THE BRUCE CAMPBELL MANIFESTO... Good readers, the following "Manifesto" is a compendium of information culled from previous interviews, Frequently Asked Questions, and assorted personal ramblings. It is meant to provide both the casual and professional inquirer (Fan or Reporter) with a myriad of hopefully useful background information. HISTORICAL SKETCHES -- THE OVERVIEW I was born June 22, 1958 at the Beaumont Hospital in Royal Oak, Michigan. A little trivia for Sam Raimi fans -- he was born in the same hospital. I grew up in Birmingham, Michigan just outside of the Detroit area. My interest in acting began at an early age, stemming from my father's own interest in art. My father, Charlie, worked in the Advertising industry, but spent his spare time as a member of the St. Dunstain's Community Theater. At age eight, I watched my father perform in a production of "The Pajama Game." Realizing that you could screw around, even as an adult, if you were an actor, this event left a lasting impression on young me. Soon after, I was cast in my first Community Theater play, "The King and I." Initially, I was only supposed to be in the chorus, but as fate would have it, a much bigger role presented itself: the role of Chu Lu Long Horn, the king's son. The boy originally playing that role became ill, and I was mysteriously cast in his place -- go figure. This part was my first opportunity to speak lines and even sing in front of an audience. The experience turned out to be a good one and I was hooked. The following years brought new roles at the theater for me, and I finally was able to join St. Dunstain's at the age of eighteen. During high school drama class (Wylie E. Groves High School) in 1975, I met a young man named Sam Raimi. We were both doing lame pantomimes and wound up consoling each other. We soon realized that we both shared interests in acting and amateur filmmaking. So, throughout the rest of high school we wrote, produced, directed, and acted in about 50 Super-8mm movies (along with a group of 4 or 5 other guys), developing the primitive skills that would help us in the future. The summer after graduating from high school, I landed an apprenticeship with the Cherry County Playhouse in northern Michigan (Traverse City). There, I worked for nothing all summer under the thumb of such TV stars as Abe Vigoda, Doug McClure, and Tommy Smothers. This small dose of "professional" experience cemented my interest in the "business." That fall, I enrolled in college -- Western ("Wastern") Michigan University. I soon found, however, that the textbook theories and formulas of college failed to compare with my recent hands-on experience. After six months, I dropped out and went to work as a Production Assistant (a Gopher, Lackey, Chump, Runner) for a Detroit TV production company. I worked there for about a year, running errands, sometimes literally sweeping studios and basically learning the nuts and bolts of the film industry. I later honed my acting skills by doing commercials and industrial films for the automotive industry. These presentations, rife with long passages of technical dialogue, shot in continuous, uncut takes were unquestionably the toughest work I've ever done -- before or since. Right around this time (January, 1979), I met Robert Tapert, a roommate of Sam Raimi's brother, Ivan, at Michigan State University. Robert had become interested in filmmaking after seeing Sam's early films. Later, both Sam and Robert also dropped out of Michigan State. In the summer of 1979, Sam, Robert, and I, collected approximately $375,000 from investors in the Detroit area and made our first feature film: "The Evil Dead." I starred as Ash, a witless college student besieged by demons in a quaint cabin nestled in the Tennessee woods. "The Evil Dead" was highly successful both critically and financially and officially launched our professional careers. HISTORICAL SKETCHES -- THE GORY DETAILS Q: WHAT DID YOU LIKE TO DO WHEN GROWING UP? DID YOU LIKE MOVIES, ETC.? WHO WAS OR IS YOUR HERO? A: I did like movies and television when I was a lad. Steve McQueen was a hero to me. I wrote him a letter once and my friends all laughed that he would never write me back. Well, you know what? They were right, he never wrote back. As a kid, I fished a lot -- I mean a lot. There were summers where I didn't do anything else-all day long for several months. I look back on those days with awe and wonder. Other than that, my two older Brothers (Mike and Don) and I built tree forts (one with electricity) and a network of tunnels next to my house. I also played "Zorro" in my backyard. Q: EVERYONE WAS PICKED ON AT ONE TIME IN THEIR LIFE. BACK IN SCHOOL, DID KIDS USE TO TEASE YOU IN ANYWAY? A: I was actually the kid who helped defend other kids from school bullies. Hero-in-training, I guess. Q: DO YOU EVER REGRET NOT FINISHING COLLEGE? A: Ha! Hasun't hert mi spellin' anee... Q: ARE YOU MARRIED? A: I am married. I'm coming up on 8 years! That's close to 100 years, in Hollywood terms. Q. DO YOU HAVE KIDS? A. Yep, two -- one of each. A teenage daughter (heaven help us) and a soon-to-be teenage son. Q: WHAT IS IT LIKE BEING MARRIED AND HAVING CHILDREN, WHILE YOU'RE AWAY FILMING MOVIES OR TV-APPEARANCES ON THE OTHER SIDE OF THE EARTH? A: Unfortunately, for an actor, it's the nature of the beast. I'm away and average of 6 months each year, so you do what you can. On most shoots, my wife will fly out and hang with me on location for as long as she can. E-mail and faxes actually help a lot if I'm in, say, the southern hemisphere and time zones are all over the place. Q: WOULD YOU WANT YOU CHILDREN TO FOLLOW IN YOUR FOOTSTEPS? A: That's not for me to say. I want to make sure that any decision they make is based on really wanting to do it, not by any pressure from me. I grew up in an atmosphere where I was free to choose -- so should they. I have recently, however, been told by my kids that they are interested in exploring "the biz" -- YIKES! Q: WHAT IS YOUR DAILY ROUTINE LIKE? A: Again, as an actor, it's all over the place. I almost don't have a "daily" routine. When I'm working on location, I live like a Gypsy -- it can get crazy, with very long hours, living out of hotel rooms, apartments and shaving kits. When I'm not working, I'm either catching up on things like bills or I'm looking for work! Occasionally, I'll go on simple trips with my wife and kids. Q: DO YOU SUPPORT OR REJECT ANY CURRENT ISSUES OR PROBLEMS? A: I'm a pretty big fan of the environment and wilderness preservation. Better not get me started. Q: WHAT GETS YOUR GOAT, SO TO SPEAK? A: Sleazy Politicians -- of all parties. Q: WHAT IS YOUR BEST ASSET? A: I'm willing to make a fool out of myself and have done it on film many times... Q: IF YOU WERE THE WINNER OF AN OSCAR, WHAT WOULD THE FIRST LINE OF YOUR ACCEPTANCE SPEECH BE? A: "Do you guys validate parking?" Q: IF YOU COULD LET YOUR FANS KNOW ONE THING ABOUT YOU THAT THEY'D NEVER EXPECT TO FIND OUT, WHAT WOULD IT BE? A: That I don't really like genre films. Some fans are shocked to learn that, although I've been in a number of "Exploitation" films, I never really watch them in my free time. Truth be told, I'm in films for a living -- I don't always want to rush home and watch a film (of any genre) after a long day on the set. Q: IF YOU HAD TO DESCRIBE YOURSELF IN THREE WORDS, WHICH WORDS WOULD THEY BE? 1. No Nonsense (is that more than one?) 2. Regular 3. Sardonic PROFESSIONAL STUFF -- OVERVIEW Q. WHAT'S YOUR FILMOGRAPHY? FILMS: LA PATINOIRE CO-STARRING -- FILMS DE TOURNEILLE RUNNING TIME STARRING ROLE -- PANORAMA MCHALE'S NAVY CO-STARRING -- UNIVERSAL MENNO'S MIND SUPPORTING -- SHOWTIME ESCAPE FROM L.A. SUPPORTING -- PARAMOUNT CONGO SUPPORTING -- PARAMOUNT ASSAULT ON DOME 4 CO-STARRING -- SCI-FI CHANNEL DEMOLITIONIST UNCREDITED FARGO UNCREDITED QUICK AND THE DEAD CREDITED (BUT ROLE WAS CUT OUT) THE HUDSUCKER PROXY SUPPORTING -- WARNER BROS. ARMY OF DARKNESS STARRING ROLE -- UNIVERSAL MINDWARP STARRING ROLE -- RCA/COLUMBIA DARKMAN FEATURED -- UNIVERSAL LUNATICS -- A LOVE STORY SPECIAL APP. -- RCA/COLUMBIA SUNDOWN CO-STARRING -- VESTRON MINDWARP STARRING ROLE -- RCA/COLUMBIA MOONTRAP STARRING ROLE -- SHAPIRO/GLICK. INTRUDER UNCREDITED? MANIAC COP I & II STARRING ROLE -- SHAPIRO/GLICK. EVIL DEAD I & II STARRING ROLE -- NEW LINE/DEG CRIMEWAVE CO-STARRING -- COLUMBIA TELEVISION: GOLD RUSH (MOW) STARRING -- ABC WEIRD SCIENCE GUEST STAR -- SYNDICATED ELLEN RECURRING -- ABC BLAZE OF GLORY (MOW) STARRING -- NBC TORNADO! (MOW) STARRING -- FOX XENA: WARRIOR PRINCESS RECURRING -- UNIVERSAL HOMICIDE (2 PART) GUEST STAR -- NBC THE LOVE BUG (MOW) STARRING -- DISNEY/ABC AMERICAN GOTHIC GUEST STAR -- CBS LOIS & CLARK RECURRING -- ABC HERCULES (ALSO DIRECTED) RECURRING -- UNIVERSAL BRISCO COUNTY, JR. STARRING -- FOX A.J.'S TIME TRAVELLERS GUEST STAR -- SYNDICATED KNOTS LANDING GUEST STAR -- LORIMAR PROFESSIONAL STUFF -- SPECIFICS Q: HAS THERE EVER BEEN A TIME WHEN YOU'VE BASICALLY JUST PLAYED YOURSELF? A: There is a large element of me in every role I do. Actors who say they can dive inside a character are either schizophrenic or lying. My characters are basically me on my best/worst day, etc. Q: IF YOU WERE TO MAKE A MOVIE IN WHICH YOU HAD FULL CONTROL OVER EVERYTHING (SCRIPTWRITER, DIRECTOR, PRODUCER, MONEY-MEN ETC.), WHAT MOVIE WOULD YOU MAKE? A: One with a story about people, based on a factual incident. I find truth much stranger than fiction and far more compelling. I would also have to insist on absolutely NO studio intervention. Q: DO YOU DO ANYTHING ELSE BESIDES ACTING? SUCH AS DIRECTING, WRITING OR