Terrifier 3 (2024)

like everybody else, I haven't seen the first 10 minutes. And Damien keeps saying that it's probably his most controversial 10 minutes he's ever done. I mean, I know what we built for it. What's wrong? There's someone on the roof. Jules, baby, are you sleepwalking? Listen.

I don't hear anything. Come on, baby. It's 3 o'clock in the morning. What now? I don't know. She said she heard something on the roof. There were footsteps. Naturally. Jingle bells, too, right? Mark, stop. But I heard him. Can you take care of this, please? I gotta be up in three hours. Come on, Jules. Let's get back into bed. No more sugar after dinner, okay? Too many bad dreams and not enough sleep. But, Mom, I didn't have a bad dream. I really heard someone on the roof. Shh. Keep your voice down, okay? Don't wake up your brother. Nobody believes me. Jules, it was probably just the house settling. Or an animal. You know, sometimes a raccoon or squirrel can get up there. It was Santa. I'm positive. You know who I really think it was? Who? One of Santa's elves. An elf? Mm-hmm. Sometimes Santa sends a scout a few days before Christmas Eve to make sure our house meets all the necessary safety requirements. Like what? Like making sure the roof is sturdy enough to hold all the reindeer for one thing. Can't have them crashing through the ceiling, running all through the house, pooping on everything. What else? They have to measure the chimney to make sure it's wide enough to fit Santa's big fat belly. Sometimes he splurges too much during the holidays. Just like Daddy? Just like Daddy. Can we move some milk and cookies out for the elves? If you go to sleep right now, I'll go downstairs and leave them a plate. Okay?

I forgot to lock the front door again. Perhaps you could have a little concern for your family's safety. By the way, your daughter left a glass of milk and cookies for Santa's elves in the kitchen. Can you make sure to eat them before she gets up for school? Hello? Can you take care of that when you wake up, please? When I wake up? I am up, Jen. I have been up because you keep talking to me.

I will take care of it. Thank you Mr. Grinch.

as a Christmas present.

I told you to stay out of my room. Whatever's happening in that room doesn't sound good.

going back and talking about this with Damien when we were originally conceiving sort of the layout of this whole sequence here.

So she was a combination of a fake body for the back hit and the stomach hit, and obviously those body parts. But then her arm was a physical effect where we had a prosthetic coming off of her shoulder and then an arm attached to it. And off camera, one of our on-set artists, Heather, was holding the arm up in place so as the knife came through and gave its final swing. She just kind of let it go, and it looked like it was coming away from her body. And then prosthetic gag for the ax to the head, where we had the distorted eye. We sort of shifted her whole left side of her head over by about an inch or so, so everything looked really distorted, like the ax had separated the head there. Looks like it was pretty effective. But the one thing, you know, working with Damien on this whole sequence and some of the other sequences, as you can imagine, there's going to be more kills in this movie. You know, Damien was always used to building the effects as he kind of went along and filmed the first two movies over a course of a year, year and a half even. And when doing this film, we were shooting the whole thing in about three and a half months. And so we had to build everything in a concentrated amount of time leading up to the shoot. And so everything had to be figured out in advance, and he had to make decisions long before the shoot day. And because this was the first time he was sort of letting go of control on the effects and handing it over to myself and the team, he had to make a lot of decisions, like I said, in advance of shooting it. And so you'd get to set, and he would want to change an angle, or he'd want to do sort of an additional idea or, you know, multiple axe hits to the arm like we just saw there. And, of course, the whole effect would have to tweak on the day. So, you know, congratulations to the entire team on set because— Damien would throw a lot of curveballs in the best way, right? He always wants the best out of what he's looking for. He wasn't doing it just because he was changing his mind. He was doing it because he wanted to elevate his earlier thoughts on it. And so, you know, everything becomes bigger and better and bloodier. So this is a direct connection to the end of part two when Arthur Clown has his head decapitated. And so we saw his body laying there. Obviously an immediate, direct connection to the end of part two. The blood's still fresh. Classic missing body.

