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Kitleyís Krypt:  How did you become involved in NIGHTMARE ON ELM STREET 3: DREAM WARRIORS?

Jennifer Rubin:  I read for Chuck Russell three or four times.  And I liked the series.

KK:  So you were familiar with the Freddy Mania?

JR:  Yea, Johnny Depp had done one.

KK:  Yes, that was his first film.

JR:  Really?  Well, then I thought if he could do it, then I could do it.  You know NIGHTMARE ON ELM STREET 3ís 20 year anniversary is next year?

KK:  Was it really that long ago?  What was it like working with Chuck Russell?

JR:  Exciting.  Sweet.  We were all so young.  It was fun.  He is an incredibly talented guy.  I know everyone says stuff like that, but he was really sweet to me.

KK:  What about Robert Englund?

JR:  The best.  Absolutely the best man on the planet.

KK:  Since your scenes with him are as Freddy, did you get to see him out-of-makeup?

JR:  Well, he was in makeup, whatÖ20 hours?  So in the makeup room as youíre hanging out and wandering around backstage, weíd see him.  And we obviously had long conversations during that time.  They built all the sets as well, as we were in production in a warehouse.  So actors wait around and talk to each other.

KK:  Laurence Fishburne?

JR:  Yea!  Laurence was really sweet.  Also Amy Irvingís mother was also in it.

KK:  Priscilla Pointer.  She played the older doctor, along with Craig Wasson.

JR:  Yea, Craig was a weird cat.  He drove around in his car.  He didnít fly around in a plane.  He was afraid of planes.  He drove all around the United States keeping track where all the nuclear plants were.  That was his thing.  He was probably the first environmentalist that I ever met.

KK:  You were only in prosthetic make-up for your death scene in NIGHTMARE 3?

JR:  Yes, but originally they wanted my head to blow up.  But the effect didnít work.  When you see the vein on the side of my head that was a condom that they glued with like a vein in the middle.  And that was supposed to explode, but it didnít work.

KK:  How long were you in the makeup chair?

JR:  Everybody thinks my Mohawk took a long time to do, but it doesnít.  And the Mohawk was done with gelatin and hot water.  And it will hold and you blow dry your hair and it will hold like cement.  And washes out very easily as well.  Didnít use hairspray.
    I made the character up as I went.  Chuck Russell was again great with that because I asked if I could have a Mohawk.  I asked if I could chew gum and smoke cigarettes.  And I have that tattoo by my eye.  And he said yes.

KK:  Was that your first time with extensive prosthetics?

JR:  Well yea, but the effect didnít work.  So I donít really remember it.  I only remember the condom on my face.

KK:  What was your best memory?

JR:  I think it was a first time experience, but I have to say all of us ďDream WarriorsĒ are tremendously great friends to this day.

KK:  What would be your worst memory?

JR:  Maybe having to wait a long time to shoot a scene and then not getting to shoot it.  I remember driving away in my jeep, kind of sad since I was all ready to do my best work and didnít get to.

KK:  Your next big horror film was BAD DREAMS.  Were you cautious or afraid about being typecast as a horror actor?

JR:  No.  I understand now, but didnít understand the business then at 20.  But I have still done 45 movies, and 6 of them are horror.  And I did them all for specific reasons.  Like BAD DREAMS was an incredibly big studio movie.  I had to beat out a lot of people to get it.  Andy Fleming was wonderful.  Gale Anne Hurd, Jim Cameronís wife at the time, was producing.  So it was a real coveted role.  I did WASP WOMAN because I wanted to go through the Corman studios of course.  But really the movies that kind of took off were more horror and sci-fi.  But I have quite a few other movies that I had done.

KK:  Was it like working with Richard Lynch.

JR:  Richard Lynch was interesting.  Only because it took a long time to film.  But when I wanted to be sleeping, Richard, whose trailer was next to my trailer, would play the trumpet while he was waiting to go on.  Right in the doorway.    But I met his family and they were really nice.  He was a bit more educated, like a real actor.  And I wasnít.

KK:  Were you aware that he had actually set himself on fire back in the 60ís?  Did it seem like that bothered him to do that, to maybe bring up those memories?

JR:  No, I think you have to be healed, or at peace, if youíre going to portray something like that.

KK:  What about some of the cast members?  Like Bruce Abbott?

JR:  Loved Bruce.  Bruce was married to Linda Hamilton at the time, and she visited the set.  Heís a real gentleman.  And E.G. Daily was in it too.  Loved E.G. Daily.  And Susan Ruttan from L.A. Law TV series.  She was really hysterical.

