Prowler Magazine for theMad Monster Party: Does it bother you, that withall you’ve done, you are proba-bly most recognized andknown for being Bo Duke?John Schneider: That’s a bigassumption. It actually de-pends on the age of the per-son seeing me. Many folks callme Jonathan Kent from Small-ville. Many more, lately, be-lieve I’m Jim Cryer from theHaves and the Have Nots.Soon they will call me the guywho made the most successfulHorror/Comedy of all time!

MMP: Do you think a showlike Dukes of Hazzard couldwork today? Do you think aregular network would carry itor would it have to go cable?JS: Dukes is working today. It’svery successful on CMT. I thinknetworks have changed to theextent that they would nevertake a chance on a show as ex-pensive as Dukes. We were a1.2 million show in 1979!

MMP: You, along with MarieOsmond, founded the Chil-drens Miracle Network in1983. Are you amazed at whatit has grown in to? Is it over-

whelming to think about whata difference your organizationhas made to so many childrenand their families?

JS: The success of CMT hum-bles me beyond words. Beinga father myself, I know that weneed all the help we can geteven when our kiddos arehealthy. Much more whenhealth issues are entered intothe equation.

MMP: Actor/Singer/Writer/Di-rector/Stage Actor - Which hatis your favorite?JS: I have to combine two...writer/director is my favoritedesignation/hat. This comboallows me to see the inspira-tion through from flash to fin-ish.

MMP: Was writing & directingjust a natural progression fromacting, or was it always yourgoal and acting the means toan end?JS: The writing and directingwas always the goal. Acting ismore of a means to the end. Iwrote and directed the lastepisode of Dukes. Thought I’ddo it again before this!

MMP: Is it hard as an actor tojump between the more Chris-tian projects like I Am Gabrielor October Baby, to the scifi/horror projects such as Ogreor Supershark?JS: It’s not really hard to jumpfrom one to the other. It’s allplay and great fun much likesummer stock in the old days.

MMP: You’re kind of knownfor very uplifting, wholesomevalues films. How did you de-cide to make the jump to ahorror film? Are you a horrorfan?JS: Smothered is somethingthat’s been lurking in the backof my mind for decades. Re-member... The films I havedone in the past have beenmeans for other people to re-alize their dreams. I was a cogin their wheel... from now on Iam concentrating on mywheel. The stories in my mindare dark and hopeful. I’m toldyou have to look really hardfor the puppy dogs and fluffyclouds in my screenplays... butthey are in there!

MMP: Did you catch any back-lash from any fans for makinga movie like Smothered whichis so different from whatyou’ve done before?JS: Some folks want to keepyou in the little box they cre-

ate for you. As artists... Our jobis to make sure they neverhave a chance to close the lid.

MMP: I, among many othersI’m sure, are really looking for-ward to the premier of Smoth-ered. How did you ever get somany horror icons involved?JS: I am honored to say that allof the icons I sent the script toresponded favorably rightaway. In fact... to a man theysaid “Why hasn’t anyone donethis before? This is great!”Then it’s just a matter ofschedule and the deal.

MMP: If you could put on themask of any horror icon andplay the part who would it be? JS: Like a lot of people...clowns freak me out. We cre-ated an angry clown calledColonel Wilson (the polar op-posite of Captain Spaulding).That’s who I would be.

John’s new horror movie“Smothered” premieres at theMad Monster Party Friday, March21st at the University Hilton inCharlotte, NC. Join us at this RedCarpet event! Visit www.TheMad-MonsterParty.com to get yourtickets now.

Q & A with PSY-KO SMILEY

As Bo Duke on The Dukes of Hazzard, as Superman’sPa on Smallville and Jim Cryer from The Haves andHave Nots, John Schneider has been an important partof American pop culture for over four decades.

Prowler Magazine for the MadMonster Party: Did you considerthat you might actually have madea great radio DJ in the age of greatradio DJs?Adrienne Barbeau: I’ve always saidbeing a DJ seems to me the greatestjob ever. You don’t have to dressup, wear make-up, or endure the el-ements for an outside shoot. Andyou get to listen to music non-stop!