So this is one of the first days of shooting. Art the clown. His body there. That was a combination of both David in a neck prosthetic that we built and them digitally removing his head, as well as a full puppet we made with rod articulation to the arm. So anytime you were over the shoulder, the gunshot wounds coming through him, or... Looking back at him, it was the fake body. Now, this is probably one of my favorite effects in the entire film, and it seems very simple, but it was fun to do and something I hadn't done before. So Art the Clown clearly had ripped off the cop's head, and because he has no head of his own, sort of, you know, place it on his. Damien, for, you know, many discussions that we had about this decided that he wanted David to actually play the role, whereas I was hoping we could just get the, you know, the cop actor to put on the clown outfit, and we'd just do a neck prosthetic. But Damien really wanted David to play, you know, himself as Art the Clown, but wearing the other guy's head. So what we did is we digitally scanned the actor's head and, enlarged it, did a new digital sculpt, digitally printed the mold, and essentially made a silicone mask that could fit over David's head. And that way he could wear it and be, you know, looking like the other actor. And so, of course, everything had to enlarge. The eyeballs had to enlarge. The teeth had to enlarge. So everything we did was much bigger. Obviously, again, another direct cut to the end of the second one, after Victoria gives birth to Art's head. And she's feeding through the intestines of—or through the umbilical cord of Art's head.

Again, this whole sequence was all within the first couple of weeks of shooting. And I don't think what Damien realized while we were shooting this film, again, in such a concentrated period of time, three and a half months, what it meant to prepare everything for literally like a daily shooting schedule of effects work. And so everything was being built delivered to New York, brought to set, you know, Damien making adjustments. So for example, even that head being torn apart, Damien and I had discussed many times how we, you know, were planning on seeing it happen and what she was doing. And when the original head showed up, you know, he wanted some adjustments. He wanted it to be bigger. He wanted it to be, you know, more visceral with, you know, tearing tendons and everything. And so he and one of my guys on set, Ryan Ward, over the weekend made some adjustments to the head to sort of... make it do a few new things that it wasn't originally planning on doing. It's going to do the blood thing too, but I was just worried about the cleanup. But can I get a picture? I'm going to post this. It's pretty great. We have Art the Clown in his birthing look, the sort of earless, bald kind of feel. Again, a new prosthetic, because it hadn't been done in the first two films. You know, another thing we had to do in this new one was sort of recreate all the molds and the tools for Art and Victoria and everybody, because Damien, God bless him, made the original molds five years earlier. something like that, and had used them for both movies time and time again, obviously hundreds of times, and running them for conventions and everything else that they do. And so by the time we got to this movie, I had asked him for the original molds, and he sent them along. And I said, yeah, I don't think we're going to make it through a third movie. So we re-sculpted. Art the Clown and Victoria's makeup based on the original sculptures that Damien had done. And he was really particular, too, because obviously this is his IP, right? I mean, he has a personal sort of attachment to these intimately, having made them. And David's got a particular face, and Art the Clown has even a more particular face. And I think that's why a lot of people get Art the Clown wrong sometimes. when they're building toys and other things, because, you know, he's solid white with tracings of black around the eyes and mouth. And so, it's really hard to see the forms, unless you get in lighting like what we just saw there, because, you know, light bounces off of that white, and it actually takes away from the forms in an image. And so, when people are trying to recreate it, they're not seeing a lot of the nuances that have taken place. And probably a little known fact that some people know, I know Damien hasn't, you know, wouldn't mind me saying, but, you know, the Art the Clown makeup was originally made for a different actor years earlier. And when he hired David to now play Art the Clown that we know in the two films, he used the same prosthetic. And so the piece was actually never made for David, but it created this character based off of the old sculpture working on David's face. And so when we got the cast of David and re-sculpted it, we had to re-sculpt it with the idea of what the old prosthetic does on David's face. It was a weird, odd combination, but we were able to achieve it, and Damien was really happy with the end result, the fact that we captured the nuances of Art the Clown without destroying his original creation. I do have to make mention here, that piece of glass was made by our production coordinator at Tinsley Studio. It was made by Brian Van Dorn. He's very proud of that piece of glass. He says that it's his only contribution to the film, which is actually a false statement. He helped on a lot of this, obviously, not only the coordination of it, the budgeting of it, you know, wrangling in the staff and making sure we were on schedule. you know, keeping me from going on tangents of building things way out of control. But yes, he personally handled producing those pieces of broken glass. And he wanted me to make sure I mentioned it here. Never mind. Hey. Hey. How are you? Good, how are you? Good. It's good to see you. You too. Wow, you look good. No, I got it. No, no, no, I got it. I insist. Thanks. You're welcome. You know, I know I'm running a little behind on these scenes here, but when Victoria cut her wrist, and I'm sure everybody knows this about Damien in the first two films, he's very particular about his blood in these movies. And when I mean particular, he probably puts more emphasis on the blood than anything else. And I'm not talking about just how it flows, how it shoots, how it... But, like, the color of it, um... And of course, it adjusts depending on the scene and what he's looking for and the dynamics of the lighting and everything else. And so this was a combination of blood that we produced for the film from our studio, as well as K and B blood, which, you know, the combination of the two made for a lot of different variations of blood in this film. And you can notice from the first scene where the blood's much more red, and a little bit brighter, and in some ways, I wouldn't say thinner, but for those shooting effects of the arm being chopped off and everything like that, compared to what we saw with Victoria there, where the blood was much darker, a little bit heavier, more syrupy. There's reasons for that. Victoria is this sort of distorted, human sort of on the verge of constant death and darkness and stuff like that. This is what I attribute to it. This didn't come from Damien's mouth, but I can understand maybe the psychology behind why you want to use blood for different things. I mean, we do that a lot in film and television just to promote like an emotional response. Blood, everybody's familiar with what blood looks like. Everybody's cut themselves or, you know, had some sort of accident and has seen blood. It's one thing that unites us all. And so depending on how old the blood is, how fresh the blood is, where it's coming from from the body, it can ignite a different emotional response for sure.

