Hatchet II Interview Week Entry 1: Tom Holland
DC: That really comes across when you watch the film. You really get the sense that everybody was having fun.
TH: It gives spirit to the film.
DC: How was the shoot? Was it a long one?
TH: No, because you’re on a limited budget, but the shoot was great. The worst thing that happened was they had everything set up around that cabin on that soundstage and somebody got the flu and it spread like crazy. Because they had to keep everything moist, there was mold all over the place.
DC: Was most of the film shot on a soundstage?
TH: I don’t think so. You’d have to ask Adam. They did go outside, too, and did exteriors out at Disney or some place like that out in Simi and then we went down to New Orleans.
DC: Are you good as far as Special FX goes? I mean, you didn’t have a whole lot done on you, but those can be trying at best.
TH: Yes, they can be and I didn’t and I’m so thankful. Do you mean, did they have to make a dummy head for me? No, they didn’t… thank god. I was lucky that way.
DC: One thing that surprised me was… You kind of expect Kane to be physical and R.A. Mihailoff to be physical, but you were doing some bashing around there.
TH: Well… very gently. It wasn’t me but Kane was very gentle with me. Kane was lifting me up. Kane made it look like I was fighting with him, but what he was doing was he was dancing around holding me by the shoulders. [laughs] God, he’s strong. I just thought he did a helluva job, actually.
DC: He’s surprisingly good that way.
TH: He’s a stunt guy, but he’s got heart. Sentimental, you know what I mean?
DC: Have you seen the BTK thing he did?
TH: No… how is it?
DC: It’s good. He’s acting his ass off in it.
TH: He’s getting better, the more he works. He’s a stunt man. I think that’s why everybody is surprised.
DC: I see him at conventions across the country. Is that something you’re interested in at all?
TH: I think if I had something that I wanted to get the word out about. I did one in Franklin, Indiana a year or so ago. It was more of a festival, but that’s local. My father’s from there… from a small town very, very close, so I went to try to support the film industry in Indiana.
DC: Is that where you grew up?
TH: No, I actually grew up in mid-state New York, but we used to go back to Indiana because my grandparents were there. I spent my summers there.
DC: But Hatchet II…
TH: Everything was wonderful. It really was. The people were terrific. They were very, very professional. Adam knew what he was doing and what he wanted. There’s never enough money, of course. I think he got terribly screwed in the release and with the MPAA and all of that. And I hope to hell people see it on DVD and Blu-ray. I guess it’s been out there on Video On Demand. It needs marketing now. You know what I mean.
DC: We’ve sort of covered how competent Adam is as a director, but is it difficult for you as someone who’s been a director previously to step in as an actor and give up that control?
TH: No. I thought it was wonderful. I didn’t have to worry about everything. I could talk to the other actors. I could hang out. It was just a terrific experience. Listen, acting is the best job there is on the set. [laughs] I don’t care what they say. It really is because everybody else is working every fucking second and the actors really – and they’ll bitch about this, but – only work from “Action” to “Cut.” They can say they take half a day to prepare or whatever, but believe me… You have breaks with acting. You don’t with anything else on the set. Especially not directing.
DC: I’ve seen some directors work and it’s sometimes organized chaos.
TH: Well… [laughs] It wasn’t like that with Adam. The set really worked together. Everybody’d worked together for a long time. They had a very good Director of Photography on it, Will Barratt.
DC: I’ve not seen Adam work, but he’s pals with Joe Lynch and I saw him work on Wrong Turn 2. They really seem to be cut from the same cloth. What was great in that case was, since he is such a genre fan, his ability to use shorthand in trying to capture a mood or feeling in a performance by referencing some other moment in film.
TH: Well, also because you’re moving so fast.
DC: I’m interesting in hearing whether you have anything to do with the Fright Night reboot?
TH: No. I wish them the best. My heartfelt wishes go out to them, but… no. Well, I mean, it’s my story, my screenplay and all of that kind of stuff, but…
DC: What about the supposed Don Mancini Child’s Play remake?
TH: I know nothing about it.
DC: I saw it listed on the always reliable IMDB. It was on Brad Dourif’s page as well. How do you feel about that when people want to come back and remake something you had a hand in creating?
TH: I wish them the best. It makes me proud, naturally. They haven’t gotten to The Beast Within and Cloak and Dagger yet, but they will [laughs] if they it keep up like this.
DC: So, now that Hatchet II’s coming out on disc, what are you up to? I saw a lot of short films being attributed to you online.
TH: I’m still into that, and I hope to have something to announce soon but not right now. We’re in talks and all of that kind of stuff, but… Hatchet II was really a wonderful experience.
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