PRODUCING? OR ANYTHING OTHER THAN ENTERTAINMENT? HOBBIES, ETC.? A: I try to write as much as possible. I've done some directing for TV already with several Hercules/Xena episodes. I was a producer (in some form or another) on all of the "Evil Dead" films and several others, including "Lunatics: A Love Story," "Crimewave" and "Easy Wheels." For hobbies, I like to hike and backpack -- that sort of stuff. Q: WHAT TYPE OF CHARACTER HAVE YOU NOT PLAYED, BUT WOULD LIKE TO? A: An upside-down action hero, someone who was never intended to be an action hero, i.e. "Die Hard" with an accountant in the lead role. No Ex-FBI, CIA, ATF, etc. Q: IF YOU HAD TO, IN WHAT GENRE WOULD YOU CLASSIFY YOURSELF AND YOUR ACTING? (COMEDY, ACTION, ETC...) A: I try not to classify myself at all. I try to do as many diverse roles as possible. I started pretty strongly rooted in exploitation, no doubt about that. But, thanks to television, which has a great demand for product, I've been able to expand into very mainstream stuff. I've managed to go from "Evil Dead" to Disney. Q: IS THERE ANY SORT OF FILM WORK OR GENRE THAT YOU WOULDN'T DO? A: It's all based on the material. I have no "blanket" policies, on a given genre -- just on bad material. I've even done bad material sometimes because I saw a good role in there. Q: ANYTHING IN YOUR CAREER YOU'D DO DIFFERENTLY GIVEN A SECOND CHANCE? A: Maybe next time I won't publicize my e-mail address -- Ha! No, I have no regrets. A lot of the films I did years ago, I would have "passed" on now, but back then, I was glad to get the work so I could learn. We all have to start somewhere. I think I would have used the word "no" a little earlier. Q: HOW DO YOU FEEL ABOUT THE STATUS THAT YOU HAVE REACHED SO FAR IN YOUR CAREER? A: I've been busier this past year than ever and I've gotten into a number of new fields (I.E. TV flicks, Sit-Coms, CD-Rom games) that I never was able to crack before, so it's been an encouraging time of expansion. Q: WHAT ARE YOUR GOALS IN THE ENTERTAINMENT INDUSTRY? A: My goals are simple: continuous work and a better choice of decent roles. This pursuit of the "fame and fortune" thing is baloney -- it's a slippery slope that demands too much time and attention for uneven results. I do hope to continue directing and get a little more into writing because diversity and control over the material, to me, equals job security. Q: WHY CHOOSE THE UNPREDICTABLE FIELD OF THE ENTERTAINMENT INDUSTRY AS A CAREER? A: The "unpredictability" factor was never really an issue for me -- I never thought about the entertainment business that way. I just love acting. I can never understand why more people don't make their hobby into a career. Sure, it's unpredictable, but no job is 100% secure these days anyway. Q: IF YOU HADN'T GOTTEN INTO THE ACTING BIZ, WHAT DO YOU THINK YOU'D BE DOING TODAY? A: I think I'd be some form of teacher; sharing knowledge is a crucial thing in our society. Either way, I'm not really a 9 to 5 kind of guy. Q: WHAT WAS YOUR ATTITUDE TOWARD THIS BUSINESS WHEN YOU GOT STARTED AND, IF IT HAS CHANGED WITH TIME, HOW HAS IT CHANGED, AND WHY HAS IT CHANGED? A: I had dreams and fantasies like anyone else who wants to get into a certain profession. You need those to keep you going. Now that I've been at it a while, my "dreamy" illusions of the business have simply been sharpened into a more realistic "industry" view. It's gone from a fantasy to a cool job, and I'm fine with that. Q: BRUCE CAMPBELL IS AN ACTOR, WRITER, PRODUCER, EVEN A DIRECTOR. IS THERE ANYTHING YOU HAVEN'T DONE WHICH YOU WOULD LIKE TO DO? A: I'd like to do a project where I wear all of those silly "hats" at the same time. Oh yeah, and go to Alaska. Q: HAVE YOU EVER REFUSED A ROLE/MOVIE, WHICH LATER BECAME A BIG BOX-OFFICE HIT? A: No, oddly enough, just the opposite. I've almost been in some big films that bombed -- and no, I'm not gonna tell you which ones... Q: DO YOU WISH YOU COULD HAVE DONE SOMETHING MORE MAINSTREAM AS A WAY OF MAKING YOUR MARK? A: Well, ponder with me for a moment: My first film experience was with "Evil Dead." I was one of the Executive Producers of the film and we were allowed to make it without any creative intervention whatsoever. How many "mainstream" actors can say they've ever had complete creative control over anything? Q: WHAT ASPECT OF FILMMAKING DO YOU ENJOY THE MOST? ACTING, WRITING, DIRECTING? A: Each is rewarding/torturous in different ways: Writing is very solitary and aggravating, but if you can get it produced, you're the guy who controls the rights. Directing is a major brain-drainer -- you're involved in all phases of filmmaking and you're bombarded by questions all day long. But, the creative rewards can be pretty high. Acting, to use a football analogy, is like being a Place Kicker: You warm up on the sidelines for most of the game, but then, at the last minute, you're brought in to win the game. I like the whole mixed bag. In Detroit factory talk it would be referred to as "Job Rotation." Q: DO YOU LIKE PRODUCING, WRITING AND DIRECTING INDEPENDENT FILMS OVER STUDIO BACKED PRODUCTIONS? IF SO - WHY? A: Well, with independent films, you generally are able to maintain creative control over your work, but if you go over budget, you're boned. With studio pictures, you can cry poor sometimes and they'll cut you a check, but this comes with a price: loss of control. Q: WHAT IS IT LIKE WORKING ON TV IN CONTRAST TO WORKING IN THE MOTION-PICTURE INDUSTRY? A: TV is very quick. The one-hour format is more of a grind. You have 7, maybe 8 days to shoot an episode, which usually translates into harder work, longer hours and no rehearsals -- you just kind of wing it. On sitcoms, the hours are more forgiving and you get to refine the material all week and rehearse to try and get it right. The rush of performing in front of an audience is always cool too, but I'm pretty new to this. Feature films can take the time to tell a better/fuller story, but the shooting pace (or lack of it) can be maddening and the results are not always better than TV. Q: DO YOU THINK THE MOVIE INDUSTRY HAS CHANGED SINCE YOU FIRST ARRIVED ON THE SCENE? A: Yes, in my opinion, the elements of telling a good story have been de-emphasized in lieu of big special effects. The marketing of films has also become more intense so the pressure to only cast "big name" actors has increased. I think since budgets are IN-creasing, risk-taking is DE-creasing. Q: DO YOU THINK THAT BIG-BUCKS MOVIES LIKE "INDEPENDENCE DAY" OR "TITANIC" WILL RUIN THE FUTURE OF SMALLER BUDGET MOVIES? A: I hope not. I actually think they will prompt a backlash of story-driven films with modest budgets and fewer showy effects. However, I am concerned that the bridge between high and low budget is widening. A film today is either $350,000 or 100 million. Q: HOW DO YOU GO ABOUT CHOOSING A PROJECT TO WORK ON? A: I read the script. If it's a part or story that's interesting, then I'll consider it. For the movies "Assault on Dome 4" and "Menno's Mind," they actually wanted me to play the hero in each. Instead, I opted to play what I felt were more interesting characters. The decisions are also sometimes based on exposure. Sometimes, I choose large roles in small films but, as a result, not many people see the work. Other times, I get small roles in big films that I know gobs and gobs of people will come to see. Ultimately there are three factors: the part, the exposure, and the money, but not necessarily in that order. Q: DO YOU USE AN AGENT OR IS IT ALL NETWORKING? A: This business is set up in such a way that having and using an agent is essential. Yes, I use an Agent, and I also have a Manager. Then again, more and more roles I get recently have come from associates of mine or through other connections made over the years. It's probably about 50/50. Q: HOW DOES AN ACTOR LIKE YOURSELF GET "JUDGED"? A: Ultimately, all actors will ultimately be judged by three things: 1. Ratings/Box Office 2. Critics 3. Their Peers. Good reviews from critics and peers are nice, but #1 tells the whole story. Q: DO YOU DO ANYTHING INVOLVING LIVE THEATER? A: Not anymore, I did some in my youth and enjoyed it immensely for it's uninterrupted nature, but I have been exclusive to the big and small screen for a while now. Theater is very time consuming, and time is one thing I don't have as much of these days. Q: WHAT DO YOU LOVE AND HATE THE MOST ABOUT ACTING? Love: The places it takes me, the people I meet, and the magic of the "on camera" experience. Hate: The politics, the BS, and the over-technicalization of the process. Q: IS THERE ANY ASPECT OF ACTING THAT IS DIFFICULT FOR YOU? A: Crying used to be really hard. I have had very few "really bad" things happen in my life to pull from. Other than that, cumbersome technical jargon and "exposition" dialogue (saying the plot, basically) are always a killer. Whenever a writer makes it easy on himself/herself, the actor inevitably suffers. Q: HAS THERE EVER BEEN A TIME WHEN YOU HAVE FELT THAT YOUR CHARACTER WOULD NOT SAY A CERTAIN LINE OR LINES AND HAVE ARGUED WITH THE WRITER/DIRECTOR ABOUT IT? A: I only argue with directors/writers when they haven't been thorough with the presentation of the story and/or character, so the answer is, yes! But, there is no place for the "on set" tantrum. Disputes about material should be handled well in advance or off to one side. Q: I READ IN AN INTERVIEW WITH A DIRECTOR WHO SAID THAT YOU ARE VERY ADEPT AT MEMORIZING YOUR LINES. DO YOU AGREE WITH HIM? HAS THIS KNACK EVER GOTTEN IN YOUR WAY OF IMPROVISING WHEN YOU'VE NEEDED TO? A: In my opinion, you can't improvise