You ready? Yes. Oh, my God. Oh, my God. It looks like a fairy tale exploded in here. You like it? Me and Mommy redecorated, but I picked out most of it. I know how much you like dragons and wizards. I love it. Really? Yes, really. This is the coolest room ever. Are you kidding? I don't know what to say. This is beautiful. Maybe it's for you too. Cubs. To Sienna. My big sister from another mister. I've missed you more than ever and getting into trouble hasn't been nearly as much fun without you. Looking forward to the best Christmas ever filled with fun, smiles and laughter. Love, Gaby. P.S. We still haven't made it to the moon. To the moon. In our little cardboard rocket ship. Do you remember? Of course I do. Come here.

Jesus, it stinks in here. She's a real beaut, ain't she? Shit. It's a rat kid, not the devil. Yeah. Are you all right? Boy, you've been skittish all day. I just hate places like this. It's like they got a soul and they're pissed that we're tearing them apart. Oh, shit. Please don't tell me you believe all the stories about this place. What stories? Back in the early 90s, some maniac abducted and killed over a dozen kids in this town. They buried all the bodies in the basement here in this building. Now, everyone swears the place is haunted.

John Abrams. Very cool guy. He's a huge fan of horror movies and special makeup effects. Himself and a few other people that I've ran into over my career who say they grew up wanting to be sort of makeup effects artists and ended up sort of just going in a different direction for whatever reason or experimenting with different aspects of the film industry and got lucky and won and just continued to pursue that. Well, I mean, he's had a good career in acting, so he probably didn't choose poorly. But yeah, definitely a big fan of this. Obviously, if I bring him up, Meaning I'm talking about him. I'm sure that means something's going to happen with him. Blaster Man. What's the matter with Blaster Man? I thought you liked him. You only draw boys. Boys, boys, boys. That's not true. That's the one great thing about the popularity of the Terrifier movies now and sort of what they've become, because it's only... now getting into Terrifier 3, that, you know, it's getting more of a global audience. Obviously, the fans and, you know, the true horror fanatics, you know, is what made Art the Clown and the Terrifier movies so popular. It was such a cult following. I mean, truly a classic cult following film that has turned it into this sort of you know, broad, commercialized, you know, global fan base now that goes beyond just the cold horror movie genre. It's now, you know, people's favorite Instagram memes and everything else with Art the Clown. It's kind of crazy how, you know, you know, a serial killer is... is sort of so acceptable in everybody's, you know, stuffed animals and stuff that you can buy of Art the Clown, the serial killer. You know, back in the 80s, these movies were actually, you know, parents worked hard against the system for not even releasing movies like this or glorifying people like Jason and Freddy and stuff. And now it's all we can do is to consume as much of this crazy killer as we can. we possibly can. I won't keep repeating myself throughout the entire film, but this is, you know, because it really goes without saying any further that every sequence that we built effects for this film, whether it was Arthur Clown's makeup, Victoria's makeup, the additions to those makeups that you see and we'll see, as well as all the effect sequences. You know, Damien was always really fantastic about having open conversations, about keeping communication going, and even supplying, you know, sketch work for storyboarding out things that I really needed him to explain more of how he saw it. Being a director and understanding how to build effects, we were able to have a better communication than what you usually get in a film. But my point being is that every sequence that we ran into, there was always inspiration happening on the day of shooting. And again, it's a very tight schedule with a lot of work having to be crammed into every day. On a somewhat limited crew, it's still a low-budget movie. Damien does a very good job of making it not feel that way, but very low-budget movie. So you have limited staff, limited crew, really tight time frames, getting actors in and out of there. And then you'd be inspired, and he'd want adjustments made on the day, so... everything we did um you know would go left or right depending on you know how we build it it wasn't until sort of the last half of our build that i just you know i sort of told the entire crew uh you can't put too many blood tubes in anything you can't you can't make it gross enough just you know keep going for it so as the film goes on because we shot a little bit in continuity um You know, things hopefully just get more gross, more grotesque, you know, bigger and better. Because that was basically our M.O. after the first few weeks is you can't go enough. Now, it was freezing out there when they shot this. And Victoria's character is in this bathtub. doing everything they can to keep it warm, and she was such a trooper just laying in there. But they did a hell of a job. And here they are waking up after like five years. So this is Victoria's sort of new evolved look. She's sort of this what I call like a bog creature, sort of Victoria the Witch, I think is how we were just labeling her in conversation.