MMP: Creepshow, directed byStephen Spielberg with special ef-fects by Mad Monster Party guestTom Savini)… how does an actressthat is a poster model adapt to be-coming a victim, ghoul or just planundead?AB: I rarely get cast as a victim, but Ihad a great time playing my firstzombie in Alice Jacobs is Dead. Thereal adapting came when I had toeat the raw meat - I’m a vegetarian.

MMP: Escape from NY with KurtRussell (Snake Pliskin) and (a guesthere at the Mad Monster Party, OxBaker) was a heavy, dark politicalstatement with some characters wehadn’t seen before. An early comicbook movie that was camp at it’sbest —Wes Craven’s Swamp Thing aleading lady Alex Cable (AdrienneBarbeau). You’ve referred to this asa sort of Beauty and the Beast.AB: Actually I can’t think of anotherfilm I’ve done where I was pined forby anyone - beast orhuman. Swamp Thing may havebeen my first on screen ro-mance. My characters don’t end upin love scenes as a rule. I mean...Bil-lie, in Creepshow?

MMP: Fans couldn’t get enough of

Adrienne Barbeau…it seems youwere essential to movies as yourose to stardom! Was there a pointwhere you realized you were the ITgirl for movies and horror in particu-lar?AB: It wasn’t until I began attendinghorror conventions that I realizedhow memorable some of my char-acters were and how the films I didin the early 80s were still fans’ fa-vorites.

MMP: Your career has been almostideal…you’ve starred in sitcoms,movies and even won a Tony awardfor your take on Rizzo in the Broad-way Musical “Grease”… did youever imagine you would be doing allof this in a lifetime? How did youmake the move to Broadway?AB: I started acting on stage when Iwas a teen-ager, so that when timecame to see if I could make it a ca-reer, theatre was all I knew and all Iconsidered. I moved to New Yorkand began auditioning for musicalcomedies. Tevye’s daughter Hodelin Fiddler on the Roof was my firstBroadway role. Then Broadway ledto television and television led tofilm. But I never thought about thewhat the future might hold; I wasjust overjoyed to be earning a livingdoing something I love. The last“job” I had was as a discothequedancer back in 1967. I don’t feel likeI’ve worked a day in my life sincethen — it’s all been pure pleasure.

MMP: A quick thought about yourappearances in the 70s and 80smost popular TV shows?

MMP: Fantasy IslandAB: I did the pilot of Fantasy Island,

playing a Polly Bergen type CEO of amake-up company (if I remembercorrectly) and then later, I did twomore episodes. I played Marie An-toinette in one and a 200 lb.woman in the other. That was greatfun because I worked with TimThomerson. We have since donethree films together and he’s somuch fun, whenever I hear he’scast, I immediately consider signing.

MMP: and then, there’s Maude….AB: I write all about my years onMaude in my first book There AreWorse Things I Could Do. Thatshow shaped my life in so manyways, I needed a whole chapter toreally tell the tale. It remains one ofthe greatest joys of my life.

MMP: Your voice was a star by itselfas the heroin Stevie Wayne in TheFog. It seems your sultry and recog-nizable voice has had a career of it’sown: Batman: Arkham AsylumVideo Game, God of War, Cat-woman and Judge Dredd. Are therenew voices in your head for upcom-ing animated projects?AB: I’ve done several more videogames that are in the finishingstages of production. Dr. Tilson inHalo 4 was my first experience withmotion capture and I really enjoyedthat. Again, it’s one of those jobswhere I don’t have to worry abouthair and make-up! But the voices Iuse for animation, or commercials,or video games really spring fromthe words on the page. I’m not oneof those incredibly talented voiceactors who have twenty or thirtycharacters in their repertoire justwaiting to be heard. That’s a talentI’m in awe of. What I am good at,maybe because reading is my greatlove, is putting books on tape anddoing hours long narrations. I canrecord a full length novel in sixhours. Lately I’ve been video cap-

tioning films and documentaries forthe blind. Although I spend moretime reading the script and watch-ing the time code than I do lookingat the screen, it gives me a chanceto see films I’d probably never seein a theater.

