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About The Production (Continued)
"What is terrifying about the Thomas Hewitt character is that there is no premeditation to him; he is simply a killing machine," explains Brad Fuller. "This is a character that has no conscience. There is nothing stopping him from doing whatever he wants." The executive producer feels one of the most disturbing qualities of Leatherface is his inscrutability. "We want people to make their own conclusions about why Leatherface turned out the way he did," Fuller notes.

The filmmakers cast Andrew Bryniarski in the infamous role, going through great pains to shroud the actor's identity in secrecy during production. Rounding out the talented supporting cast of The Texas Chainsaw Massacre is David Dorfman (The Ring) as the young Texas boy Jedidiah, Terrence Evans as the wheelchair-bound Old Monty, Heather Kafka as Henrietta and Marietta Marich as Luda May.

Once casting completed, the filmmakers were ecstatic about their ensemble. "After we had finished the first round of auditions, we wrote down a wish list of actors and we ended up getting every single one of those people," declares Marcus Nispel. "It sounds like a cliché, but it's the truth. Every person we went after had the same reaction and passion for the material that we did."

Executive producer Andrew Form agrees, "When we decided The Texas Chainsaw Massacre would be the first film Platinum Dunes would produce, our goal was to make a film that was something more than what's been out in the marketplace. Part of the formula is a great script by Scott Kosar; part of it is having a visionary director like Marcus Nispel helming the film. The last piece of the puzzle is trying to create an eclectic and surprising cast. What we are trying to accomplish with this film is something that really hasn't been done in a long time, and luckily the actors we cast in the film saw the merit in that."

With the casting process completed, the filmmakers began to prepare for the 39-day shooting schedule that would take place in outlying towns of Austin, Texas. With the start of production growing near, the filmmakers made the unusual decision to shoot the film in script sequence. "I tried to give Marcus every lesson that I've learned through all my mistakes," notes producer Michael Bay. "If you can shoot it in sequence, do it. Any director that can shoot it in schedule would, because not only does it help the performances and how they build, it maintains continuity. You're opening up a Pandora's box when you shoot it out of order. But they were able to schedule as much as possible in sequence and I think it was really helpful."

One byproduct is to prepare the actors mentally for the film's most grueling, and terrifying, moments. "It helped Jessica's character arc naturally and made it easier for her to deliver the deeply emotional and physically demanding performance we needed from her," comments Andrew Form.

Another benefit was that it allowed the production to flow from day to night shoots as comfortably as possible. "Rarely are films shot in sequence, but we thought it made sense to shoot this film that way because it's timeline starts at two or three in the afternoon and ends at six in the morning," Form adds.

One of the biggest challenges of shooting the film in sequence was completing all of the dialogue-driven van sequences in the first week of the shooting schedule. This required the actors to quickly acquire the idiosyncratic rhythm of longtime friendships befor

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