until you know your lines. This is one of the great fundamentals of acting. You can't deviate from the material unless you KNOW the material. I try and get a good foundation and work from there. Q: DO YOU DO YOUR OWN STUNTS? AND, HAVE YOU EVER BEEN SERIOUSLY INJURED DOING A STUNT? A: I do my own stunts to a degree. It's a fallacy that some actors "do all their own stunts." Insurance Companies simply will not allow this. I do more than the average actor and have done dumb things in the past, but plenty of talented stunt men have helped out too. Q. ANY INJURIES TO REPORT? A. As far as injuries go, on the first "Evil Dead" film, Sam Raimi mounted the camera on a motorcycle for the last shot of the film. He rode the bike through the cabin and rammed into me with it. I broke a rib and he banged up his knee -- kids, sheesh! In "Army," I cut my face flipping a stunt man, but the doctor in the emergency room didn't know which "cut" to stitch up -- my character, Ash, had so many others. But, to quote Larry Fine of the Three Stooges, "The pain goes away on pay day..." Q: ARE HOLLYWOOD STARS REALLY BLOWN-UP STARS, THAT WON'T SPEAK TO FANS OR ARE THEY JUST AS "NORMAL" AS US OTHER PEOPLE? A: 90% of the time they're really cool, because they're at the top of their game. I have found that the "up-and-coming" actors and the "on-their-way-out" actors are the troublemakers because they're either trying to prove something, or they're bitter and want to take some people down with them. Q: IN THE PAST YEAR WE HAVE SEEN ACTORS GETTING PAID UP TO $20 MILL FOR EACH MOVIE THEY MAKE. DO YOU THINK THEY'RE WORTH IT? A: It would be hard for me to be on set, talking to some of the hard-working crew members, knowing that I'm getting more for one film than they will ever make in their entire lifetime. That's too much money, and one of the reasons films' budgets are so big is because the cast is too expensive. I also think at that rate of pay, an actor's work suffers. It's got to mess with their process knowing that, for example, they're getting $100,000 per line or whatever. In their defense though, I think more actors would be willing to work for minimum wages if they really felt that studios would give them a fair shake on the accounting. Q: ANY TIPS FOR ASPIRING FILMMAKERS? A: Yes. Generally speaking, if you are lazy and unmotivated, you will fail. If you are willing to put in potentially years per project, you've got a chance. Specifically...here are Bruce Campbell's two-cents worth... 1. Get your hands on some material. Write it yourself, buy it from a friend, option the rights of a book -- you name it, but get something to shoot. 2. Find yourself a partner. I've had great partners when working on independent films. You might be able to go it alone, but I don't recommend it. The trick is finding someone as passionate as you, who also shares the same sensibility and drive. 3. Determine what you want to make -- is it a movie, TV pilot, short subject, documentary, play, what? 4. Determine the format -- are we talking video, 16mm, or 35mm? 5. Determine the cost -- How much do you want to spend? How much can you raise? (or have in your own pocket)? Take your time with this -- it can only really be done after the script is written and is often overlooked by first time filmmakers. An incomplete film is of no use to anyone - especially the filmmaker. 6. Determine how you want to gather the money -- car washes, bagel sales, borrow from a rich uncle (the best way), form a Limited Partnership (like I have done on several occasions -- consult with an attorney), applying for a grant? Each form of money raising will have its own "costs" and attending paperwork. 7. Start raising the money -- in my experience, this is the single hardest task you will undertake. You will need to put together some form of presentation for any kind of money people (rich uncle or not) that spells out a minimum of the following: A. A description of the project. B. A budget of the project -- including how much you want from each individual. C. Risk factors: to warn the investors what they're up against. D. Some form of business plan, i.e. when you will shoot, when you'll be done and where you will sell it (to whom and for how much) and when you think they'll get their money back and how much profit you intend to make. These are the very basics of what you will encounter. In addition, you will need to fight the image of the "flaky" creative person and must learn to talk the language of businessmen. Be prepared to spend a minimum of two years on your first project -- I spent four years on the first film, from beginning to end. Be flexible, resilient, creative (on the business end in particular) and bone up on all of the various business-oriented methods of raising money. It's not pretty, but it can be done! Q. WHAT DOES A PRODUCER DO? A: A producer is someone who is generally the first person to "develop" an idea that will, hopefully, one day become a movie. This can entail purchasing/optioning a book, short story or screenplay and overseeing the adaptation, expansion or re-writing thereof. The producer also, in some cases, "packages" the project, meaning hiring the director, the writer(s), lead actor(s), and then presenting this package to a financing entity. He or she will then assist in determining the budget, or lack thereof, and will decide how long the film can afford to shoot for and where. Throughout pre-production, the producer is very instrumental in all major hiring/firing decisions. He or she is also, in many cases, the liaison between the production crew and the studio, hopefully supporting the vision of the director. Basically, the level of involvement a producer has varies greatly: -- Some producers merely "package" films and are never heard from again (this can result in an "Executive Producer" credit). -- Others are brought in to oversee the "nuts and bolts" of day-to-day shooting (also known as "Line Producer") but do not have final say in creative matters. -- Still others are known as "creative" Producers and take a very active role in the entire filmmaking process. Q: DO YOU HAVE ANY ADVICE FOR FIRST-TIME DIRECTORS? Boy, do I! Some of it is: 1. Communicate, communicate, and communicate! Actors must be aware of your intentions -- even how you are photographing them (to some extent) so that they can serve you and the film better. The same goes with all of the department heads -- they must know what you want, or else they cannot give it to you. 2. Don't get all wrapped up in Storyboards, cool shots, lenses, etc. any more than your story demands. Don't forget things like blocking, characters, and MOST IMPORTANTLY -- a working script that doesn't suck! 3. Getting 40 set-ups (or shots) in a day isn't always the goal. This isn't a contest -- 40 shots of what? And how rushed do you have to be to get that? How about 20, really good, planned out shots? Making the film shouldn't be a zoo, unless your producers are idiots and you, as director, are unprepared. 4. Don't neglect the proper shooting process. First thing in the morning (and at the beginning of each new scene to be shot), clear the set, work with the actors to establish/sign off on blocking, show the scene to all concerned departments, get the actors out of there and line up with stand-ins and light -- then bring the actors back in and shoot. It sounds horribly basic, but so many people forget or never learn the correct procedure. 5. Work your little, doughy ass off! Q: WHAT ABOUT ADVICE FOR ACTORS? Bruce's two cents worth about becoming an actor The practical side -- 1. Compile any "footage" you have of yourself into a 3-5 minute "demo reel" that shows your best stuff -- or any stuff. The finished format should be on 1/2" VHS videotape format. Be prepared to make several dozen "dupes" (copies) of these. If you don't have anything you've worked on -- create it! Get your hands on a video camera at the local access cable station and record some prepared scenes -- anything is better than nothing. Start saving your pennies now! 2. Get an 8"X10" "headshot" taken of you in black and white -- I would recommend one lighter in tone, one serious -- about 250 of each. Don't print your resume on the back (heck, just staple a nicely printed, updated resume on the back) -- this will allow you to change it often without affecting the pictures. The picture(s) should be current and it should look exactly like you -- the same as if you walked into that Casting Director's office. 