch the movie there's
are a lot of little references

to Frankenstein, you know,
in there.

the Karloff, you know, market.

Where are you?.

Uh, Karloff's General something

There was stuff
all over that picture,

just signs on walls.

He had really done a great job
in pulling all that together.

Harry did such an amazing job
with the score

because you know,
he kept the "Friday' score

but he had, you know, this whole
Gregorian, gothic feeling to it

with what he added.

The score was different because
the movie was different.

It was probably the first one
that really, to me,

felt like, "Wow!

This has turned into
an actual movie.

Over the years, it's come up
that, you know, I was doing,

both a horror movie
of "Friday the 1 3th,"

and also sort of doing
a satirization

of, not so much the "Friday,"

but the kind of slasher movies
in general.

The fact that the characters
reference Jason,

make jokes about it,

I enjoyed,
I thought it was a lot of fun.

Because I've seen
enough horror movies

to know any weirdo wearing
a mask is never friendly.

Happy Friday the 1 3th.

The object of the game
is to find out

which cabin Jason is in!

What if it's that guy, Jason?.

I don't wanna know.

It was real. Just like on TV!

I think we're dead meat.

Sowhat were you gonna be
when you grew up?.

Some folks have
a strange idea of entertainment.

It was a way of really
kind of having fun

and involving the fans.

Tommy's very bizarre
sense of humor

really shines through, I think.

But, yet, a fondness.

You know I found out
years later,

meeting Kevin Williamson,

that that did have an influence
on him for "Scream."

Killer: Name the killer
in "Friday the 1 3th."

Casey: Jason! Jason! Jason!

Everyone was, you know,
very fun and wholesome kids,

you know, innocent.

For the roles of likeable
camp leaders Darren and Lizbeth,

McLoughlin cast his wife Nancy

and a young actor who would
find out-of-this-world success

after his brief encounter
with Jason.

The big discovery of the movie
was Tony Goldwyn.

"Ghost."

He became famous
for the movie "Ghost."

The thing that Tommy brought him
back to life with

is this spear that he yanked
off of a fence.

So once Jason had that,

he had something to spear both
Tony Goldwyn and Nancy with.

(Screams)

My wife Nancy had a pretty
close call in the movie,

and it was completely
unintended.

She actually almost got impaled
because of the windshield.

It changed the trajectory
of the spear

that Jason was lunging
through the windshield.

I would have been speared,
and it missed me by a speck.

I mean they could
only do it once.

It was really scary.

And then there was obviously
the times

where somebody
tries to reason with him.

Please! Take anything!

You know,
as Nancy does in her scene,

tries to offer him,

money and credit cards
and stuff.

My head was submerged,
literally in the mud,

Iiterally with a vice.

And they gave me a regulator

thinking that would
keep me well.

Well, apparently regulators
don't work in the mud,

so the mud's creeping down
my throat.

The American Express card

was another thing that I knew

the way audiences
responded in those days,

that when that card floated,

there would always be some joker
in the back of the theatre

that would go,
"Don't leave home without it!"

And everybody would laugh.

They say that there's
always a reason

that Jason kills someone.

What did I do?.

I mean, I was driving.
I wasn't having sex.

I mean, I was with a guy but we
were doing nothing,

so it's curious
as to why we were killed.

I've never figured
that one out.

Jason has no bias.

If you were in his territory,
fair game.

To establish a new look
for Crystal Lake--

now rechristened Forest Green--

McLoughlin took his cast
and crew to rural Georgia,

where they soon discovered
some interesting local pastimes.

The big thing for the kids to
do on Friday nights

was a big parking lot,

and they would just drive
around in this circle

and drive this loop,

and that was the big thing
to do at night.

But it was kind of remote
and sort of out of it,

kind of not cozy,
for lack of a better word.

The camp we shot at,
Daniel Morgan,

actually was the site also of
the movies

"Little Darlings,"
and "Poiison lvy."

6 was a lot more fun to do
than 5.

I think everybody else
was happy.

You had Tom McLoughlin,
who I think is a real director.

It really was like a family.

When you film something
on location,

you tend to get to know
the cast and crew a lot better

than you would if you
were filming at a movie studio

where you get to go home
every night.

