THE TEXAS CHAINSAW MASSACRE
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
clichÃ©, 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
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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