DVD CHAPTER TWO:
SAM:
...in our Ferndale office collecting dust for about 7 years.
LAUGHS
SCOTT:
Eagerly awaiting the sequel.
BRUCE:
What about the knife of the dea...
You know. the the was that, did that still exist?
SAM:
Tom Sullivan designed both that original large scale Kandarian dagger
and the Book of the Dead and their both, I think, both the originals are
used in Evil Dead 2 here.
BRUCE:
Right. And this cabin was re... was basically ummm, constructed on the, on the... on a guy's personal property in Wade...
GREG:
Where they shot Color Purple.
BRUCE:
Wadesboro, North Carolina.
GREG:
And all of this was built, the whole set was a 2 story set built
in a gymnasium of the J.R. Faison high school in Wadesboro.
BRUCE:
That's right.
GREG:
Don't ask me why I remember that.
BRUCE:
Although, weird little bits like this were part of
reshoots that were actually done in a warehouse,
SCOTT:
And that was in Dearborn?
BRUCE:
Yeah, in Michigan.
GREG:
Oh, that's right. Cause we flew in and did reshoots there.
BRUCE:
Right.
SCOTT:
What the... quiet.
GREG:
We don't want him to find us out here. yeah, this is the same
property where they shot Color Purple. There's a house...
SCOTT:
Oh.
SAM:
No! That wig is from K-Mart!
BRUCE:
Oh, man. There's no question about that.
GREG:
So, the first, the first 3 weeks we were out on location
shooting nights and they built the uh the castle, I remember...
SAM:
Say hello to Poppa!
SCOTT:
Recap the decap!
BRUCE:
The relationship was cut short.
GREG:
Remember when she had her tennis shoes on? And we did the slow motion shot and you had to cut out before we saw her feet cause she had her tennis shoes on?
SAM:
I do remember that.
SCOTT:
Of all the...
SAM:
How do you remember that strange fact?
GREG:
I watched the tapes last night.
BRUCE:
There';s the amulet! the 12 dollar amulet.
SCOTT:
The amulet. OUCH!
SAM:
You know, on a night when all this horror is going on, how does he have time to craft that big cross? It's like, just bury her and get inside and bolt the door, for god's sake.
BRUCE:
Sam, don't say that. Ash is a very skillful man.
SCOTT:
Bolt the door.
SAM:
Skip the arts & crafts, buddy.
GREG:
Ok.
BRUCE:
Sam, will you explain this phoney um, this handheld stuff... the shakey-cam?
GREG:
Shakey-cam.
SAM:
This shot is actually shot on a motorcycle I was riding, camera mounted to it with a spring plate that we designed. I remember when they didn't pull open this second door I once slammed into that. Bruce, this is the shot where I uh I broke your jaw.
GREG:
Yeah, right there.
BRUCE:
Right, which wound up being the last shot we shot of the movie because in case anything happened to me, we'd be fine.
GREG:
How long did it take to shoot this shot? A whole day, right?
BRUCE:
As I recall, it was one full day which this was ironically shot in South Carolina, outside of Cheraw, South Carolina cause we had to find a road that was at least like a mile long where Sam could personally torment me...
GREG:
With branches and stuff?
BRUCE:
...on his little rig where he would spin me back and forth in either direction.
SAM:
That was the most fun I had all shoot was spinning you on that Rheostat,
backwards and forwards, ramming you through trees...
BRUCE:
Yes, just playing me like a video game.
GREG:
This was the first of many torturous times of Bruce in the makeup with the contact lenses. the makeup was sculpted by Howard Berger. i remember Sam kept saying "Open your eyes! Open your eyes!".
BRUCE:
I know, but what was so weird was that I couldn't tell if my eyes were open or not.
GREG:
Cause of the contacts and the water...
BRUCE:
Right. You can't always really tell.
GREG:
And I kept saying "He's gonna open his eyes and the lenses
will wash away, so we better be careful".
BRUCE:
At this point, Peter Deming came to join in
GREG:
Yes.
BRUCE:
Of this footage and I think some of the first stuff Peter had to shoot
was doing exposure changes and reverse motion which obviously
was a good hello to this movie for Peter Deming.
GREG:
Escatly. And there's actually a closeup here of the eye-changing which we shot in the parking lot at KNB. That right there, that Bob Kurtzman did.
BRUCE:
Which was an oversized piece?
GREG:
Yep, oversized eyeball.
SAM:
Gee, that shot's so good it looks like it must have
been shot in a garage and not a parking lot.