It's not love, it's location
because everybody...

I was the den mother, and they'd
come with these huge crushes.

She was great.
She took care of everybody.

She was mothering everyone
from the beginning.

Absolutely. I'm glad
she survived the movie.

because that spear could have
gone right through her.

By a speck!

I just had such fun.

I mean, it's like
a big improvisation.

With Tom's words.

He was filming a film
that took place in a camp,

and it was like he was running
a camp for wayward actors.

Despite the congenial,
family-like atmosphere,

not everyone supported the
director's artistic aspirations

for the film.

There was a man who, Don Behrns,

who was a little on the
cheap side.

The first horror film
I ever worked on

was "Halloween 1,"

which nobody ever knew
was going to be

the big success that it was.

He, you know, certainly
had a past with doing, you know,

horror movies and things so he
seemed like the right candidate.

And, at the time, you know,
he made me very angry

because as the writer/director,
you know, you had a vision.

Everything was nickel and
diming, nickel and diming.

If I wanted a crane shot
for this,

or I wanted this for this,

and many times I showed up
on the set,

and it's like, "Where is it?. "

It's like, "Oh, yeah.
I forgot to tell you."

You know I wanted to kill him.

He said, "By any chance,
you got a deal with Frank,

do you get a bonus for getting
this picture done on time?. "

I said, "Yes, I do."

At the end of the day,
you know,

every time
you have a restriction,

you have to come up
with something else.

And lots of times you come up
with something better.

By the time cameras rolled
in January 1 986,

McLoughlin had surrounded
himself with a loyal crew

and a likeable ensemble cast,

several of whom were recruited
from his comedy and mime days.

Tom McLoughlin wanted to
cast experienced actors

in the first scene
that he shot in this movie

because he wanted to be
ahead of schedule.

It was a fairly complicated
scene.

We were all being beheaded.

I knew Tom
from the LA Mime Company.

He was the director
of the LA Mime Company,

and I was a mime in there.

And when he was going to do
this film,

he talked to me.

"Well, I have a part
I'd like you to do."

And I said, "Oh, great.
Do I get killed??"'

He said, "Yes."

We actually were playing
paintball, and it really hurts.

After I got off a great shot,

I made the men put on headbands
that said "Dead."

Don't be spoilsports.
Put on your headbands.

(whispering) A foreshadowing
of things to come.

One of my favorite kills in 6

was the sort of misogynist guy
with the machete

who has the machete,
and he's hacking the branches

and complaining about
women should, you know,

stay in the kitchen.

She should've stayed in the
kitchen where she belongs!

A woman shouldn't
even be allowed in these games!

And then Jason grabs his arm
and throws him against the tree,

and he winds up
hitting the tree

and his head goes back,

and there's like a bloody
smiley face on the tree,

and you see Jason holding his
arm that's been severed

from the rest of his body.

And then it was a question
of going,

Okay, you know,
we've seen decapitations,

you know, how do we take it
one more step?.

Okay, let's do three in one.

You know, so that three heads
went at the same time.

Jim Gill, who now runs
Reel Effects,

did this really cool gag where

as the idea was
as we passed the machete

across the three
artificial dummies,

a trip mechanism would
perfectly send the heads off

at the right time.

It was really authentic,
really excellent.

Then we made the legs so they
would buckle at the knees

and collapse out of frame.

A lot of work went into that.

And the rating system
made them cut that back.

The head was so realistic.

The eyes,
I had more hair at the time.

It wasn't
until the first screening

about two minutes
before that scene came on

and someone on the crew
leaned forward

and tapped me on the shoulder
and said,

"By the way, the triple
decapitation has been edited out

because of the ratings."

And I'm like, "What??"'

Just as I turned back to watch
the machete go up,

and I think you see the bodies
crumple by frame,

and I remember thinking,
"Wow. What a shame."

When he fires the paintball
thing to Jason,

and Jason looks down,

I thought that was like
really, really funny.

You see me running away,

and Jason following me
with the machete, and I'm going,

"Help, help, help."

He's gonna kill me!

And then they cut away,

and nothing is ever said
about Roy until later.

"Did you find Roy?. "
And the went, "Yeah."