MMP: Cannonball Run...AB: Again, this is a chapter - well,more than one, really, because Idated Burt (Reynolds) long beforewe did Cannonball Run - in mymemoir. Suffice it to say, the audi-ence had more fun watching thefilm than I did making it. But I lovedworking with Dom and Dean and,especially, Roger Moore.

MMP: The as-of-yet unreleasedBring Me The Head of Lance Hen-rickson—sounds interesting…AB: Tim Thomerson doesn’t reallywant Lance’s head — he wants hiscareer! I haven’t seen the final cutyet, but I think you’ll be laughing.

MMP: Recently you’ve done stintson some of our favorite shows—CSI: New York, and Sons of Anar-chy... AB: I’m filming an episode of Crimi-nal Minds right now and I’m not sosure you’d call my character charm-ing, but I’m sure having a good timewith her. In fact, all the womenI’ve played lately, in CSI:New York,and Sons of Anarchy, and Revenge,are pretty nasty characters. There’ssomething really satisfying aboutgetting inside them and under-standing what makes them the waythey are.

Fans can get more of Mrs. Bar-beau right now by grabbing herlatest novel Love Bites, which isavailable as an ebook (and hard-cover, but easier to download digi-tally) on Amazon. She is also onFB and Twitter (@abarbeau).

Q & A with RANDY STIMPSON

Prowler Magazine for theMad Monster Party: You’reknown as The Godfather ofGore‚ a modern day heir to theChaney throne of special ef-fects and many faces. Let’sstart with the early master-pieces. Dawn of the Dead1978. Looking back on creativework sometimes gives us anoutsider’ perspective... whatare you proud of? What wouldyou like to have done differ-ently?Tom Savini: There’s a lot Iwould do differently in Dawnof the Dead, especially thecolor of the zombies. Night ofthe Living Dead was in blackand white and I thought if Ijust simply made all the zom-bies in Dawn gray that thatwas how you would know azombie from a real person. butthe lighting sometimes madethem look blue or green andthat is not my intention. In Dayof the Dead I caught hell causeall the zombies looked differ-ent and that is how it shouldhave been in Dawn. People rotand decay differently in reallife depending on where theydied, and how, and what eth-nic group they belong to andthat is what I did in Day. Iwould also like to see more“chunks of flesh” when a zom-bie bites someone. You know,more stretchy skin snappingkind of thing I did a lot in Day.

You don’t think you are part ofsome movement when youare doing something likeDawn, you are just doing yourjob the best that you can andfor me that was killing people.I remember the telegraph I gotfrom George Romero tellingme we were going to doDawn. It just said...”Start think-ing of ways to kill people...wegot another gig.”

MMP: Creepshow—Bringingpulp comics to life far beforePulp Fiction. Were you a fan ofcomics? TS: I was a fan of EC comicsgrowing up so I knew whatGeorge was after...the biggestchallenge was just simplydoing this movie...it was fivemovies in one and it was justme and a 17 year old kidnamed Daryl Ferucci, who alsoplayed Fluffy..(the creatureunder the stairs in the crate)who did all the effects in allfive movies. We created Fluffy,and Nates corpse, and thespectre in the window, and thewater-logged walking deadTed Danson and Gaylen Rossand so much other stuff in-cluding all the cockroach stuff.EG Marshal was so great towork with but so was Hal Hol-brook, and Fritz Weaver and ofcourse Leslie Neilson, who hadgreat Forbidden Planet stories.Everyone was great. I’ve never

had to work with any jerks.I’ve been lucky that everyonewas so very much fun.

MMP: The movie that somesay changed it all—the firstsplatter movie: Friday the13th. Which scene comes tomind ?TS: Probably cutting BetseyPalmer’s head off followed bydriving an arrow through KevinBacon’s neck, and creatingJason’s look, and living at thecamp and not some hotel withthe cast and crew. Me and myassistant Taso Stavrakis actu-ally lived at the camp. We hadthe lake, a boat, a motorcy-cle.....great fun.

MMP: Did you begin to feellike a rock star as this grew inpopularity?TS: There is a certain amountof joy that comes from invent-ing one of the most notoriousserial killers in the franchiseworld of splatter movies. Butagain, you don’t know thatwhen you are making thisstuff, but yes...the fans makeyou feel like a rock star.