3. If you move to LA: A. Be prepared to get a non-movie job and support yourself (in a job that has flexible hours) and have a 5 year plan -- yes, five years. You will rapidly find that Hollywood is not "waiting" for you to arrive, and that you will need to learn the ropes for a while. Some of you will find a fast track out here, and others will have to pack it up and turn the truck back to Oklahoma -- no big deal -- it's not brain surgery. B. Become as familiar with the city as fast as you can and pick an area where you'd be comfortable living. Don't live in a crappy neighborhood just because it's where you think the "action" is. You can't stop living while you wait for your ship to come in. These are the basic necessities. Beyond that, the process you follow to "get in the door" can be almost anything. Bear in mind, most talent agents will not meet with you if you just "show up" at their door. However, in some cities, like New York and Hollywood, there are showcases where you can present prepared scenes to people in the industry (i.e. casting directors and talent agents/managers). You can also enroll in acting classes in LA/New York that will allow you to meet other actors and swap ideas/plans. Other than that, you can dig up every actor trade magazine and get ready for those cattle calls. You can also find industry-related temp jobs by applying for production work (as a runner, for example -- behind the scenes), or as an extra, or stand-in. Use your imagination -- you'll need it! Personally, I simply became one of the producers on the first film I was in ("Evil Dead") -- and gave myself the part. Granted, this was a 4 year long commitment to seeing the first film through, but it may be something to consider -- especially if you live in a city far away from LA or New York and don't fancy the relocation just yet. Remember that you can always write your own material and try to find some money to get it made. It's America after all, use it to your advantage. Most of all, be patient, diligent, and hard working; only lazy actors complain about not finding work. WARNING: This business isn't for the faint of heart. Q: WHAT DO YOU THINK ABOUT THE RECENT ATTACKS ON VIOLENCE AND BAD LANGUAGE IN MOVIES, MADE BY AMONG OTHERS BOB DOLE? A: Bob Dole lost, didn't he? I'm sure Hollywood is holding its own with politics in the ethics department. Q: WHAT DO YOU THINK OF THE NETWORKS RATING TELEVISION SHOWS THE SAME WAY THAT THE MOVIE INDUSTRY RATES MOVIES? A: That's fine, but it ultimately falls on parents to assume responsibility for what they allow they're kids to see. If they want to shelter their kids or let them watch anything, it's up to them, but I'm sure there will be consequences from both. I think it's a good idea to make TV a lower priority for kids in general, or to encourage more interactive activities. What ever happened to tree forts? Q: HOW HAVE YOUR EXPERIENCES AS AN ACTOR HELPED YOUR WORK AS A DIRECTOR. A: Having been an actor for a while, I am very sympathetic and responsive to the actors on set when I direct. I've taken mental notes on what bugs me as an actor, so as a director, I make sure to explain everything to the actors - why I want them to move on a certain line and how they are being filmed. Communication, in my opinion, is the key! Q: WOULD YOU DESCRIBE YOURSELF AS A PATIENT DIRECTOR OR A DEMANDING ONE? A: Oh, I'm both. I'm patient with the actors and crew, but very demanding on myself. I don't tolerate actors who don't know their lines, though. That's a "bare-minimum" requirement" which, surprisingly, is often overlooked. Q: WHAT'S WITH THIS OFTEN DISCUSSED PROJECT "MAN WITH THE SCREAMING BRAIN?" A: "Man With The Screaming Brain" was/is an on-again, off-again hobby of mine. It's almost been made several times, but for whatever reasons, it falls through. It's sort of a modern-day "Frankenstein." Currently, there are no plans to make this flick. BC LIKES, DISLIKES, & OPINIONS Q: WHICH ARE SOME OF YOUR FAVORITE ROLES? A: I enjoyed the creative aspects of the "Evil Dead" flicks, but they were very physically demanding. I was pleased with the two-parter I did for "Homicide." This was a deliberate dramatic turn. I particularly enjoyed the pilot episode for "Brisco." Doing the short-lived series was very enjoyable because it was a very fun, positive character to explore, and I had the chance to "be" him for the better part of a year. I am currently getting a hoot out of the character Autolycus in the "Hercules" and "Xena" shows. It's fun playing a colorful character who doesn't have to have the "hero" traits. Q. DO YOU WATCH TV? A. These days, I pretty much stick to watching national News. Very little else on TV interests me anymore. Q: WHAT ACCOMPLISHEMENTS ARE YOU PROUDEST OF OUT OF THE INDUSTRY: A. Two children and surviving a five-day backpacking trip in Escalante, Utah. Q: WHAT ARE YOUR FAVORITE FILMS? "Bridge over the River Kwai," "Tender Mercies" and, yes, "Sound of Music." Q: WHO IS YOUR FAVORITE DIRECTOR? Sam Raimi. Martin Scorcese isn't exactly a hack either...I also like some of the stuff Zemeckis has done. Q: WHO ARE YOUR FAVORITE ACTORS OR ACTRESSES? Actress: Jennifer Jason Leigh, she's professional, smart, and very friendly. Actor: I'm a big fan of Robert Duvall because he makes acting look easy, Johnny Depp because he seems very committed and Steve McQueen and William Holden, just because they were so stinkin' cool. Q: WERE YOUR FAVORITE ACTORS OR ACTRESSES INFLUENCES ON YOUR STYLE, OR ON YOUR DECISION TO TAKE THE CAREER PATH YOU DID? A: Nope. I try not to imitate or emulate anyone. Q: WHAT'S ONE OF YOUR FAVORITE ANECDOTES FROM YOUR ENTERTAINMENT CAREER? A: In high school I had a chance to show my early, amateur Super-8 films to a well-known TV celebrity (in 1976) and, during the show, he pulled out a big fat joint, lit it up, and laughed his ass off! Q: WHAT WAS YOUR MOST EMBARRASSING MOMENT WHILE MAKING A FILM? A: I was once duped into filming a scene while I was, let's just say "in another state," and found out later that there was no film in the camera. Those pranksters! Q: ANY "DREAM ROLES" OR PROJECTS? A: Nope. I take 'em as I get 'em. I have written/developed stuff that I would like to see made one day -- but only time will tell. Q: WHAT IS YOUR FAVORITE GENRE TO ACT IN? (COMEDY, ACTION, ECT...) A: I generally prefer the more light-hearted types of things, because I can ham it up. But, I prefer to keep a healthy mixture of all genres... Q: WHAT HAS BEEN THE WORST PROJECT YOU HAVE EVER UNDERTAKEN? Well, I attempted to sing in a TV show recently. All I can say is "Wow..." THE QUOTABLE BRUCE CAMPBELL On Bruce Campbell: "[Getting into this business] was a way to preserve those childhood qualities. I think it's a matter of maintaining fun in our lives. I like being a kid -- I love being a kid. I had what I consider to be a classic 'good childhood,' in a real hokey, romantic sense. I had woods next to my house, we had paths all carved through the woods, we had trees we would climb, we had hollowed-out trees that became forts . . . I had two dogs, both basset hounds; we had a rabbit." (Interview w/J. Wood, City Paper, Baltimore, MD, September 28, 1994) "Usually, I don't mingle with horror off screen. I never read the stuff when I was a kid. I was too busy watching Lost in Space or some such nonsense." (Genie Interview -- 9/12/94) "My goal is ultimately to be perceived not [as] a cowboy actor, not a horror actor, not a comedy actor -- just an actor. That's all." (Interview w/Charles McGrew, Copyright 1996) ON SAM RAIMI: "Sam and I met in 1975 in Drama class. He was doing a bad pantomime and it was followed by my bad pantomime. We consoled each other and became pals. He still sucks at pantomime. Maybe that's why he became such a big shot director." (Genie Interview, 9/12/94) "I wrecked my ankle on the first Evil Dead. He cornered me in a room in this house and started poking me with a stick. He just thought it was the funniest thing. I'd like to see him hit Gene Hackman with a two-by-four." (Premiere Magazine, March 1995) "I don't care what actor he's got. When people walk out of there, they'll go, "That's a Sam Raimi movie." Sam always has been and always will be the star of his movies." (Premiere Magazine, March 1995) ON FILMMAKING/ACTING: "I like learning. If I'm going to play a steelworker, I actually would be kind of curious to see what a steelworker's life is like ...I wouldn't do it in order to get myself to be able to do the part, though, because I don't think the average person knows what a steelworker thinks or does -- and I think whatever you care to portray, the audience would accept that. No, I'd like to do it just to learn something new. That's the advantage to being a phony actor...." (Interview w/J. Wood, City Paper, Baltimore, MD, September 28, 1994) "It was a taste of Hollywood. It was kinda fun to see broken down actors and people who weren't as wonderful and pure as I thought they were going to be; who were very temperamental. I kept a journal that summer and I kept several entries saying if I ever became an actor, I would not become a nightmare actor." [Regarding his summer apprenticeship at a Northern Michigan theater.] (Bruce On A Stick, July 1993) "I really hate it when actors, as soon as they get a mainstream deal, deny that they've ever done anything before it. Personally, I think denying where you come from sucks." (Starlog, December, 1993). "Film and TV can be used powerfully, but most of the time they're just a distraction....I guess, in the end, my ultimate desires wouldn't be any different from any other kind of lofty goal of either trying to renew people's will to live or to reaffirm the value of life -- you know, some of those good old-fashioned uplifting things." (Interview w/J. Wood, City Paper, Baltimore, MD, September 28, 1994) "...I can work in something...like Hudsucker and be completely blown away by the professionalism, the creativity, the fact that everyone loves what they're doing. That's what I'm interested in. It's not the size of the role...but it's the quality of it." (Interview w/Charles McGrew, Copyright 1996) "Now I get to yell at myself. Now I get to make all the same mistakes as the directors who I was convinced I could do better than." [Regarding his first outing as a director.] (Bruce On A Stick, April 1993) ON BRISCO COUNTY: "I think it's a good character. Without being corny. I think he's a good role model. He's intelligent, his viewpoints are flexible...he's not real rigid. He tries to understand. He's not real righteous. I like that, and I like that he has the ability to think and reason his way out. Y'know there are those heroes that get all righteous on you?" (Bruce On A Stick, March 1994). "Brisco