And they pull out an arm,
and my glasses and parts of Roy.

I'll order up some body bags.

There were the kids

and then there was
the Sheriff's assistant-- me,

Deputy Rick Cologne.

And my mail order laser scope

which, you know, as you see
where the movie takes place,

it had to be mail order.

There was not
a whole lot of places to go

and buy that kind of thing.

Wherever the red dot goes...
ya bang!

Trying to find a cemetery
that would allow us to shoot,

even though we were calling
the movie Aladdin Sane.

'Cause that was the whole thing,

we did not want to say
we were "Friday the 1 3th."

Old Madison Cemetery,
where we finally got permission,

and we had one area where we
could drive the truck in there

90 miles an hour
over the train tracks

and into there.

There was an entrance made

so it looked like the front
of the cemetery.

And then the rest of it
was staying on the paths

until the point
where he gets tackled

and then that was kind of
a bare area.

But like anything else
in movies,

you're given permission
to do something,

and you try to make the best
out of what you're given.

Echoing the behind-the-scenes
controversies of "Part 2,"

the original stuntman
hired to play Jason

was replaced during
the early days of production.

Originally we had
a stunt coordinator

who was also playing Jason,
which is Dan Bradley.

We started the movie doing
all the daytime sequences,

all the things with
the paintballers and stuff,

and so all that was Dan
as Jason.

And Paramount,
when they got the dailies,

somehow - and I don't even know
whose decision it was

because I was busy shooting,

said that we're making a change.

"What do you mean?. "

"We're getting
a different Jason."

"Why??"' "Just trust us,
we need to do this."

I remember that Dan didn't,
apparently,

didn't look that good on screen.

Apparently had put on
a few pounds.

For a person who had been dead
for a long time,

he had been eating pretty well.

It was devastating to me.

It was certainly devastating
to Dan,

and l, you know,

as I said
I just was really leery

about who was going to walk
in that door.

And, you know, in comes CJ

who had really
little or no experience.

He was large and imposing,
and that's what they wanted.

CJ was huge.

He looked the part,
but he was a gentle giant.

So, frankly,
when he was grabbing people

and chasing us
through the woods,

we had to do a lot of acting

because he just wasn't
that scary in person.

He didn't want
too much of a zombie,

but he wanted that fear,
that anger,

and the projection had to be
through the body,

1 00% through the body.

Just a simplistic little
movement would create fear.

I pray the lord
my soul to keep.

If I should die before I wake

Many of those small,
little physical nuances

definitely helped add, you know,

that sense that, you know,
there was a machine in there,

Iike Terminator.

But at the same time you had to
give a little bit of that

human thought process
so you didn't become robotic.

Ki-ki-ki-ma-ma-ma

I remember my first scene,
my very, very first scene.

It was a back shot.
Me walking towards the trailer.

Where Jason sees
the Winnebago moving,

and he kind of tilts his head
in a humorous sort of way.

You know, he wants to understand

what the noise is about,
why the mobile home is rocking.

You're the best!

During my love scene,

they had a little powwow
and said,

"We don't have any nudity
in this."

so they asked me if I'd be
interested in doing it topless.

The contracts had been signed,

so that just didn't seem
to pan out.

The best part about working with
all the actors and actresses

that I worked for is we had
a great camaraderie.

They trusted me
which was a great feeling.

I'm walking by the bathroom
of the Winnebago,

and Jason comes out
of the bathroom,

grabs me from behind,
slams the door

and there I have
this amazing fight with him.

And I'm this little tiny person,

and I really gave it my all
and fought with him.

I mean, I had to take
a young lady's face

and slam it into a camera lens
with force.

Slammed it through the wall
of the Winnebago

where the imprint
of my face came out.

And how they actually did that
is they filmed it underwater,

and they shot it in slow mo,

getting--pushing through this
piece of plastic underwater.

John Travolta's nephew,

who's driving the RV,
Jason comes behind him.

And the way the guy's rocking
out, and listening to music

and looks up and all that.

Hey, Nikki what are you
doing back there, taking a dump?.

And we're driving along
and up until

the slamming of the knife
into the side of his head,

it's a real knife.