MMP: Scaring kids to deathfor generations...do you feelgood about this (we do)?TS: Of course I love to scarepeople. It’s what I do.

MMP: From Dusk ‘til Dawn—You stepped in front of thecamera alongside a slitheringSalma Hayek and grizzly FredWard to battle neck-tattooedClooney and a drooling Taran-

tino—who named your char-acter Sex Machine?TS: Wasn’t that Quentin?

MMP: Did you design thecrotch pistol?TS: No, that was a left overprop from Desperado. Theycouldn’t get it to work on thatmovie and lucky me...they gotit to work on Dusk...and I gotto wear it.

MMP: Any injuries from firing?TS: No, it was just flash paperthat was fired through thatthing.

MMP: You’ve directed, acted,and shared your incrediblemake-up skills with the world.What’s next?TS: Well, I am writing my biog-raphy, and there is a documen-tary I am helping create calledSmoke and Mirrors about mylife in the movies, and I ambeing courted to direct thenext Friday the 13th movie,and possibly a remake of Chil-dren Shouldn’t Play With DeadThings, and a movie I wrotecalled Death Island, and I’m offto play a Disney villain laterthis month, and I am con-stantly painting and sculpting.

MMP:Your children andgrandchildren‚ one named Lonand one named Chaney—willthey carry the torch?TS: Maybe my grandsonJames will carry it on as far asMake-up Effects. He is very in-terested in the magic of itall.....

Q & A with RANDY STIMPSON

That devious face in Quentin Tarantino and Robert Rodriguez films is also the effects mastermind behind athousand evil and tortured faces—the modern master ofthe macabre—who is living up to his idol (Tthe Man of1,000 Faces) Lon Chaney, Sr.’s legend. He’s that good...

Prowler Magazine for the MadMonster Party: First and fore-most, I have to tell you that yourrole as Nancy Thompson in ANightmare on Elm Street is some-thing I have idolized since I was ayoung girl. The strength and inge-nuity you brought to life in Nancygives me strength and hope tothis day. I was absolutely thrilledto have finally met you at MadMonster Party Gras in New Or-leans, LA last year! My most fa-vorite films from the Nightmarefranchise are absolutely 1, 3 andNew Nightmare. (New Nightmareis probably my most favorite anda big part of why my second bornis named Dylan.) Which one wasyour most favorite to film andwhy?HL: I have the fondest and proud-est feelings for the original, ofcourse; that film inspired every-thing that followed. But what I re-alized a while ago is that very fewwomen in film have had thechance to take a character fromher teenage years, to her earlyadulthood and then into mother-hood. You see that in Nightmareon Elm Street 1,3 and 7, and alsoin Terminator. I’d also say my hero,Ripley, takes a similar journeythrough her Alien films. I wouldsuggest that this female journey isas interesting as the notion of thefinal girl, which is always howNANCY is discussed.

MMP: In your documentary, I amNancy, Robert Englund said thatyou represented a “great feministspine” in horror films. As most‘slasher’ films have over sexual-

ized women, portraying them asextremely vulnerable with nobrain power, how honored/proudare you to have immortalizedsuch a strong female protagonistin a horror film and at what pointdid you realize the importance ofNancy?HL: I always wanted people to ap-preciate Nancy for the qualitiesyou and Robert mention but Inever really felt that in the earlyyears. In the late eighties, earlynineties, the celebration of thefinal girl started as a cultural dis-cussion about the role of womenin horror and “slasher” movies.The analysis of the final girl hasbecome quite a sophisticated sub-ject in film studies now. But I’d saythat we’ve come full circle, in thatthe final girl is practically a clichein and of itself and I truly look for-ward to a continuation of thegenre to include boys, men andold people!!! Everyone has theability to face their fears and kickass.