LAUGHS
SAM:
Yeah, that was Peter Deming's first day, I do remember that because
Eugene Shlagleet and the rest of the first crew left.
SCOTT:
Right.
SAM:
They didn't wanna do all the...
BRUCE:
They were busy. they had a previous engagement.
SAM:
They did.
GREG:
[Branchelaurus] Every 5 seconds there's branches or things being...
SCOTT:
Oh no!
SAM:
What a horrible dream.
GREG:
What did we put in the... Wasn't there something in the puddle that we...
SCOTT:
Water!
GREG:
LAUGHS
BRUCE:
Yeah, horrible dye, no doubt.
GREG:
There was dye in there because we didn't want to put
dirt in there because of your contacts.
SAM:
My policy is to soak Bruce's membranes in as many strange
dyes and liquids and potions and chemicals as possible.
BRUCE:
Yeah, but I feel
[FAKE COUGHING]
pretty good.
[FAKE COUGHING].
LAUGHS
BRUCE:
I think this property had some good trees on it but other trees were kinda wimpy so a tree like there was a ported, there were ported trees and then spray foam trees.
SCOTT:
Don't torture me. I didn't even know that. Now it'll torment me.
BRUCE:
Yeah, the tops of the trees are ike just horribly cut off. they join back into little tiny trees.
GREG:
That one, too. You couldn't pan up too high because
the trees just stopped after about 9 feet.
BRUCE:
I have a photograph of it taken about a year ago and those
phoney trees that all the stuff is crumbling off it but it's still there.
GREG:
You're kidding.
BRUCE:
Yeah.
SCOTT:
Oh, man. maybe we have phoney [timite].
GREG:
That was a great 360 shot... I mean all the way around.
BRUCE:
Right.
SAM:
Bob uh Dyke...
BRUCE:
Look, a matte shot.
SAM:
And a Mr. Hitchcock shot those paint... uh, matte paintings.
BRUCE:
Right.
SAM:
Tom Hitchcock, correct?
BRUCE:
Right, from Michigan... at the time it was Magic Lantern Productions.
SAM:
We had a wonderful script supervisor on this picture and the str... the most horrible thing happened at the preview in New York. She came out crying, I ran into her, "You didn't put my name in the credits" and i went GASP! Oh, my god, we forgot to put her name in the credits!
SCOTT:
She shoulda supervised that.
BRUCE:
What was her name?
G & SAM:
Fran Zwass.
BRUCE:
I think it was Fran Zwass.
It's okay cause she threatened to quit every day cause
Sam would move furniture around for every shot...
GREG:
Or the blood would never match.
BRUCE:
[IMITATING FRAN ZWASS]
“Sam, Sam, it will not match, Sam!
[IMITATING SAM RAIMI]
“Don't worry about it, through the camera it looks fine.”
[IMITATING FRAN ZWASS]
“No, Sam!”
GREG:
She used to yell at us cause we didn't put the blood in the same place twice.
And she'd be like “No, black over here, green over here!”
SAM:
Yeah, but you know what?
We were the worst people at continuity.
We needed her and she did a good job.
BRUCE:
Right.
SAM:
Very good job.
BRUCE:
Especially shooting out of sequence.
We shot the, all the night stuff...
BRUCE & GREG:
First.
BRUCE:
And we had to estimate for example what certain...
GREG:
Yeah
BRUCE:
things would look like, which you're always wrong.
GREG:
Up, there you are wiping it off!
BRUCE:
I better get that makeup off.
GREG:
Wait, here's the first uh...
SAM:
A miniature! Look out!
BRUCE:
Look out, a miniature. That's right.
SAM:
Don't make me act with that thing!
BRUCE:
I had to keep taking my makeup off in order to add more.
GREG:
Yeah.
BRUCE:
If you just kept adding on throught the course of this movie,
I woulda been the grey man.
GREG:
Sam...
SAM:
You loved hitting my car didn't you?
BRUCE:
I did love hitting your car.
SAM:
You were a vandal to my car in the last picture.
That was always a cool matte painting. I like that
GREG:
That's a great shot.
SAM:
Bob Dyke and Tom Hitchcock, they projected Bruce into that little area.
GREG:
As opposed to Bruce projecting himself.
BRUCE:
Well sure, but I had to yell so I hadda project, too.
SAM:
I smell a blue screen shot!
GREG:
Uh oh.
BRUCE:
I'm terrified of all these blue screen shots, as you can see.
Cut to Sam's car dragged into the studio on it's last legs 6 months later.
GREG:
LAUGHS
SAM:
That car was as healthy as the day it...