KK:  Dean Cameron?

JR:  Yes!  Dean Cameronís the best!  He was really great.  Heís doing voice-over work now, so heís still working.
    I remember the whole crew trapped me in the car.  Thereís a VW bus in that movie.  I was doing my last scene and they locked the doors and shot me with fire extinguish and water guns.  It was like 20 people.  It was hysterical.

KK:  Was Gale Anne Hurd one the set during the filming or did she let Fleming direct by himself?

JR:  She was in the editing room.  Gale was hands on, but I spoke her more after the film.  I know they were playing dailies for James Cameron to watch too.

KK:  Were you on set for any of the burning sequences?

JR:  No, just for the house exploding.

KK:  Did you do any research on those types of communities?

JR:  I donít really remember, so probably not.  I probably got into the coma part too much, maybe.  (laughs).

KK:  What was your favorite memory from that film?

JR:  The makeup artist (MichŤle Burke).  The set atmosphere.  The fun in the hospital.  Up on the roof with Bruce, when Iím going to throw myself off.  Those were really good evenings.  Just the people, you know the usual.

KK:  There does seem to be Ĺ of a good horror movie here, but then other parts just seemed to kill the movie.  Did you feel that during the making of it?

JR:  There was something wrong with the script, I remember.  You have an incredibly large group of people, with their own agenda, trying to make a film.  But thatís how it always is.  Itís amazing that they all work together and you have a film at the end of the day.  But I do remember something wrong.  I think one of the scriptwriters left, and maybe thatís where the hole is.

KK:  Worst memory overall?

JR:  None really.  But I do remember one film we were doing where the spaceship looked like a dang hamburger.  And they had me in heelsÖin outer space.  Then they had made the floor out of gray egg-carton holders.  So when I went to go walk on it, my heels punctured the floor.
    I ended up getting fired from that film on a technicality.   I didnít know that when you are on a set and if your dressing room is outside of the studio, and you walk out the door, they say you walked off the set.  And they got me legally on that.  I sat in my dressing room for a long time and didnít know why anyone wasnít coming to get me.  It was because they had such a shit-fit.  Fire the actress.  Blame it on her.  Recoup hundreds of thousands of dollars.  And then start over.  The thing is that my agent couldnít believe it was happening.  Then we found that they do that all the time.

KK:  Well, speaking of space, letís talk about SCREAMERS.  Where was that filmed?

JR:  Canada.  In a rock quarry.

KK:  Everyone looked cold and tired.  Was it that cold?

JR:  I could hardly talk in that movie it was so cold.  We did have makeup that made us look tired.  But it was so cold that in that one scene where I invite him up to my room and I had to get into a t-shirt and do that sponge bath, it was so cold, my teeth were chattering.

KK:  How was it like working with Peter Weller?

JR:  Incredible.  There were a lot of holes in the script and he and Christian Duguay, the director, wrote it as we went.  They took the story from Philip K. Dick novel, with a lot of holes in it, and they wrote it.  They wrote it so fast that the director had to tell me how to say the lines because it was a whole stylized thing. They were really most impressive and committed.

KK:  How was it like fighting yourself?

JR:  I wanted to fight more.  I really liked it.

KK:  I just watched WASP WOMAN the other night.  First of all, thatís not you in the wasp costume, is it?

JR:  No, but the wasp was incredible.

KK:  It was big.  But thereís no metamorphosis or transformation.  Youíre standing there and then thereís this huge wasp creature.

JR:  No budget.

KK:  How did you get involved with that film?

JR:  My best friend, Marta Mobley, was running Corman Studios back then, and she asked me to do it.  And I wanted to pass through Cormanís place.

KK:  How was the director, Jim Wynorski?

JR:  Despicable.  He hated me.  He was incredibly mean and rude.  Fangoria magazine was there on that set of all places, and interviewed someone who wouldnít give their name and said such mean things about me to that magazine.  There were times that it was so loud on the set that I canít even hear myself to think my lines with a page and half of dialogue.  It was the worst set Iíve ever been on in my life.

KK:  Did Corman ever show up on the set?

JR:  No, but heís a lovely man.  His daughter is a lovely woman.  And Marta is great person.  The sound guy, Jeff Enden, was incredible nice to me and was a great friend.  But WynorskiÖ.heís a pig.  To say I wanted to go through Corman studios, I should have looked at it more carefully.  Iíve never had to experience anybody in my life as disgusting as him.

KK:  Well Jennifer, thank you again and I appreciate you taking the time to talk to us.

JR:  Youíre welcome and good luck!