Taking Shape: Developing Halloween From Script to Scream by Dustin McNeill & Travis Mullins

Author:Dustin McNeill & Travis Mullins [McNeill, Dustin & Mullins, Travis]
Language: eng
Format: epub
ISBN: 9780578586816
Google: nuV_ygEACAAJ
Publisher: Harker Press
Published: 2019-10-18T00:18:04.854523+00:00

Again, it’s great that you look back on it so fondly because there are definitely Halloween fans out there that appreciate it and continue to preach the gospel of Halloween 6. I think fans really love that the producer’s cut is now officially available to own.

And that is so great that people connect to it in some way. If it inspires someone to become a filmmaker or just make their own fan film, then I did something cool. The fact that it lives on makes me feel very proud. I know that I speak for all of the cast when I say that we were all over the moon just to be involved. It wasn’t like being hired to do Leprechaun 8. This was Halloween. I hate the words “iconic” and “classic” because they get thrown around way too much, but Halloween is a true classic. It’s not even a cult classic. It’s a full-on classic. To be a part of that film’s legacy is just the best. And to have Donald Pleasence there with us, the elder statesman of the franchise – we were just in awe of him. Despite its flaws, I consider Halloween 6 to be the last true Halloween because it had him in it. That’s what made our film just a little more special than all the ones that will come after it.

I saw Paul Rudd a while back on a flight from LA to New York and his mouth dropped open when he saw me. He turned to his wife and went, ‘This is Danny! He wrote my first movie!’ He couldn’t have been cooler and more thoughtful, even though he’s a big star now.

It would be nice if Joe Chappelle looked back as fondly on Halloween 6 as you do. The guy seems to have really distanced himself from the franchise.

Joe gets so beaten up so badly about Halloween 6, which is unfair. I can tell you he was in it to win it, especially at the beginning. Joe went in with high hopes like all of us. He wanted to make something really good and really scary. Unfortunately, I think his hands were tied much of the time. I do think he made some missteps as a director. Not creatively, but in terms of not fighting for what needed to be fought for. I just don’t think he was equipped yet emotionally to question Bob Weinstein or Paul Freeman. But look at him today now that he’s had a successful career in television. Joe and I always got along. I never hated Joe or wanted him fired. I just wanted to say to him, ‘Joe, stand up! It’s your movie. You’re the director. Why are you not fighting for whatever scene they’re cutting right now?’ I felt like he never rose to that occasion to fight for the movie. The old-timer brigade stepped all over him and the film. If I ever had frustration with Joe, it’s that he didn’t stand up.

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