I really like this look on her. Demi was kind of great. He kind of let me just do what I wanted to do with this within, you know, obviously within reason of conversations we were having, but... You know, he just wanted really fine wrinkles all over her body. Yeah, she's doing what you think she's doing. So this is a combination of prosthetics on John as well as... Yeah, a fake head. fake head had cables going up through it just to give it a little bit more movement and to make him scream and make the eyes move around such a quick shot that you don't you know obviously get a chance to appreciate a lot of it um but again another sequence that expanded from the simple storyboards that we had for that um you know he wanted to He wanted to continue that to make it feel like the skin's really peeling and just sort of prolong the stages of it. So we had to very quickly improvise how to do all the prosthetics on John because originally we had just done the fake head. So we had some bald cap pieces and an extra wig that we had. obviously a lot of tubing, and so he was double bald capped, and it was like this whole thing. We had a silicone bald cap on top of a regular bald cap to make it feel like, you know, his skull was underneath being revealed. Anyways, it all came together clearly. Looked pretty nice to me. But yeah, back to Victoria. She was, he let me have a lot of range with it. He really wanted to kind of do that old Steve Johnson technique of sort of putting the plastic on the sculpture and burning it into it. And I remember having the conversation saying I had, you know, I'd got my start with Steve Johnson. I'd worked with Steve almost 30 years ago. And I was like, yeah, that technique is okay. But I think for continuity purposes and for, you know, and for some other reasons, I'd like to kind of go a different method. So we ended up sculpting it. I sort of based it all out and then brought on a great artist to kind of fine-tune my block-out sculpture, Mike O'Brien. He came in and really kind of cleaned up some of the textures and stuff. He does that kind of stuff so well. And you killed me. Just like you killed your mother. That was bad. This is one of those effects that, you know, she was such a bloody mess at the end of part two that, you know, they wanted to, you know, make sure that she had this chest piece that made it look like her chest had been caved in and everything. And Damien insisted that we not re-sculpt this makeup because it's just for this one scene. And... And he had the molds already, so we read it. We just cast new pieces out of his molds, and we made a chest piece for her and the arm piece there and stuff just to kind of, you know, give it a look. And he was like, yeah, I want tubes in it. I want, you know, blood pouring down her face. And we were like, okay, yeah, we can, you know, get some tubes in there. And so Heather and Ryan... plumbed the makeup with tubes and stuff. And, of course, one of the things was, you know, we don't see the blood running. It's like, well, yeah, it's because she's covered in blood. You know, blood works really, you know, you can see blood really well running down skin that has no blood on it. It's a lot harder to notice it when it's, when the whole surface looks like blood. Sorry. Wait, aren't you going to introduce us? Wow. Shah, this is... Mia. Hi. She's a really big fan of yours. I'm not a fan, you asshole. She's obsessed with the Miles County clown. Like, all that true crime shit. She thinks you're a celebrity, dude. Don't listen to him, like, literally ever. Um, hi. It is so nice to meet you. Hi. I seriously know, like, everything about you. Everything online, at least. I've been following you for years. Dude, you're a legend. You survived Art the Clown. See? Fucking fangirl. Eat me. After you get his autograph. Um... Listen, I actually had a little bit of a favor that I wanted to ask you. You see, my roommate and I, we have a true crime podcast. It's called Grave and Image. And our Miles County Massacre episodes, they get our biggest hits by far. So I was wondering if maybe you'd be willing to come on as a guest sometime? I seriously would be so honored. I don't really do things like that. Jesus, do you really think he wants to dredge up the worst experience of his life? I