is not that much different than Ash. He's a little smarter than Ash and not as dysfunctional. You can actually have a conversation with this guy and it will come out as more than monosyllabic." (Starlog, December 1993). "Brisco was a very satisfying show for me. I could have used a little more zany stuff....It was a blast in retrospect -- just hard work." (Genie Interview, 9/12/94) ON THE EVIL DEAD MOVIES: "For me, the first film was frankly about learning how to act. I can watch the first Evil Dead from about halfway on without cringing....When Army of Darkness came around, we decided to make a different type of movie altogether and made an action-adventure picture with the same imbecile." (Axcess, April-May, 1996) "...what character deserves to be left alone more at the end of the world than that idiot Ash?" (G.A.S.P., Summer 1993) "Evil Dead II will always have a special place in my heart. It hit a weird connection between horror and comedy. It was really hard to do though. Army was hard too and was satisfying because of Sam, but there were more studio politics involved on that one." (AOL Interview, April 1994) ON THE FANS: "I spend most of my time on the Internet trying to convince people that I'm really me....So now I'll tell someone to quiz me. Ask me something you don't think I could or would know. Then I'll answer with such excruciating detail that they have to know it's me." (Axcess, April-May, 1996) "I got an e-mail from someone who found an actual S-mart, somewhere in Texas. Supposedly, they'll give you the Army of Darkness tour of the store, including housewares and the area where they stock the shotguns." (Axcess, April-May, 1996) "Never forget the power of the individual. Your comments DO matter and occasionally, your support makes a difference. I appreciate every letter I get, every call, every verbal reinforcement." (AOL Interview, April 1994) "Thanks for being very loyal...they're very well-informed and they're very loyal. Tell 'em I'll need them on that opening weekend." (Interview w/Charles McGrew, Copyright 1996) FANS, CULTS, & CONVENTIONS Q. HOW DO YOU FEEL ABOUT AUTOGRAPHS? A. I'm glad you asked that! You know, for years I've gotten lefty cramps scrawling my name on all of your pictures, 3"x5" cards, hand made objects and fleshy foreheads and I've done this without thinking. In recent days, however, I have given the whole "autograph" thing some serious consideration. What I have come up with is this: I don't think it's a good thing. Now quit cursing and hear me out. When you really get right down to it, what we're talking about is the value of a carbon scribble (or ink, or paint pen) on a piece of squashed, dead tree, am I right? What value does it really have? Is it worth money? Only an autograph collector knows for sure. Will it help me communicate better to you? No. I really just put my illegible scrawl (take my word for it, folks) on a postcard or whatever and move on to the next. I don't "know" you as a result. In the flurry of things, I barely catch the return address (hey, I could lie to ya...). Will it help you know me? Sorry, a hasty signature isn't gonna do it. Ask yourself this: Will it make you be a better parent? Will it help you get straight A's? Will it make you cool? Sure you can show it to all your friends and family, but come on, you and I know that the answer to ALL of the above is...no. What I propose is this: If you want a picture, no sweat - I'll send you one (on my dime) and you can frame it, use it as a dartboard, or make the darn thing into a beer coaster if you'd like. But, as far as personally scribbling my name on your picture, or mine, I'd hate to further encourage you to buy in to the whole "Hollywood" thing. Look, no matter what you may have heard to the contrary, I'm just the poor slob next door. I may not be YOUR neighbor, but I just want to be treated like one. Help me poke big fat holes in all of those phony-baloney Hollywood mystiques about fame and fortune, will you? I hate to break it to you, but us cheezeball actor types are no better than you. Heck, most of us can't even change the oil in our cars... Please make no mistake - this decision is not because of any disdain I have toward you - it's simply a combination of time issues and a larger matter of why the heck my autograph should be worth one red cent more than yours. Are you any less VALUABLE? I think not, and that's really my whole point. Besides all that philosophical stuff, with work taking the time that it does, I have been falling horribly behind with the current stack of autographs and would hate to continue leaving you good folks needlessly dangling in the wind. I don't want to continue this non-service to you, the dutiful fan. What I would prefer is that we keep a basic unspoken agreement. I will respect you as fans by working as hard as I can to entertain you to the best of my abilities. For your part, you can "value" me by simply doing what you have always done - watch the stuff I'm in. I know that sounds pretty darn simplistic, but I think it's a purer way to go. You've always supported me in the past, so I'm asking you to support me in this. But Bruce, does this mean you'll NEVER sign another autograph? No, life is not that simple. Hey, if we should meet in line at Carl's Jr., I'll sign that coffee-stained napkin - no prob. What about conventions, you ask? Absolutely - I'll sign whatever the convention folks allow me to do - that's what they're all about and there is at least a little more to the autograph when I can put my clammy hand in yours for a nanosecond. There's also DESIGNATED time and space allotted for that type of thing. Granted, I don't do that many conventions these days, but any appearances are listed on my web site: WWW.BRUCE-CAMPBELL.COM (or whatever current path). I do like to communicate with you folks. Those of you that are on line can e-mail me. My e-mail address has been the WORST kept secret on the web for several years now (bcact@aol.com). My answers are short and sarcastic, sure, but I'll respond to any non-ludicrous query. Q: YOU'RE WELL KNOWN FOR THE EVIL DEAD FILMS THAT YOU STARRED IN AND HELPED PRODUCE. THESE FILMS ARE VERY POPULAR WITH CERTAIN GROUPS OF FANS, AND NOT REALLY MAINSTREAM HITS. HOW DOES IT FEEL TO HAVE A BIG "CULT" FOLLOWING LIKE THIS? A: I have made my living primarily on television in recent years. That is about as mainstream as you can get. As far as the "cult" thing goes, I appreciate the fans very much but I don't really think about the Evil Dead films much. I will always think of them fondly in creative terms, but they are no longer responsible for the work I am currently getting. Q: HOW DOES IT FEEL TO BE THE SUBJECT OF SUCH SPECIALIZED POPULARITY? IS IT A LITTLE KOOKY TO HAVE WEB SITES DEVOTED TO YOU AND YOUR WORK? A: No, not at all. The freakshow that is called entertainment comes in many forms. Web sites are a logical extension of fandom... Q: MOST ACTORS DON'T REALLY FEEL AN OBLIGATION TO STAY IN TOUCH WITH FANS BEYOND AUTOGRAPHS AND A HANDSHAKE, BUT YOU'RE UP FOR PERSONALLY ANSWERING E-MAIL. WHY IS THAT? A: This business is based on being a commodity, and fans are the people that make you a commodity. Not being open to them is irresponsible. I find e-mail to be a great grass-roots format, putting me with closer contact with fans than ever before, but still very "safe." Q: HAVE B HORROR TYPE FILMS ALWAYS BEEN A LOVE OF YOURS OR ARE THOSE TYPES OF FILMS JUST ANOTHER GIG FOR YOU? A: I think it should be known that I never intended to be a horror/genre actor. I simply intended to be an actor. When we made the first Evil Dead, we had made the decision to shoot a horror film because at the time it was a very marketable and successful genre. Granted, because of the Evil Dead films, I ended up doing other genre pictures. Now, I'm trying to do as many different types of roles and receive as much exposure as I can. Don't get me wrong, I will do another genre film as long as and only if it's a good script or has a really good role. Q: AT THIS POINT IN YOUR CAREER, WHICH PROJECT DO FANS SEEM TO BEST REMEMBER YOU FOR, AND IS IT THE WORK YOU WANT TO BE REMEMBERED FOR? A: I always find it funny when I'm signing autographs to see a six-year-old and his mom ask me to sign a picture of "Brisco" right after a mid-twenties guy dressed all in black asked me autograph his chainsaw. It now seems to be a competition between "Evil Dead," "Brisco," and now "Hercules" and "Xena." I'm glad that the fan base is expanding in this way. Q: IN LATER YEARS THE OUTPUT OF HORROR-DIRECTORS HAS BEEN SPARSE AT BEST, BUT WHEN YOU GOT STARTED HORROR MOVIES WERE BIG BOX-OFFICE AND VIDEO RENTAL SUCCESSES. DO YOU THINK HORROR MOVIES HAVE A FUTURE? A: It's a cyclical thing. Horror movies haven't really gone away. If you think about it, the villains have changed. Now, they're tornadoes, alien ships, volcanoes, and the like. People are getting the old edge-of-you-seat feeling from different movies now, you know the ones with the colossal effects. But stay tuned, horror will be back! I think "Scream" is a good example of this. Q: DO YOU CONSIDER YOURSELF A CULT ACTOR? WHY OR WHY NOT? A: Not really. People tell me I have a "cult following," so I guess I have to take their word for it. Having worked consistently in the post-"Evil Dead" years, I think I'm past that. Q: WHAT DO YOU THINK ABOUT FANDOM AND FANS IN GENERAL? DO YOU LIKE ATTENDING SCIENCE FICTION/FANTASY CONVENTIONS? A: Hey, I appreciate my fans very much. It's motivating to know that folks like what I can do. It's like having my own lobby. I haven't attended many conventions