I mean, and he's trusting me,

and I'm wearing a hockey mask,

and I'm not just taking
a cheap shot of force.

I'm throwing that knife
towards his head.

Stein-stein-stein-stein-stein

But then that iconic thing
with that big crash

and then Jason on top
of the RV

with the fire in the background.

Literally the last shot
of the film.

The sun was coming up.

I was on my knees praying

that this guy wasn't
going to get killed doing this

because nobody had ever flipped
an RV like that before.

And I guess, what I heard later

is that our production manager,
Don,

wanted the swamp cooler
that was up on top of that.

He had little special deals
for himself,

and one of the special deals,
my understanding is,

he had this swamp cooler that
he pulled aside--

$5,000 swamp cooler.

Well, apparently some people
got wind of that

and got a little excited.

And they all marched over there,

and they tied it
to the top of the RV.

And when the thing flew and hit,

the first thing to fly off
was that swamp cooler, you know.

And as it exploded,

the cheers that went up,
and the excitement over

"We got him. We got him."

It was worth
every penny-pinching moment.

[sigh]

The car chase scenes
were really fun,

and I was pretty comfortable
doing those

because, I must admit, my first
car when I was 1 6 years old

was a 1 970 Firebird

that looked a lot
like Megan's car.

This is gonna be a hairy turn.

They were just looking for a guy
to play a cop.

Officer Pappas
was a little vain.

Come on, handsome.

And I got to say one of
my favorite lines--

You got a description
of the plates?.

I got the whole enchilada.

"I've got the whole enchilada."

Megan, step out of the car.

End of the line.

As Tommy is locked up
by Sheriff Garris,

Jason's primal instincts lead
him back to Camp Forest Green.

One of the other sort
of notorious aspects

of my "Friday,"

it's the only one that actually
has kids at the camp.

And I don't think
there was anybody in fandom

that wanted Jason
to kill children.

It just gave it, to me,
another level of "Oh my God.

Are they going to actually show
kids getting killed?. "

Tom spent more time
shooting the kids

and working on
their performances

in a lot of ways than he did
on the kills

that were going on in the movie.

One of the little girls
in the bed,

she's laying there
and all of a sudden

Jason's walking down the aisle

and leans down to the bed

and looks closely and tilts
his head looking at her.

And she just starts praying
that he's going to go away.

I named the little girl Nancy,
actually after my wife Nancy

because she sort of
represented to me

the sweet, innocent child

who believes
that if you're good,

God's going to protect you.

And there's been the other rumor

which is it was named
after Nancy

from "Nightmare on Elm Street"

who also had nightmares,
but that's not true.

I mean--but again,
if that works, we'll take it.

Jason can just about do anything
as far as strength.

There's a scene where he takes
one of the girls,

the camp girl's head,
and twists it off.

You know, some of that stuff
unfortunately

had to be cut way, way down
from the way we had shot it.

But everything I tried to do
in the movie

also was something
that you couldn't do

as a normal human being.

Kerry's character
was hopefully shocking

how badly she got it

and most of that
was your imagination

because you didn't
actually see it.

But you certainly saw
the bloody aftermath.

I remember the little girl
that runs out,

and she's in the woods,

and she's scared
and, myself as the policeman,

goes to calm her down
and tell her everything's okay.

What scary man?.

Of course,
everything's not okay.

That's just before Jason
crushes my head.

[screaming]

They did build a great head
where the brains popped out.

I guess the fans were
a little bit disappointed

that some of my death was cut
by the MPAA.

And then I come into the scene,
and I'm looking for Jason,

and I trip over something,
and I fall down,

and my face goes right up
against his face.

And that's where the sheriff
takes a shot with the shotgun.

Blows me back.

Takes another shot,
blows me back.

You can blast him a number
of times and knock him down.

He's laying there,

and, as far as I was concerned,
he's playing possum

you know, just to mess with you.

One of the things that turned
out wildly effective

was the back cracking
of the sheriff character.

They dug a hole
and those weren't my legs.

They had a guy head down
in the thing,

in the hole,
with his legs behind me.

And when I bent him up,
all he did was lift himself up

from a box in the ground.

And the idea is the actor gets
cracked backed by Jason.