MMP: In I am Nancy, you re-vealed your distaste for the imbal-ance in popularity between yourcharacter and Robert’s. From tat-toos to action figures, Freddykeeps Nancy in his shadow. Willyou be creating your own line of“Nancy” figures to fight Kruegerback into the shadows?HL: I would consider creating aNancy action figure as high up onmy bucket list. However, it is acomplicated endeavor and I havemet several dead ends in theprocess so far, regarding rightsand licenses. But I am not giving

up. The spirit of Nancy won’t letme.

MMP: You and your husband ownand operate AFX Studio, a SpecialF/X Make-Up Studio in Los Ange-les. Did your Elm Street experi-ences help push you into that lineof work and what is your role atthe studio?HL: From the first day I worked ona set, I fell in love with all the de-partments that come together tocreate a film’s reality — the setdecorators, wardrobe depart-ment, make-up and cinematogra-phy and even the stuntdepartment. My husband and Ihave a motto that we can makeanything and that is really how welike to approach creating things inour shop. Whatever a directorwants, we feel that with ingenuityand the expertise of the artistswho work for us, we can bringanything to life. I don’t usuallyinput much to the creative designpart of our business. I let my hus-band, David Anderson, take thelead on that but I step up and findout where to get the materials to-gether and how to make the thingin the time frame allotted. I makesure that all of the pieces of thepuzzle come together by theshooting day. And I also feel it ismy job to let everyone know howimportant they are to the process.I really respect people who decideto become artists. It is often notwell paying. So there has to beother ways to let people knowthat they are important to theprocess and that their skills arehighly valued. I like to think that’sthe best part of my job.

MMP: AFX is credited with specialfx make-up for such films as An-gels and Demons, The Cabin in

the Woods, Dawn of the Dead,Dead Silence and Star Trek IntoDarkness. How did it feel to donthe make-up and prosthetics toplay “Moto” in Star Trek, bothphysically and emotionally?HL: It was a five hour make-up ap-plication. We had worked on themake-up for weeks. My father-in-law, Lance Anderson, hadpainstakingly worked on all themechanics of the make-up. It was-n’t on film, but the bottom lip ofthat make-up blew up like thethroat of a frog and glowed. It wasleft out of the film but I feel wecreated truly original and beauti-ful make-up. I’ve always wantedto wear prosthetic make-up to ex-perience what acting is like withall that foam latex covering yourface. It is hard to express yourself,obviously, but you find ways tomove that indicate your feelings.I gained a lot of admiration forRobert Englund. To endure theprocess of going in and out ofmake-up for all those hundreds oftimes is a feat of strength andconcentration that not many peo-ple could endure.

MMP: Was acting always some-thing you wanted to do? Or was ita spur of the moment decisionbecause The Outsiders was beingfilmed in your hometown? HL: I loved acting since I was achild. I was always a kid who lovedbeing in front of a crowd. I felt thestrong love of acting in highschool in Washington, DC and Igot to play in plays and musicalsthat gave me some wonderful ex-perience. However, meeting thecasting director in Tulsa for TheOutsiders was a turning point.Janet Hirshenson, the casting di-rector, let me know that shewould offer me her help and as-

Q & A with CORINNE L. BARRIOS

Mark Baranowski, special toProwler Magazine for the MadMonster Party: Were you alwaysinterested in acting, or did yourfirst opportunity come to you bychance?Camille Keaton: When I was a lit-tle girl playing with my movie starpaper dolls, I was thinking, “I wantto wear that gown and look likeher... .. Doris Day, Elizabeth Tay-lor,” etc. That’s when I firstwanted to become an actress.Eventually, I planned to run off toHollywood, but this idea was side-tracked by a car accident. Instead,a couple years later I took off forRome, Italy. I had seen some ClintEastwood westerns (Sergio Leone)and decided Europe was the wayto go. While there, I learned tospeak Italian and was introducedto various fascinating cultures.

MB: Although you’ve appeared inseveral important genre filmssince the early 70’s, you’re surelybest remembered‚ and revered‚for 1978’s I SPIT ON YOUR GRAVE(aka Day of the Woman). Much ofthe film is quite brutal as it depictsnot only the ordeal your charactermust endure, but also that of yourtormentors as you exact your re-venge. What attracted you to theproject, and did you find it diffi-cult to play such a demandingrole?CK: I took on the role of JenniferHills in I Spit On Your Grave for dif-ferent reasons. One reason wasthat I would have the opportunityto express a wide range of emo-tions, the happy “girl next door”,the victim and then the villain.