mean, the kid's just trying to move on, right, Shaw? Okay, well, I get that, but I just... I think a lot of people would really like to hear from you after all this time. Oh, God. Come on. I'll think about it. He'll think about it. Great. Shall you come to the Beta Chris dispatch tomorrow night or what? I gotta take this. Yeah, girl calling. It was great meeting you, Mia. You too. God, my man needs to get laid so bad. Hey. Hey. How are you? I'm doing good. Just got out of class. Good. I just got to Aunt Jess's a couple hours ago. It's really good to hear your voice. You know, I miss you. I miss you, too. Is everything all right? Yeah. Yeah. I'm calling because, um... I'm really excited we're going to be spending Christmas together. It's been too long. Yeah, it has. I'm really looking forward to it. Well, uh... Fun little detail, like the scars on her face. See you soon. Love you. I love you more.

Are you okay? Yeah. It's just this new medication I'm on. It makes me queasy sometimes. Oh. I need to be creative. Just to put it into perspective, there was probably about 10 days in the entire shooting schedule that we didn't have either Art the Clown or Victoria or some major effect. And usually if there's a major effect, that means Art or Victoria is involved somehow. So it's rare that a day went by without, you know, one of these two being in makeup plus a major effect sequence. You know, a prosthetic with blood shooting out the neck or fake body or god i mean you name it it's it's always something and uh so days like uh he's like uh sienna talking to her brother there and they were very uh welcomed by the crew just to have a little reprieve from you know constantly being soaked in blood and and planning the next effect and i mean well It basically gave him a day to plan the next effect, or maybe a couple days. Ah, the frozen rat. I know it seems really ridiculous, but weeks and weeks of R&D went into building a rat that could do just that. and obviously he's building a weapon there, so this might be hinting at a future kill somewhere. But the point is just doing that alone took a lot of time because, again, Damien has specifications, right, as he should. I don't want it to just shatter like glass, which would have been the easy way to do it, and I think what most people would have done is just built a rigid rat out of a mold and banged it, and it would have just shattered. That's how we usually see ice effects. But he was like, no, you know, the outside would break and crack, but the inside would still connect and be held together and probably not be frozen. But I want to hold it by the tail. So the tail had a steel rod running through it that came up into it. I brought on an old colleague friend of mine named Mark Killingsworth. who I brought in back from the XFX days over at Steve Johnson's, you know, again, 30 years ago. And Mark Killingsworth is a great guy who just has, like, you know, a weird little mind. And that's what you need for things like that, is you kind of talk it through, you decide on, you know, the different possibilities, the different roads to travel, how you come about doing that, types of things you want to see. and then you let somebody like Mark loose for a week, let him experiment, come back, have the conversation again, give him another week or so to build some samples, and then you start tweaking the ideas from there. So yeah, when I say it takes weeks to come up with a simple effect like that, I'm not kidding. All right, we got two classic guys here, Daniel Robeck, And Clint Howard. Clint is actually an old friend. I did his makeup on The Grinch 25 years ago or something like that. And again, I don't think I'm gonna be ruining anything here if I said when Clint came into the studio, it was great. We've spoken over the years. We've seen each other a couple times over the last 25 years. We live in the same neighborhood. But Clint came in, and there was a picture that we took with each other on the movie The Grinch, and we took another photo very similar to that 25 years later as two old men now. Well, that was a fucking first. All right, well, now hold on and listen. I'm wearing the outfit, right, so it's just like Elvis. He gets the full Santa experience if he wants it, all right? Art's excited about Santa.