recently, only because a few I had gone to in recent years weren't managed very well. But, in general, I do enjoy them, and I think it's important to give your fans that kind of direct access to you every so often while you still can. Q: DO YOU STILL MAKE THE CONVENTION ROUNDS? A: Every so often. The "Herc" and "Xena" thing has revved that back up. It's funny, though, how bookings go down when your rates go up -- then WAY up... Q: HOW OFTEN ARE YOU RECOGNIZED THESE DAYS? A: Not a heck of a lot. Busboys and airport baggage security clerks are my Achilles Heel, though. Q: DO YOU HAVE ANY OBSESSIVE TYPE FANS? A: Not really, 98% of my fans are very polite. My only complaints about fans are punctuation, grammar and not posting their real names. I usually get signatures like "Dr. Death," "Snake Plissken" "Axe Man," etc. Granted, I'm no literary genius, but you wouldn't believe how poorly written some of my e-mails are. C'mon folks, buy a Dikshuneree! Q: WHERE CAN I GET VIDEOS OF YOUR EARLY FILMS (THE SUPER-8'S), CURRENT FILMS, EVIL DEAD, EVIL DEAD II, ARMY OF DARKNESS, BRISCO EPISODES AND PICTURES, POSTERS, SCRIPTS, MERCHANDISING FOR THEM? A: These are all excellent questions. Unfortunately, I am completely out of that "where to get stuff" loop. You'll have to do your own research. But, here is what I do know: A place called Hollywood Book & Poster (in Hollywood) has had a collection of Bruce posters/pictures/scripts in the past. They might be a good place to start for basic info. As far as videos go, the only way to see the old Super-8 films I did with Sam Raimi is through the bootleg circuit and I can't recommend it because the quality of the copies is apparently awful. EVIL DEAD WILL BE RELEASED ON DVD ON 9/22 AND LASER DISC ON 10/6 and the video version was re-released by Anchor Bay Entertainment of Troy, MI and is available in video stores now. EVIL DEAD IS AVAILABLE FOR SALE. Check out http://www.videoflicks.com/VF2/1006/1006829.ihtml EVIL DEAD II WILL BE RELEASED ON DVD ON 9/8 and the video version was re-released by Anchor Bay Entertainment of Troy, MI and is available in video stores now. EVIL DEAD II IS AVAILABLE TO: BUY NEW/RENT/ON DVD/ON PAL at www.reel.com ARMY OF DARKNESS WAS RELEASED ON 8/18. They will all be available through Laserviews, so check out their website for the most current release dates (which keep changing) at http://www.laserviews.com/dvd-calendar.html. ARMY OF DARKNESS IS AVAILABLE TO: BUY NEW/RENT/ON PAL at www.reel.com Evil Dead/Evil Dead 2/Army of Darkness (Import) Original Soundtrack is available at http://www.amazon.com. Army of Darkness Soundtrack is available at http://www.cdnow.com. "Brisco" episodes are still airing on TNT on Saturday at 11:00am. Q: HOW MUCH OF A COMPUTER GUY ARE YOU? A: Probably pseudo, generically average. I've got a Dell Latitude lap top. I go on-line for research, airline tickets, CD's, etc. The Internet is really unbelievable. It has opened new doors. Through e-mail, I can communicate with fans in a much more direct way than I was ever able to before. Q: HOW AND WHEN DID YOU BECOME OF AWARE OF THE HUGE INTEREST IN YOU FROM INTERNET USERS? A: When I logged on one fine day. It became more apparent when I started "surfing" more. I've been active for about 4 years now. Q: WHAT DO YOU THINK MAKES YOU SO POPULAR WITH SUCH A SMALL, CULTISH CLAN OF WEB-HEADS? A: I don't know, maybe it's because I too love the Internet and enjoy communicating with fans via e-mail. Q: HOW MUCH FAN E-MAIL DO YOU GET PER DAY? A: I don't count, but I could answer e-mail for about an hour and a half a day. Q: WHAT ARE YOUR REASONS FOR ANSWERING YOUR FAN E-MAIL PERSONALLY? A: Because very few celebs do it, and fans deserve a personal touch. I don't know how long I can do it, though. It gets tough when you're on location and access is iffy. Also, as silly as it sounds, I also think a lot of it stems from the fact that I wrote to Steve McQueen when I was twelve, and he never wrote me back. Granted, I most likely had the wrong address, but I remember how crushed I was. Q: HAS THERE BEEN ANY STRANGE REQUESTS/QUESTIONS SENT TO YOU OVER THE INTERNET? A: Not really, but I have begun to recognize a pattern of what people simply MUST know -- like "will there be another Evil Dead film?" That's #1 on the list. Q: ANY NEGATIVE REACTIONS OVER THE INTERNET (SUCH AS PROBLEMS WITH AN "ELECTRONIC STALKER" PERHAPS?)? A: No, but some people can't get enough, and the parts I do are never "big" enough or in "successful" enough films. Other than that, some e-mails can get a little redundant or silly. Other folks are sometimes put off by my brief responses or by my phrasing. When you hear someone talk, you can pretty much tell when they're joking or not, but the written word sometimes can convey a wrong intent or emphasis. Also, I'm a pretty direct guy and some folks aren't quite warmed up to the fact that I might actually be a bit of a smart ass in real life. I also spend a fair amount of time doing "Rumor Patrol." There is a tremendous amount of Dis-information out there. Most of it is harmless, but I'm sure some of the false rumors about me (not scandalous, mind you, just the "He's going to be in the new "Batman" movie) have been planted by enthusiasts with way too much time on their hands. RUMOR PATROL Q: IS IT TRUE YOU'RE CAST AS THE LEAD IN THE "DOOM" AND "SPIDERMAN" AND "QUAKE" AND "SUPERMAN" AND "BATMAN" MOVIES? A: No, by golly, I am not cast as the lead or involved with either the "DOOM" or "SPIDERMAN" or "QUAKE" or "SUPERMAN" or "BATMAN" flicks. Apparently, the producers called me, but I didn't have call waiting... Q: IS THAT YOUR VOICE IN DUKE NUKEM?" IT SURE SOUNDS LIKE IT! A: No, it's not me - some cheezeball shemp rippin' off the mighty words of Mr. Raimi... Q: I HEARD THAT YOU HAVE THE STARRING ROLE OF "CHRIS" IN THE FILM "RESIDENT EVIL?" A: I am not involved with that film in any way. Q: I HEARD THAT YOU ARE IN "MEN IN BLACK." IS THIS TRUE? A: No. I originally had a small role in the flick, but I dropped out to do "TORNADO." Q: HAVE YOU GIVEN ANY THOUGH TO WORKING ON THE NEW "STAR WARS" MOVIES? A: Well, let's just say that good ol' George hasn't called me... yet. Q: HOW DO YOU THINK THE LINKS BETWEEN THE INTERNET/FANS AND STARS WILL DEVELOP IN THE FUTURE? A: I'm not sure, but I can only assume a "live chat" will one day encompass teleconferencing -- like a convention from your own home. It has helped to "link" folks together. I've recently done some "on-line radio" interviews that are then stored in a virtual library for future use. This is pretty cool because a lot of folks can't always tune in to "live" radio when you're doing it. Q: DO YOU SUPPORT ALL THE WEB PAGES ABOUT YOU? ARE YOU FLATTERED OR OPINIONLESS ABOUT THEM? A: Oh, I'm all for them. Most are excellent. I can't really fault any poor sap who takes the time to put up a page, just as long as they don't get too carried away. It amazes me how much time people are willing to spend developing them and how involved some of these pages are. Q: WHICH WEB PAGES DEVOTED TO YOU DO YOU THINK ARE THE BEST? A: I don't follow them enough to comment specifically, and comparisons would be a tad unfair. Q: WITH ADVANCEMENTS IN COMPUTER/INTERNET APPLICATIONS (SUCH AS DOWNLOADABLE PREVIEWS AND MOVIE-CLIPS) WHAT DO YOU THINK ARE THE IMPLICATIONS FOR THE INDUSTRY, AS TECHNOLOGY PROGRESSES? A: Well, one thing is for sure. The old dogs in the industry better learn some new tricks, myself included, or they'll be left behind. I used to joke about one day Hollywood would use only virtual actors -- now it's not so funny. That's partly why I'm trying to keep my head above the technical waters and do CD-Rom stuff, etc. Q: WHY ARE YOU USING AOL? A: Most large entertainment companies are tied into AOL, so it's easier for me to coordinate PR that way. Q: YOU'VE BEEN INVOLVED IN THE PRODUCTION OF COMPUTER GAMES -- DO YOU THINK THIS MEDIUM WILL ONE DAY BECOME A VIABLE ARTISTIC OUTLET? (OR AT LEAST, A VIABLE ACTOR'S MARKET?) -- AND WHY? A: The CD-ROM/digital world will rule one day, and I want to stay current with it. You've got to assume that, eventually, 35mm celluloid will become a thing of the past. The Internet, digital sound, "On-line Radio" and CD-ROM games are all hints of what's to come. Q: THE SIMILARITY BETWEEN ASH AND THE DUDES FROM DOOM AND DUKE NUKEM 3D CANNOT BE MISTAKEN. WHAT ARE YOUR FEELINGS ABOUT THIS? A: What can I say? Maybe they're just cheese-balls who can't conceive of an original idea and feel compelled to rip off Ash. Imitation is indeed a form of flattery, but coming up with an original idea is even better. MISCELLANEOUS STUFF Q: ARE YOU IN ANY WAY INVOLVED WITH OR ARE YOU EVER GOING TO WORK WITH SAM RAIMI AGAIN? A: I would definitely want to work with Sam again, but we have both been pretty busy in different areas. We have always worked together indirectly. I acted in their shows "Hercules," "Xena," and "American Gothic," and I've directed a few episodes of "Hercules" and "Xena." Q: WHAT IS THE MEANING BEHIND "SHEMP?" A: We were all big fans of The Three Stooges growing up (Sam Raimi, filmmaker friend Scott Spiegel and myself). In learning more about the Stooges, we found that when they made their films (or "shorts" -- 20 minutes in length), they not only made one at a time, but two or three -- thereby capitalizing on standing sets from the big, Columbia "A" pictures, currently in production. This allowed them, for example, to use a large Castle set (and shoot a pie fight or something) before it was torn down. As a result, they were always shooting pieces of shorts as well as complete