This was a demanding characterto play. There was nothing easyabout filming “Grave”. This was anopportunity that came my way viathe trade paper, Backstage. Usu-ally you make your own opportu-nities in my experience.

MB:The males in the film show lit-tle restraint or compassion whilethey repeatedly abuse your char-acter on-screen. How was your re-lationship with these actorsbehind the camera? Did any ofthem make you truly uncomfort-able and especially anxious to getthe required scenes over with?CK: It has been pointed out to methat the rapists show no restraintand compassion. Well, what rapistdoes? Although “Mathew” al-lowed me to live, he was a part ofthe action and therefore guiltytoo in the detached mind of vigi-lante Jennifer. And speaking ofother characters and actors, we allgot along well on the set of“Grave” and respected eachother. We concentrated on ourwork.

MB:My wife, Ryli Morgan, and Iproduce our films together; some-thing oftentimes easier said thandone. Since you later marriedMeir Zarchi, writer/producer/di-rector of I SPIT ON YOUR GRAVE,was this film a similar partnershipbetween the two of you? Wereyou his only choice to play thelead character, and did watchingyou do so ever make him uncom-fortable during the shoot?CK: The part of Jennifer Hillscame down to three actors. There

were many call-backs and audi-tions. That’s how I came to knowMeir Zarchi, the director. Whenyou work with someone you areclose to, I find being professionalbecomes more challenging. Youknow what buttons to push.There isn’t that distance betweenyou that you would have other-wise had. Sometimes that workswell and other times it doesn’twork..

MB: Do you ever regret doing thefilm? In other words, do you feel itmight have limited subsequentjob offers of a more, mainstreamnature?CK: Was “Grave” a bad choice?Did it affect my career? I thinknot. First of all it “slept” for years.So few people knew about it. Ittakes a lot to mess up ones careeror to make the most of a career.An actor needs to be 150% de-voted and dedicated, thick-skinned, and aggressive. Treatyour career lovingly and give it allyour focus. When I remarried, Iput my career aside to concen-trate on my marriage. (don’t dothat).

MB: Do you welcome offers fromindependent filmmakers to ap-pear in their films? If folks such asRyli and myself could entice youto be a part of an upcoming proj-ect, what type of role(s) interestyou most?CK: I would like to play a vampireor ghost. That’s something I’venever done... . fang up! Horrormovies have changed consider-ably over the decades shifting theaction of the actor to special ef-fects and of course digital en-hancements. One thing for sure,horror will always have an audi-ence. We love them.

MB: What are your thoughts onhorror conventions, based onyour experiences so far? Anythingthey’re missing, or could do with-out?CK: I always look forward to Hor-ror Conventions. They are somuch fun. People dress up and re-ally use their imagination. Thereare contests. One thing we needfor the conventions is wider pro-motion. Looking back to the con-ventions that I have been invitedto, there is the first one thatcomes to mind. I didn’t know whyI was there. A friend called meand said, “Camille, come to theBeverly Court on Saturday andbring some photos”. The nextthing I know someone was ex-plaining to me why they wantedmy “John Doe”. I was thinking,“Oh yea, I made that movie.”

MB: Thanks so much for yourtime, Camille! We certainly hopeyou enjoy your visit to Charlotte...and that you have a blast at theMad Monster Party!CK: PS: We just did a documen-tary on the “making of “Grave”.We can’t say when it is comingout. We don’t know. I am lookingforward to coming to Mad Mon-ster Party in Charlotte in a coupleof weeks. Starting the count-down!

Mark BaranowskiOn Mark Productionscreatetolive.comfacebook.com/onmarkproductionstwitter.com/OnMarkProds

Q & A with MARK BARANOWSKI

In her groundbreaking role in perhaps the ultimateGrindhouse-style shocker, Camille Keaton portrayed themodel for survivalist females in movies and televisionthat reign supreme even today. It’s been remade, butnever outdone. Will this role endure indefinitely?