Set Visit: Interview with Devil's Rejects actor Sid Haig

Rob Zombie & Intro / Sheri Moon
William Forsythe / Sid Haig / Bill Moseley

Sid Haig, a horror veteran, took some time out of his busy schedule and out of his scary-as-all-hell clown white makeup, to answer some questions regarding his favorite directors to work with, his philosophy on horror films, THE DEVIL’S REJECTS and what makes him so damn sexy… I mean scary…No, seriously.


So, what did you feel when you heard there was going to be a sequel?

I knew it was coming.

How far back could you tell it was coming?

When we were still doing the first one. Yeah, I knew this was gonna’ be a ride when I read the script for House of 1,000 Corpses. Yeah.

So what’s the feeling now? Do you feel another one coming on?

(Laughs) Ah, well, I don’t know… I don’t know. It could be… It could be. I mean at this point it all depends if all the parties want to play I think.

Did you have to wait as long as everybody else did to see the film that was going to come out or had Rob showed it to you before it came out?

House of 1000 Corpses?


No. We saw it all at the same time like three days before the premiere.

That was a long wait, huh?

Yeah.  Wow…like three years.

Do feel like you had input into your character this time around as far as developing it in your own way?

Rob has always been great about that. You know. The lines are drawn within the script and then it’s like, “Give me that and what ever else you’ve got and we’ll just have a good time”. And that’s what I try to do.

What is the difference this time with your character? Doing anything different?

Well, the first time it was pretty broad and that was okay and it kind of established a feel for the character but now it’s much grittier there are parts of realism that wasn’t there in the first film. The first time out was all slap ass good time, yee-haw let’s go, you know. This time it’s like, don’t get in this guys way.

You haven’t been held back at all have you?

Oh no. I have more room to stretch.

What’s the difference between Rob Zombie the director, version 2.0, versus the first film, and how has he changed as far as his directorial style?

Not a whole lot…not a whole lot. He knew what he wanted from the very first day of the very first film and that is pretty much run through out.

What makes him different from other directors you’ve worked with?  Is there a particular attribute or way he communicates with you?

There are three directors I would work with any day, any time, anywhere, for any price. Number one has got to be Jack Hill because he and I cut our theatrical teeth together. The second is Quentin Tarantino and the third is Rob. And it’s because all three guys have basically the same style. They a very clear vision of what it is they want and their able to impart that to you and they just let you alone to do your job. There’s no puppet masters there. And when it is collaborative to that extent that’s the way I would work forever like that.

How would you compare your experience on Spider Baby to this?

Spider Baby, I was just a kid. (Laughs) I hadn’t been through the wars, okay. Wow. I’m as excited about doing this as I was doing Spider Baby.

The films are both kind of similar in a way.

Well let’s face it; almost everything was similar to Spider Baby.  It was the first time we were introduced to crazy families living out in the country killing and eating people. So, how many times has that been done since?

What is the fascination with crazy families living out in the country?

Because we can’t do that. (Laughs) In our own lives. It’s like, “Whoa!” A little vicarious kick you know. Someone once asked me why people like to go to horror films and I said because we don’t hunt for our food anymore. Used to be if you wanted some bear you would just grab a stick and went and club a bear to death and you got some bear. Now if you want some you go to the supermarket and say, “Give me a pound of bear”. (Laughs) So the adrenaline rush is not there anymore and if you’re not crazy enough to want to jump off the side of the building going to a horror film is the next best thing I think.

Do you have any embarrassing stories about Bill [Moseley]?

(Laughs) Wait a second, any what stories?

Embarrassing stories.

Embarrassing stories about Bill?

We are going to ask him the same thing about you.

Oh my God. (Laughs) Hmm, embarrassing stories about Bill...I’m gonna have to think about that one for a second. Embarrassing stories about Bill…wow I don’t know. (Laughs) He’s never embarrassed me. (Laughs)

Do you get to kill anyone in this film?

(Laughs) I’m abusive, let’s put it that way.

What are your favorite scenes in this film?

Wow. Hard to say…I scare the crap out of a little kid and it was a compliment to me because I actually got him to cry. For a moment there it was real form you know. But I gave him a little hug afterwards and told him he did a great job. We’re buddies now.

Is this going to be straight out horror or is there going to be humor in it?

There’s humor in it. There’s horror in it. I once described it as House of 1,000 Corpses meets The Wild Bunch at Jeffrey Dahmer’s house. (Laughs)

Do you feel that horror movies really do need a sense of humor as well so the audience can sit through it and kind of have a release through out and maybe for the actors as well?

Well, that’s the best way to kick somebody in the ass you know.  Get em’ laughing and then all of a sudden rip somebody’s guts out and go, “Ho”!  Now they start feeling guilty about thinking it was so funny. And then you set them up again. It’s a whole psychological thing that happens with the telling of the story if you have those moments of humor in there. Just like when it’s a real serious drama you know the easiest way to get somebody to cry is to get them laughing first. And then what ever happen catches them so off guard that they have to give up to it.

But you know we’ve been rapped a lot about all the violence and the gore in horror films and everything and as a certified clinical hypno-therapist I can tell you that psychologically our fantasies have got to be more extreme than our realities to maintain some sort of balance. Since the reality that we are living in today is so out there.  Then the fantasies naturally have to assume a larger role. Because if you don’t fantasy and reality are just kind of drifting into one another and then you’ve got nowhere to go.

This sounds like a public service announcement.

(Laughs) There you go a PSA, that’s it!

What are the differences in this film...I know Karen didn’t come back from the first one, generally what has the feeling been like on the set?

From House of 1,000 Corpses transitioning into The Devils Rejects this has really been like a family situation.  Everybody really gets along with one another.  There’s a feeling of wanting to work together to get the best product going.  I haven’t run into, “Oh look at me egos” anywhere.  It has really been an ideal situation…ideal situation.

How do feel about sharing the screen with some of the other great veterans of the genre?

It’s great…I think it’s great.  My only fear is that the audience the first time they watch it, because they will watch it multiple times, ha, ha, ha! (Laughs) The first time they watch it, they will be focusing on it.  Every time like when Berryman shows up, “Oh my God it’s Michael Berryman”, you know what I mean? The thing is that these characters, classic characters pop up all the way through the story line but everybody is so solid at what they are doing and at the same time different from what they have been established as that I think it will hold together and that separates them.

So what’s it like to be a sex symbol?

You know what. (Laughs) That took me way by surprise. Maybe with some really outrageous… It’s amazing I don’t know what the fascination. I don’t know if it’s to whole danger trip because it sure as hell isn’t the way I look. (Laughs)

Are you going to be in clown white for most of the picture?

No, no, no, no, I do my first couple of scenes in clown white and the whole rest of it is blood and guts.

Source: JoBlo.com



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