ones. Well, one fateful day, Shemp (the really ugly one with the long, stringy black hair) was incapacitated by a heart attack, and the rest of the Stooges, distraught as they were, had to finish a number of Shorts. So, they brought in a "Fake Shemp." The double/s they used were often the wrong height/weight and lacked in the true Shemp mannerisms. Even in high school (in the mid-70's), distracted by commercials, eating bowls of Captain Crunch, we could tell whenever the obviously fake Shemp made his appearances -- which is in about 3 or 4 shorts -- and we were amused to no end. We then began to use the term "Fake Shemp" for a any actor (in our early Super-8 flicks) who didn't have any lines, or was doubling for another actor or who was just way in the background doing ridiculous things. This happened a lot when you couldn't pay an actor to stay around. So, in the first "Evil Dead" film, we decided to designate Fake Shemps as an official credit category. The names listed were people who we shot "parts" of -- a hand, a foot, someone under heavy make-up, etc. It seemed to be handy, since films (particularly low-budget ones) are usually pieced together in many different ways over a long period of time. THE EVIL DEAD TRILOGY Q: WILL THERE BE AN EVIL DEAD 4? A: Gee, I've never heard that one...There are currently no plans to do another "Evil Dead" flick. Time, economics and the schedules of the principal participants are all factors. However, I would be happy to do another one if Sam Raimi directs. You never know... Q: THERE'S AN "EVIL DEAD 4" SCRIPT POSTED ON THE WEB. IS THIS OFFICIAL? A: Absolutely not. It's "fan-fiction," which I cannot condone. It really isn't anyone's place other than ours to even think about making an Evil Dead. Besides, IT'S ILLEGAL! People should channel their creative energies into original stuff. Q: CAN LOYAL FANS EVER EXPECT A RETURN OF THE EVIL DEAD SERIES IN ANY SHAPE, FORM, OR FASHION? MAYBE AN "EVIL DEAD 2: SPECIAL EDITION," A LA LUCAS...) A: I think not. Most of these "special edition" films were REALLY successful, mainstream projects. The ED flicks were popular, but not enough to warrant that kind of time and attention. Plus, a different distributor released each film, so the rights are a mess. Q: NOW THAT THERE IS MORE COMPUTER GRAPHICS TODAY THEN THERE WAS WHEN THE EVIL DEAD TRILOGY WAS MADE, DO YOU THINK IT WOULD BE COOL TO MAKE ANOTHER EVIL DEAD, OR TAKE THE FUN OUT OF IT? A: We were always kind of proud that the films display so many different types of special effects. I'm sure we wouldn't mind incorporating the latest thing into some new film, but going back? Naaa -- been there, done that. Q: WHEN YOU STARTED OUT, YOUR FIRST PROJECT WAS EVIL DEAD. WHAT MADE YOU CHOOSE A HORROR FILM AS YOUR DEBUT? A: We chose horror because in the late 70's, that genre was very popular, and we figured we could reduce the risk of losing our investors money if you picked one of the great industry "staples" -- horror. In addition, horror flicks don't always demand name actors and the basic premise of "kids trapped in a remote cabin" wasn't that hard to pull off, economically speaking. Q: DID YOU EXPECT THE EVIL DEAD TRILOGY TO BE AS POPULAR AS IT IS TODAY? A: No, we only hoped that they would be successful enough to get our investors' money back. That way, we could make another film. We really just wanted to "go the distance" as Rocky would say. Q: WHICH OF THE THREE EVIL DEAD FILMS DID YOU ENJOY DOING THE MOST? WHY? A: Probably "Evil Dead II." It connected with audiences in a weird way and we were still able to make it in a very controlled atmosphere, relatively free from studio intervention. Q: WHAT WAS YOUR FAVORITE SCENE IN ED2? A: Probably the same as everyone else's -- the possessed hand stuff... Q: WHY ARE THE BEGINNINGS OF EVIL DEAD, EVIL DEAD II, AND ARMY OF DARKNESS EACH DIFFERENT THAN THE ONE BEFORE? A: Well...it's like this: When it came time to do ED2 (7 years later), we couldn't get the rights to the original footage from ED1 (to do re-cap stuff), and the original actors had all gone off to do other things. So, in our infinite wisdom, we decided to "lie" about how Ash got to the cabin and who he was with (i.e. just Linda). This, indeed, confused a lot of people and caused them to think Ash was dumb enough to return to the cabin with another girlfriend (as well as fuel the useless debate that ED2 was really a "remake" and not a "sequel" -- pardon me while I fall aslezzzzzzzz). Granted, Ash IS dumb enough to return to the cabin, but that was not our original intent. When AOD rolled along (5 years after ED2), we felt that the re-cap could again be "diddled" with, especially since Universal Studios wanted the film to "stand on its own," without any relation to the other sequels -- hence the different title (as opposed to ED3). This time around, Bridget Fonda expressed an interest in playing a small role in the film, so what are we gonna say -- "No?" So, she became the new Linda and the audience (the ones who had been following along) became confused all over again! Q: DO YOU MISS PLAYING ASH? A: No. To be honest, I never really think about "him." I enjoyed playing the idiot and I always enjoy working with Sam Raimi, but I don't really need to reflect about the guy. Q: WHAT DID YOU LIKE MOST IN ASH'S CHARACTER? A: That he was certainly no smarter than the average audience member was (that is not meant to be an insult, by the way), but that ultimately his shortcomings were made up by sheer determination. I also like the fact that he was not an ex-Navy Seal, CIA, FBI, etc. Q: IT'S BEEN POINTED OUT THAT ASH IS SORT OF RAIMI'S (AND THE AUDIENCE'S) PUNCHING BAG. WHY DO YOU THINK PEOPLE LIKE TO SEE THIS GUY GET BEAT UP? A: Because he's basically an idiot, and he asks for everything he gets. Also, Ash represents everything that people would like to see happen to a "hero," but normally don't get to see. Studio films usually frown upon their heroes being responsible for the deaths of hundreds of people. Q: AS ASH, YOU WERE IMMORTALIZED AS A VINYL MODEL. WHAT'S IT LIKE TO HAVE A 12-INCH VERSION OF YOURSELF ADORNING BOOKSHELVES? A: You'll have to ask him, he's in a box in the attic. Q: IN MAKING THE EVIL DEAD, YOU, ROB, AND SAM EACH RANGED WELL BEYOND YOUR OFFICIAL ROLES AS STAR, PRODUCER, AND DIRECTOR, IN ORDER TO STRETCH LIMITED RESOURCES AND ENSURE COMPLETION OF THE MOVIE. WHAT DO YOU RECALL ABOUT YOUR EFFORTS FOR THE PRODUCTION, IN ADDITION TO PLAYING ASH? A: As one of the Executive Producers, I was involved as a partner from the beginning and lasted through the four-year process. We all really had to "wear a lot of hats" on that film because our crew kept getting smaller and smaller. I did my own "Foley" (recorded footsteps) for the film. I was the Music Editor, and Sam and I recorded a lot of the sound effects for the film. We also edited our own "trailer" (the theatrical Coming Attraction) for the film and came up with most of the initial advertising concepts ourselves. Q: DID YOU THINK THAT EVIL DEAD WAS GOING TO BE A ONE-TIME THING AT FIRST? DID YOU EXPECT SEQUELS? A: Basically, we never really thought about any sequels when we were shooting the first. Remember, technically speaking, Ash was killed off in part one, but big Box Office resurrected him! Q: WHAT WERE YOU'RE THOUGHTS WHEN "EVIL DEAD" BECAME A SUCCESS? HERE YOU CAME RIGHT FROM SCHOOL, HAD LITTLE EXPERIENCE AND NOT THAT BIG A BUDGET, AND SUDDENLY YOU PLAYED THE MAIN CHARACTER IN THE MOST RENTED MOVIE IN ENGLAND IN 1983. A: Well, we were cushioned a tad by the long process. From start to finish, that film took 4 years to make, so the success wasn't "over night." It took our investors about 6 years to "break even." When it became a success, naturally we were all excited, and the fact that everyone was renting it in England really helped it get sold in the US. We also owe a huge debt of gratitude to Stephen King for his support of the film and a heck of a quote on the poster. This helped separate us from the pack. Q: DID YOU HAVE ANY PROBLEMS PITCHING THE SECOND EVIL DEAD SCRIPT AFTER THE SUCCESS OF THE FIRST FILM? A: No. We actually needed to get back to doing a successful film again because our second film ("Crimewave") bombed horribly. Q: WHEN DINO DELAURENTIIS PUT UP THE MONEY FOR "EVIL DEAD 2", WHERE YOU FORCED TO DOWN-SCALE BLOOD AND GORE FROM THE ORIGINAL MOVIE TO GET THE MOVIE BIGGER MASS-APPEAL (AND PERHAPS A BIT NICER RATING FROM THE MPAA)? A: The fact that we had to downplay some of the gore had nothing to do with Dino DeLaurentiis. We did it so we could get that "R" rating. Ironically, even after filming a more "tame" film, it was still released "unrated." Q. WOULD YOU EVER PLAY ASH AGAIN IF THE OPPORTUNITY CAME UP? HOW WOULD YOU FEEL IF ANOTHER PERSON WAS OFFERED THE ROLE OF ASH OVER YOU? A: Yes, I would play Ash, but only if Sam Raimi was director. As for someone else playing him, I pity the fool! Q: IF YOU COULD REMAKE ED2 TOMORROW WITH A WORKABLE BUDGET, WHAT WOULD YOU DO DIFFERENT OR WOULD YOU LEAVE THE FILM AS IT IS? A: Leave it, baby, leave it -- why re-hash yesterday's celluloid? This "fiddling" business, in my opinion, is against the rules! Q: IF THERE WAS ONE THING YOU COULD HAVE DONE DIFFERENT IN ARMY OF DARKNESS, WHAT WOULD IT BE? WHY? A: We wouldn't have let anyone change the ending. We also could have fought harder for the "original cut" of the film. I have to say, the problem with making what I would call a "dumbbell" film is that it is very hard to defend. Q: I'VE HEARD THAT ARMY OF DARKNESS IS KNOWN IN JAPAN AS "CAPTAIN SUPERMARKET." WERE YOU AWARE OF THIS? A: Yes, I