Just that whole idea of bending
somebody all the way back,

and, you know, hearing all this
[cracks knuckles]

A little sound design,
a little screaming.

It all turned out great.

Interestingly, that scene
probably had more issues

with the MPAA
than anything else.

And it's a bloodless kill.

They felt
that it was too intense

so they sort of quick cut.

And we to just keep taking
frame after frame after frame

out of that thing.

So that had a huge, you know,
reaction in the audience too

because, again, it wasn't
something you had seen before.

With his undead Jason
on the loose,

McLoughin injected his film
with a new set of rules.

The thing I found
the "Fridays" lacked

in my form of storytelling

was the sense
of some kind of mythology,

some sense of rules.

And if you could somehow
maybe follow those rules,

maybe you can, you know,
save the day.

And it is just like
in ghost legends, you know,

is that, Jason
was never going to be at peace

until he was back
where he drowned as a boy.

And my idea is to somehow
manipulate him

so I can put this noose
around his neck

and drown him
with a big rock.

I think he called me a pussy
if I remember correctly.

Jason, come on!

Come on, ya pussy!

And then I give my attention
to Tommy in the water,

and I just go after him.

It's very visual and beautiful.

You've got this fire.
It's really well shot.

Cinematically, it's one of
the more interesting sequences

in any of the "Friday" films.

The scene
where Megan kills Jason

with the outboard motor was shot
in two different places.

All of the underwater scenes

were shot in
a temperature-controlled tank

in Los Angeles

well after we'd filmed
the rest of the movie.

And when I say
they chained me down,

they did chain me down.

I was, I was at the mercy
of the safety divers.

If I needed air, I would signal,
give a hand signal.

The divers would swim in.

They'd lift my mask and put
a regulator right in my mouth.

All of the above-the-water
scenes

were shot in this murky,
eerie lake

in the middle-of-nowhere
Georgia,

in the middle of the night.

So, that was terrible.

I believe we shot
in Tom McLoughlin's

father's swimming pool
after the fact,

of the motor,
the blade from the motor,

cutting Jason's mask,
and the blood coming out.

Jason has, you know,
obviously lived

far beyond
anybody's expectations

because even when l
was doing the film,

it was pretty much,

"Well, I think this is probably
going to be the last one,

and so just have fun with him,

but don't kill him kill him"

which is why I had him,
you know,

hanging there in the bottom.

I mean, you can see
at the end of the movie,

the eye opens up,

and the man behind the mask
is still alive,

and it just sets it up
for the next phase.

As with all
of the previous "Fridays,"

a number of different endings
were suggested,

though none were ever
quite so daring

as Tom McLoughlin's scripted
though never filmed

cliffhanger.

Tom McLoughlin had written
a different ending

where you met Jason's father.

We'd seen Jason's mother.

We understand how messed up
Pamela is.

Well, who marries that woman?.

And, really, what did he
have to do with this ultimately?.

We don't know who he was,
what he was, or anything.

So I thought it would be

really interesting
at the end of mine to, you know,

have him show up.

In my original script,
the caretaker had not died.

He was still around.

So he was, you know,
it had a kind of an epilogue

with him in the cemetery
and in walks this guy,

kind of an almost Rasputin,
you know,

type character you didn't
get to see too much of,

and you realize
that he's the one

who's been paying the caretaker

to take care of Jason's grave
all these years.

And you now kind of understand
that whatever Jason came from,

you know, the truly wicked side
of him,

was his father.

What I got worried about with
Tom's idea about Jason's father

is that if you sort of dangle
like something like that

at the end of the movie,

all of a sudden
we're trying to tell the story

of a 60-year-old guy,

and how that would sort of
circle back around

into a movie that we could
actually sort of make work.

Frank Mancuso felt that, no,

we don't want to split,
you know,

the attention of the franchise
off on something like that

as cool as it, you know,
the idea might be.

You know, stay with Jason

and probably
he's ultimately right.

The Elias Voorhees character
I think

really would have been
very interesting to visit.

That I think was a bit
of a missed opportunity.

Maybe the people
who didn't like "Part 7"

would have thought that would
have been a better movie.

I don't know. But I was happy
that they actually released

a Signet Pocketbook version
of the movie,

which has, you know, that aspect
in it at the end of it.