You know, David does a great job of expressing through that makeup, because there's actually, like, a level of excitement, enthusiasm, like a five-year-old that he's doing right now, and it's pretty fantastic. It's not like his normal kill expressions where he's kind of playing with people. A real Santa Claus. Hey, fella, what's in the bag? Oh, he's gonna show us, hey. This is not, usually I'm the one who's bringing the magical sack of toys. What? That's good. Okay, that's enough. All right, now look, I'm starting to like this guy. I really am. Clowney, put your little horn away. Have a seat and say no bye in Madrid. Clowney, I'm starting to like you. Here you go. I hope I gave you enough marshmallows. Oh, it's perfect. Thank you. Some peace and quiet around here finally, huh? You must be exhausted. No, I... I feel... What? Normal. Look, I'm not going to pretend that I know what you're going through. Because I don't. I can't even begin to imagine it. But I promise, it'll get better. You remind me so much of Mom.

Before Dad died, she was the sweetest person. I could talk to her about anything. Yeah, she was. Mouth like a truck driver, though. She cursed so much. So much. She once called Sister Rosemary a C-U-N-T in the sixth grade. I don't know where she came from. Nobody in our family talks like that. I miss her. So when we first started shooting, Damien, you know, kind of, you know, we got the first schedule layout, which was, I don't know, just a few weeks prior to us starting to shoot. We had an idea of what was going to happen, what was going to shoot in what order to an extent so we could be building effects appropriately. But when he sent over the sort of the finished schedule, I immediately called him and said, look, we're really top-heavy on the front end. what can we move? I'm not going to be able to have all this ready in time. And we'd already been working for at least three months on it. And so he goes, well, he goes, I can move one of these sequences. And he gave me an option. And so I said, well, let's push the bar sequence. And which, again, I don't think I'm giving anything away that something's going to happen probably here in the bar. But I said, can we push the bar sequence at the very least? I'd like to push a few of these things. And he goes, I can only do one. So he pushed the bar to basically the end of the schedule. So this was one of the last sequences. One of the last. There's one more really big sequence that we actually pushed off to the very end. What's the matter with you? What's your problem, pal? The guy buys you a drink and you spit it back in his fucking face? Hey, man, that's wrong. So this was one of the last things that we did shoot. Oh, shit. What the fuck are you doing? I'm peeing on him. Fucking torture. Are you fucking kidding me? I'm gonna fucking kill you. You sick fuck. Eddie, you fucking bitch. I'll fucking kill him. I'll fucking kill him. Fuck you. Goddamn. Smokey, get his bag. Son of a bitch. This is my busy week, Eddie. I know. Fuck this shit. Get this fucking thing out of here. Jesus. Get that the fuck out of here. What? Yo, motherfucker, I'll fucking kill you. I got it. You want me to call the cops? I don't want you to call the cops. I want you to call a fucking dry-cleaner. Dry-cleaner? Smokey, get a fucking lock. I told you, don't let him know. You fucking told me. You said you're fucking normal. Sit down. Sit down. Fucking you told me. Have a fucking drink. Can't take a fucking hit, kid. I'm not going to tell you again.