know all about it. It's not uncommon for titles of movies to change when they enter foreign markets. A film we did called "Crimewave" is called "The Two Craziest Killers in the World" in Italy and "Death on the Grill" in France. Go figure. Q: HOW WAS THE "ARMY OF DARKNESS" EXPERIENCE? A: It was a very difficult, yet rewarding shoot. I'm proud of the work we did on that film. 103 days of grief, torment, and agony. There were, however, some politics at play on the studio level, which delayed the film, and it's always hard to get excited about that... Q: WHAT WAS IT LIKE TO SEE YOUR ALTER EGO, ASH, APPEAR AS A COMIC CHARACTER IN DARK HORSE'S "ARMY OF DARKNESS" ADAPTATION? A: It was a hoot. John Bolton is a master. I would like to have a few of those pages as pieces of art! Q: WILL WE EVER SEE A DIRECTORS CUT OF ARMY OF DARKNESS WITH THE ORIGINAL "PLANET OF THE APES" ENDING THAT HAS YOU LOOKING UP AT BIG BEN IN A DEVASTATED LONDON? A: Nope, not unless you get your hands on the Japanese laser disc or a bootleg copy -- the demand currently doesn't exist for it right now. "HERCULES" & "XENA" Q: WHAT DO YOU THINK THE BEST AND WORST ASPECTS ABOUT BEING ON HERCULES OR XENA? A: I love New Zealand, and I enjoy hanging around with Kevin and Lucy (not to mention allowing Kevin to beat me in golf). It's always a lot of fun to head down there and work. The creative aspects of the work rank very high for me. The worst thing is probably the long-distance phone bill I get nailed with when I come back home. That, and the food is full strength -- the concept of "low fat" hasn't hit there yet. Getting used to driving on the opposite side of the road is also a neat trick. Q: WAS AUTOLYCUS CREATED FOR YOU, AND DID YOU HAVE ANY ROLE MODELS IN MIND IN PLAYING HIM (PERHAPS ASH)? A: The truth is: all roles are created for me; I just don't have the time to do them all - Ha! That role actually wasn't created for me, but Rob Tapert thought I would be right for it. I saw Auto as an Errol Flynn-type - the hammier the better. It is rapidly becoming one of my favorite characters to play. Q: YOU JUST RECENTLY REPRISED YOUR ROLE AS AUTOLYCUS IN BOTH A XENA AND A HERCULES EPISODE. IN XENA, YOUR CHARACTER'S BODY WAS ACTUALLY INHABITED BY XENA'S SPIRIT. HOW DID YOU PREPARE FOR THAT? A: It was simple. I just reminded myself what it felt like when I was actually inhabited by a warrior princess's spirit. Let's see, it would be four years ago this May. Q: THE FAN RESPONSE TO AUTOLYCUS HAS BEEN QUITE GOOD. WHAT DO YOU THINK IT IS ABOUT AUTOLYCUS THAT MAKES PEOPLE LIKE HIM? A: As cunning, suave and cool as he thinks he is, there is always a dopey quality to him that continuously brings him back down off his pedestal. Also, at the end of the day, he's a decent guy - you know, the moron with a heart of gold. Q: DID YOU EVER THINK OF MAKING AN AUTOLYCUS SPIN-OFF? HAS THERE EVER BEEN DISCUSSION ABOUT THAT? A: There has, but these are complicated issues. Auto isn't really leading man material. He lacks the strong moral core that leads traditionally have. Besides, he's a fun second fiddle - the spice to the main course. Q: WHAT ARE YOUR THOUGHTS ON THE VARIOUS EPISODES YOU'VE STARRED IN ("KING OF THIEVES" ON "HERCULES", "ROYAL COUPLE OF THIEVES" ON "XENA", ETC.). WHAT STANDS OUT FOR YOU ABOUT, SAY, THE CAST, THE DIRECTOR, THINGS THAT WERE ESPECIALLY SATISFYING ABOUT THE PRODUCTION OR THAT WENT HAYWIRE (OR PERHAPS BOTH)? A: "King of Thieves" -- Great prototype Hercules episode. Doug Lefler has worked as a storyboard artist for Sam. He's made a great transition to director. "Royal Couple of Thieves" -- Directed by my high school pal John Cameron, so that was a pleasure. The story was a little convoluted, but I just treated the episode like it was a Bob Hope "road" picture. "Quest" -- This episode followed Lucy Lawless's accident with Jay Leno. She couldn't do all her usual stunts (or even walk, really), so I flew down to help her out. The schtick was that her spirit was in my body, so I really had to get in touch with my feminine side. Q: HOW WOULD YOU COMPARE THE CREWS AND THE SHOWS ON "HERCULES" AND "XENA"? DO YOU FIND ANY SIGNIFICANT DIFFERENCES IN THE MOOD ON SET, THE ROUTINE OF PRODUCTION, THE TONE OF THE SHOWS, ETC? DOES ANY OF THIS AFFECT YOUR APPROACH TO PLAYING AUTOLYCUS? A: The "Herc" crew was a tad more experienced, but that's not really the case any more. The "Xena" crew is catching up fast. They used to have all the fun, but now they're feeling the weight of keeping a hit show on the air just like "Herc." Neither of them really affect how I approach "Auto." THE ADVENTURES OF BRISCO COUNTY JR. Q: DO YOU FEEL THAT BRISCO COUNTY, JR. WAS GIVEN A "FAIR SHAKE" WITH FOX? A: Well with Brisco, I don't think any other network but Fox would have attempted to do it, but I don't believe it ultimately belonged on Fox. Their general programming attitude is different than Brisco's. It's more urban and the "Brisco" fan base was rural. They did, however, promote the living daylights out of it, so as much as I'd like to complain, I can't. My only regret is not allowing the show to cultivate a core group of fans long enough for the show to become self-sustaining. Q: WHAT WILL EVER HAPPEN TO BRISCO COUNTY, IS HE GONE FOREVER? A: TV shows don't die, they get purchased by Ted Turner. Brisco is in reruns on TNT Saturdays these days at 11:00am. There is always the possibility for "Brisco" to ride again in the form of a TV flick, but I really don't see that in the cards for a while, if ever. MISCELLANEOUS PROJECTS Q: WAS THAT YOU IN "FARGO?" A: Yes, that was me in "Fargo." The TV clip you caught me in is from a cheesy soap opera called "Generations" shot in good ol' Detroit back in 1982. I had to dig through the attic to find it. Q: HEY, I SAW YOUR NAME IN "QUICK AND THE DEAD." WHERE WERE YOU? A: Here is the scoop. Back when I was shooting "Brisco," I had a few days off so I came to visit Sam Raimi on the set of "Q&D." He was having troubles with an actor who felt his character wasn't coming full circle. So, Sam enlisted me to shoot an improvised scene to placate this gent (who will remain nameless). Needless to say, it wasn't necessary to the film, so it got cut out WAY early on in the editing process. But, because of certain Screen Actors Guild rules, you sometimes have to leave the actor's credit on screen. Hence, the bogus "Wedding Shemp" credit. However, for those of you with a laser disc player, there is one extremely high/wide shot during a clock countdown where I am leaning up against a railing, drinking a beer and carrying on. It's hard to see -- even for the trained eye. Q: I'VE HEARD THAT YOU ARE PRODUCING A FILM CALLED "HATRED OF A MINUTE." TELL ME EVERYTHING YOU KNOW ABOUT IT. A: Ah yes, "Hatred of a Minute." Actually, I'm more of a consultant. Several years ago, I got a letter from a fella named Mike Kallio (the film's writer, director, and male lead) saying he needed help. He managed to pass the "chump" test, with his resilience, so I agreed to help guide him a little. I've been his "tor-mentor" ever since. The film is based on an Edgar Allen Poe poem of the same name. It's a psychological thriller about a young man, pushed over the edge by the death of his mother, who launches a psychotic campaign to free the women of the world from their problems by, what else, killing them. The film is currently in post-production. Q: IS IT TRUE YOU SCREEN TESTED FOR "THE PHANTOM?" WHAT HAPPENED? A: I did indeed, but what can I say, Billy Zane got to wear the purple tights. Q: WHY DIDN'T YOU CONTINUE AS DARKMAN IN THE DARKMAN SERIES AFTER YOUR CAMEO IN THE END OF DARKMAN PART ONE? A: I only was in the last shot of "Darkman" as a gag for Sam's fans. There was never any discussion or hint that I would even step into the tall shoes of Liam. Q: MCHALE'S NAVY WASN'T A CAMEO FOR YOU. THIS WAS A NICE ROLE. DID YOU ENJOY WORKING ON SUCH A HISTORIC REMAKE? A: The McHale's shoot was fun despite hot, sticky weather and bad phone service. It was directed by Bryan Spicer, who also directed the "Brisco" pilot. "ELLEN" Q: HOW DID THE ROLE ON ELLEN COME ABOUT? ARE YOU IN IT FOR THE LONG HAUL, OR JUST AROUND LONG ENOUGH TO DRIVE HER CRAZY? A: They brought me as a mid-week replacement for another actor, and I was originally slated for only three episodes. But, they decided to keep me around a little longer. I wound up doing around 8 or so episodes and enjoyed it immensely. Ellen Degeneres is one of the brightest people I have ever worked with - she kept everyone on their toes. When Ellen "came out," they decided to jettison the bookstore set. My character was pretty much tied in to this set, so I went down the tube with it. Q: WHAT DO YOU THINK OF THE WHOLE FIASCO SURROUNDING ELLEN'S CHARACTER'S SEXUALITY ON THE SHOW? A: Ellen is a very talented woman and she works her butt off for her show. Nothing beyond that should matter. "LOIS & CLARK" Q: HOW WAS THE LOIS AND CLARK EXPERIENCE? ANY PARTICULAR ANECDOTE THAT STICKS IN YOUR MIND? A: Yeah, a nasty little cigar habit developed. RUMOR CONTROL! Q: Is it true you're cast as the lead in the "Doom," "Duke Nukem" or "Spiderman" movies? A: No, by golly, I am not "cast as the lead" or involved with any of those flicks. Apparently, I'd better get call waiting... Q: HEY, SPEAKING OF SAM RAIMI, I HEARD YOU TWO HAD A FALLING OUT. IS THAT TRUE? A: How come I'm always the last one to know these things? No, Sam and I did not have a falling out, as some people have erroneously reported. Q: I HEAR YOU MIGHT BE WORKING ON THE NEW "STAR WARS" MOVIES. A: Well, let's just say that good ol' George hasn't called me... yet.