In a further attempt
to broaden the film's appeal,

Paramount recruited legendary
shock rocker Alice Cooper

to contribute
three songs to the film.

You don't have to be a genius
to take a look at me

and realize I'm an old rocker
that refuses to die

and so when, all the movies
I always try to put

as much rock music in as I can.

The music score
done by Alice Cooper

was done after the fact,
but it was a very cool thing.

We didn't mind
a little blood on stage,

and a little, you know,
slash here and there.

And so when the slasher movies
came along in the '80s,

all of a sudden
we were right there.

So when it came to writing
for Jason, you know,

Jason's like a member
of the band.

They came to us and they said,

could you write 2 or 3 songs
for the movie,

a couple of incidentals
and a theme.

And I went, "Yeah, absolutely."

Alice was incredible

to just kind of let us use
whatever songs we wanted.

And the song that he came up
with was just huge.

Yeah cuz he's back

He's the man behind the mask

And he's out of control

"The Man Behind the Mask" was
written 3 or 4 different ways.

We wrote a heavy metal version
of it.

And then we wrote sort of
a hard rock version.

and then we realized
at that time

that they were looking
for something

a little more...

a little more bounce to it.

And so we got together
with Kelly

who wrote, I think
"Material Girl" for Madonna,

and he was the one that came in
with that [hums bass]

Early test screenings
of "Jason Lives"

did not fully satisfy
Paramount executives.

so they decided to enhance
the film's thrill quotient

by increasing its body count.

And I do remember
being in meetings

talking about who can we kill,
how will they get killed.

And that's where I came in.

Oh Steven, it's beautiful.

I am friends with
Tom McLoughlin, the director.

So I knew him beforehand.

He had directed my husband
Vinnie Guasterferro,

who is the deputy,

and so he hired me to shoot
the scene we did.

We shot that at Griffith Park
here in LA.

And he shish-ke-bobs them

where it puts it
right through the front

and right through the back.

I know we weren't the first
shish-ke-bob

to occur
in "Friday the 1 3th"

but I think we were the first
on a motor scooter.

That is probably
our claim to fame.

Optimistic about
the film's chances

of playing to a summer audience,

Paramount Pictures bumped up
its release date

to August 1, 1 986.

Despite being the only
"Friday the 1 3th"

to receive the occasional
positive notice,

the film failed to capture
the #1 spot at the box office,

falling behind another
high-profile horror sequel,

James Cameron's "Aliens."

With a final tally
of $19.5 million

"Jason Lives" became
the lowest-grossing

"Friday the 1 3th" to date.

And I really think the reason 6
didn't do well

is not because 6 is not as good,
if not better,

but the fans
didn't really come back

because they felt so ripped off
by 5.

And then when they began
to see 6 on video,

that got them back
into the series

because they saw that Tom
McLoughlin, more than anybody,

brought the series back to life.

I was really happy with
the movie, the way it came out.

I'm still happy with it. I think
it holds up really well.

And I sure had fun filming it.

I never got to go to summer camp

so it was the closest
I ever got.

And I thought Tom did
a really good job on that movie.

I thought that he brought
a lightness to it,

a fun-ness to it.

He had a great sensibility.

He had a real appreciation
of the movies.

And as a result, we had a lot
of very good reviews on the film

because they said,

"Well, you can't really
hate a movie

that is making fun of itself."

Yet, you know,
for most of the fans,

it still delivered, you know,
what a "Friday" should deliver.

it still delivered, you know,
what a "Friday" should deliver.

By the late 1 980s, Paramount
was looking for new ways

to exploit their most lucrative
franchises.

To the dismay of its critics,

"Friday the 1 3th"
would soon be coming

to television.

Mel Harris, who was at the time
head of Paramount Television,

came to me and he said,

you know, "We're having a very
successful syndication run

with "Star Trek."

We want to try to identify
some other titles

that we control that we think
will bring an audience.

Just by virtue of the title."

It was essential that we found
a way to tell stories

that would have a kind of
"Friday the 1 3th" theme

without being directly
associated

with "Friday the 1 3th."

And he said, "Look, this has
nothing to do with the movies.