This was one of those inspired ideas. Originally, there was no gun in this sequence. In fact, we had built a fake body of Clint Howard with his head smashed. And... And Damien... I don't know if it was on the... day specifically or if he already had the idea in his mind leading up to this sequence but decided he wanted to do a gun on those guys and um and so funny enough they were like well we don't have any bullet hole wounds or like we just don't have anything built for that we had two fake bodies for the bartender and for clint he was like well what can we do and so um heather albert who who was uh my onset rep for, um, you know, applying makeup, ordered some, uh, some Tinsley transfer bullet wound prosthetics from, uh, the Alcone company in New York, um, and had them brought up that day. And, uh, and that's what they used. So there you go. Halloween products being used, uh, for, uh, a couple major effects in, uh, Terrifier 3. Pretty exciting. And they happen to be Tinsley transfers, which is even better. The Frozen Gun. It's a far cry from... Mr. Freeze's gun in the old Batman movies. I have a name. That was wielded by Arnold Schwarzenegger. My name is Charles Johnson. Clowney. I think I like terrifiers better. I think Art's gun is cooler. Clowney, no! Clowney, listen to me. Clowney, I beg you. Listen, I have four gorgeous grandchildren. Their names are Brian and Denise and... And most effects artists will know that no matter what, no matter who you work with, No matter what the situation is, they'll always wait to do the effects at the very end of the day. And that was the same case here. We had duplicates of the leg and the arms, and it was just one of those situations where it was kind of like, well, we got one shot at this. We got to move quick. We're at the end of our day.

The sequence went back and forth, carry nose, no carry nose. At one point, we were gonna put hot coals in the eyes and melt half his face away, and that sequence just kept sort of evolving and then de-evolving, and it was one of those ones, as we were building, it just kept kind of moving around, and again, that's sort of the beauty of Damien, you know, being sort of in charge of his own movie from top to bottom. What goes in it, how he shoots it, what it's going to look like, directing it, writing it. You know, but like anything, there's a downside to it too, which is, you know, sometimes these effects take a long time to build. And, you know, God bless Damien when he was building his own effects for the first two movies, you know, you get inspired as you go. As you're building something, you're like, oh, you know, it'd actually be cooler if we did this. And, you know, physically while you're building something, I mean, it happens a lot when we're sculpting or when we're, you know, putting a gag together. Sometimes you get inspired to be like, oh, this will actually look cooler. But when you're building for somebody specifically, you kind of have to, you know, you kind of have to follow... the rule, which is we want it specifically to do this and not this. And so when you mix this train of thought that Damien's coming from versus what I'm trying to stay in my lane for Damien to give him the best of what he's looking for, and then you start to tweak things. sometimes it works really really well and in your benefit and and sometimes you get caught a little off guard and And you do what you can and and you make it happen and the great thing about Damien is he was always He was always very aware of that process and very aware of the things he he was changing and and And always in a good mood about like well, let's just try it. Let's just see what we get out of it and and he wasn't afraid to to stick with something or not stick with something because he knew the outcome was ultimately something he was going to have to work with in post. And the one thing I've always given Damien ample amounts of credit for is, you know, being a good editor, putting this stuff together, putting a good effect sequence together is really hard to do because you want to hold on it long enough that everybody you know, gets what they want out of it, right? The audience gets what they're looking for, which are these, you know, visceral, long, everything exposed, practical effect moments. And at the same time, not give them so much that you're giving away the magic trick. You know, and there's a nice blessing here with Art the Clown's sort of comedy relief and sort of the lightheartedness juxtaposing the gruesome details. And that's something that I think has made Terrifier so successful for Damien is he really balances all of that. And he does it really well in editing. And I'm not taking away from his directing abilities or his makeup effects. He's obviously done really, really well in both those categories. I've just, you know, to be a really good editor is hard. But I always feel like the better editor you are, the better director and overall, you know, designer slash artist. You'll be.

