Crystal Lake Memories: The Complete History of Friday the 13th (2013) - full transcript

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.

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