It could be anything
that you want.

It just has to be
"Friday the 1 3th,"

and you have to be involved."

I remember when I was a kid
going--

doing like the 11 :00
monster movies, and it's like,

you know,
kind of freaks you out

and then you gotta go to sleep.

What I need
is a Vampira cocktail

to settle my nerves.

It will not only settle them,

it will petrify them.

And that's kind of the dynamic
that I was looking for.

With only a title to work with,

Mancuso and co-creator
Larry B. Williams

began brainstorming a premise

that could sustain itself
in the world

of late-night
syndicated television.

Like the films themselves,

"Friday the 1 3th: The Series"
had to be made cheap.

And it had to be scary.

And I was kind of intent
on doing an anthology

with continuing characters,

so we started talking about
the notion of a curio shop

and what that would be like.

And then the idea
of it being cursed

and then we started saying,
"Well, you know,

if we had all these
cursed objects,

then we can go ahead and have
a great time with that."

So that really became the sort
of the core of the show.

Frank's plan with "The Series"

is that all these antiques
were cursed,

but they all could actually
service you

in something really good,

but there's always
a price to pay.

The allure of the object
that is cursed

and the things that happen
to people

with that object
in their possession

is really a terrific idea.

And it was a terrific
launching pad

for really some--some really
fascinating storytelling.

Lewis Vendredi
made a deal with the devil

to sell cursed antiques.

But he broke the pact,
and it cost him his soul...

Distributed by Paramount
Domestic Syndication,

"Friday the 1 3th: The Series"
debuted on September 28, 1987.

It told the story of cousins
Ryan Dallion and Micki Foster

who inherit an antique store
from a distant uncle

who sold his soul to the devil.

Aided by antiquities expert
Jack Marshak,

their quest was to retrieve
the cursed objects

before obsession and death
came to those who acquired them.

I'd been out in Los Angeles
for three years

and got an audition
for this television series.

It all just happened very fast.

Went in for a wardrobe fitting
and was on a plane to Toronto.

Robey, John LeMay and
Chris Wiggins were a dream cast.

Chris is a senior emeritus
honored Canadian actor,

and it surprised us when we
asked him to join the cast

and he said yes.

So they wanted to shoot like

this little pilot kind of thing,
which I directed,

and, you know,
it was very contained,

very small, and, you know, we
probably did it for $85.

I have no time for you!

But it communicated what we
were meant to communicate

which is that, you know,

it's going to be scary,
it's going to be spooky,

it's going to be tense.

With not a single episode

featuring an appearance
by Jason,

or even his cursed hockey mask,

many "Friday the 1 3th" fans
felt alienated.

And even cheated by its
television counterpart.

The only thing
that the television series

"Friday the 1 3th" and the movies
"Friday the 1 3th" had in common

was the title
and Frank Mancuso, Jr.

While "Friday the 1 3th"
as a title was a come-on,

we really felt that there
was something there.

There is no concept

that could have sustained itself
on television

with a slasher killer
on the loose

anywhere for the 76 episodes
that were subsequently made.

I really wish they would have
called it "Friday's Curse."

Which was the original
intention.

In Europe it was called
"Friday's Curse,"

and in Canada it was called
"Friday's Curse" as well.

It was set up in Canada
and I was producing the show.

And it was
a fascinating experience.

And we got like Atom Egoyan
to do one.

David Cronenberg did one.

David Cronenberg brought that
terrific kind of

Iaser-like focus on a theme

which so totally fit into
the storytelling notions

of "Friday the 1 3th."

And it was wonderful.

It was also great
to work with David

who's a fabulous director.

Frank asked me about being
story editor

because they had a story editor
up in Toronto

where they were doing the show,
and, you know,

wanted me to write and direct,
you know,

some episodes as well.

"Master of Disguise,"
I thought was a great idea

basically having, you know,
a makeup case that, you know,

could take somebody who was
really deformed

and, you know, you'd kill

and then you would sop up
the blood of the victim

and then he was as handsome
as like a James Bond.

And because it was syndication,

we literally never got a note
from anybody about anything.

I mean, I don't know that
anybody

even looked at the shows.

I mean, it was like literally
they just went out.

So if I wanted to do it
in black and white,

it was black and white.

If I wanted to do a two-parter,
you did a two-parter.

I mean, it was like literally
whatever we decided to do.

"Friday the 1 3th,"
the new television series

that has put real fright
into late night.

"Friday The 1 3th: The Series"
was a bona fide ratings hit.

Often ranking just behind
Paramount's

top-rated "Star Trek:
The Next Generation."

After two successful seasons,

actor John LeMay
decided to leave the show

to pursue other opportunities.

The thing that was the most
interesting of a challenge

was the third season,

Frank asked me if I would
write and direct

for the season premiere.

And he said, "You know, we need
to kill the Ryan character

because he wants to get off
the show,

and but don't kill him
in a way

that we can't bring him back
if he changes his mind.

And I got turned back
into a child

at the end of my two-year stint
on the show.

It was a grand and glorious
two hour episode.

It was a way of basically
taking him off the show

and, if you wanted
to bring him back, you could.

When LeMay was replaced in
the third season opener

by actor Steven Monarque

as streetwise Johnny Ventura

"The Series" lost not only
its leading man,

but its luster.

Once Ryan got turned into
a little boy,

Johnny Ventura had to take over
that spot.

Johnny...

Johnny was the cousin of Ryan.

He was a little bit more
of a blue-collar kid.

I don't think he was afraid
of fighting

and physically getting involved
with saving the day.

[monster growling sounds]

"Friday the 1 3th"
and "Nightmare on Elm Street"

were head-to-head in terms
of their television experience.

"Freddy's Nightmares" was always
a somewhat more lighthearted,

tongue-in-cheek
kind of a television series.

I think the makers
of "Friday the 1 3th"

always wanted it to be dark,

always wanted it
serious quality.

Because the show
got good reviews,

and the show was successful,

the people at Paramount said,

"lf we can get X dollars
at 1 1 :00,

if we move it to 1 0:00
we can even get more."

So they moved it to 1 0:00
in year two.

And all of a sudden it's like
even more successful.

They said, "You know what?.

Let's start putting it on
at 7:00, 8:00, you know,

whatever it is.

They start moving it.

So now, all of a sudden,

different kinds of people
are watching.

No longer is it
the last thing that you see

before you go to bed at night.

Now it's like, it's on at 7:00.

They stopped the clock, Lewis!

[screams]

Here you are,
sitting at home, eating dinner

and all of a sudden this,
you know,

splat thriller
comes on the tube.

I think, you know, as a parent

it would catch me
by surprise, too.

And with Paramount
boldly pushing the show

into primetime slots,
"Friday the 13th: The Series"

soon came under fire from
right-wing religious groups

who were less than enthused
about a show

involving black magic
and pacts with the devil.

I think when I came in
at the time,

people were already
not liking he show.

There was already this force
trying to get it off the air.

So this guy, Donald Wildmon,

who had like this kind of
Christian Coalition group

started squawking about
"Friday the 1 3th"

because it started
to get recognized.

He's talking about Jason.

He's talking about,
you know, all this stuff.

I'm saying, this guy's never
even seen one of the shows.

What's at stake here?.

Western civilization
as we've known it

for two thousand years.

We kind of all laughed him off
in the beginning.

But, you know, you get somebody
like that who calls and says,

"Yeah, I got 555,000
constituents,

and they're not going to buy
Proctor & Gamble products

if you continue to put your ads
on this show."

All of a sudden
it's not so funny anymore.

I was sad that it ended
that quickly.

You know I really wanted to do
at least another year or two

because I was just finally
getting my feet wet.

It's amazing how our culture
has changed in 20 years

and how permissive and pervasive
violence, in particular,

is on TV,

and how much it's just
taken for granted,

that it's just
going to be there.

So, yeah, it was sad because
we did, what, 73 hours

and, you know,
there were some clunkers,

but there were a lot
of really good shows in there.

And, in point of fact,

when I talk to people
about the television series,

you know, people do
remember it fondly.

But I think a lot of people

who were really big fans
of the series

didn't like the fact
that they stole the name

and tried to sneak a fast one
past everybody

and get them to watch
this hour serial on TV.

But it was fun. I liked it.