And I don't think I'm giving anything away when I say that that's Art the Clown, because most Santas don't have bloody palms and wave like that to people crying in a shopping mall. But I remember in pre-production when we were still prepping and doing makeup tests on Art and Victoria and stuff like that, Damien brought that mask in. He had found this vintage, that is a real vintage Santa Claus mask. I forget, I don't know if it's from the 40s or 50s or what era, but it's a true gem. And he was talking about recreating it. And I told him we could, you know, we could absolutely do that. And he was like, well, let me think about it, because I might just use this one. And I couldn't agree with him more. It's a beautiful piece. She'd probably be serving a life sentence right now. You shouldn't be saying that shit.

You look great. Your scars are healing up nicely. Yeah, yours too. Abby thinks they look cool, apparently. So, why do you want to see me right now? I missed you. I mean, can't a sister see her little brother? Actually, I was thinking... Why don't you come over to Aunt Jess's tonight? I mean, why wait till Christmas Eve? You gotta be done with classes by now, right? I can't. I can't tonight. Why not? There's a party on campus that I was invited to. Really? Oh. That's good. Now I'm happy. Jonathan Shaw spotted it in public. What is this, a Christmas miracle? Dick. Santa. This is called my roommate. Oh, wow. Hey, big sis. I've, uh, heard a lot about you. It's nice to finally meet you. Hi. Well, you've got a cool baby bro here, and I treat him like he's my own. You treat me like shit? All right. Well, he jokes. Oh, shit. Let me get out of here. Oh, my God. Oh. Sienna. You're Sienna Shaw. I'm seriously so, I can't believe I'm sitting here with you guys. I was literally just telling your little brother, I'm sorry, I'm probably being a little weird. I'm just super stoked to see you. Mia has been following our story very closely. I am a true crime enthusiast and I've actually been following your case in particular for years on my podcast and no rush or anything, but I do know the five-year anniversary is coming up and the fan base is rabid. Like we would literally kill for anything. I'm thinking get readies with me, what I eat in the day, just show us how you're coping, you know, what you do on a daily basis, anything like that. How I'm coping? Yeah. How we're coping? Well, uh, I've been in and out of the psychiatric hospital for the past five years. I see images of my dead friends and relatives on a daily basis, images that wake me up screaming in the middle of the night. I have hideous scars all over my body. And every time I see them, I think of how that sick fuck who ruined our lives is still out there. And you want to know how I'm coping with everything? You guys are all the same. You're leeches. Sienna. Can't you act like a human being for one fucking second? Sienna, what's wrong with you? I saw him today. Who? Where? At the mall. With Gabby. How can you be sure it was really him? I'm not. I'm not sure of anything anymore. I don't know what's real or what's in my fucking head. Well, what'd you see exactly? He was dressed as Santa Claus. Santa Claus? Yeah, okay, I know. I know how that sounds, okay? But it was him. I could... I could feel it. We both know this isn't over. You don't know that. I mean, Jesus Christ, you cut his fucking head off! Come here.

Hey! Why are you shutting me out? I'm not shutting you out. You don't believe me? Why would he come back here? Even if he was alive, which he isn't, wouldn't he want to get as far away from here as possible, as far away from you? Maybe it's me they want. Isn't that what you said? Boy genius. What are you, Mr. Academic now? You think you're too good for your own... I'm sorry. At least I'm fucking trying. I'm proud of you. We need each other, okay? I need you. What we need to do is move on. Let it go. It's over. We have to destroy the little girl before it's too late, Sienna. Destroy her because she's inhuman, a demon. I still have your letters. You wrote me almost every week when I first went away, remember that? All your theories about demonology, possession, you became obsessed, but you weren't crazy. You were right. I'm not listening to this. You'll listen to me. Sometimes, demons try to enter our world, only they can't do it alone. They have to choose a vessel. Someone recently deceased who functions as a bridge between worlds, but not just anyone. Someone sinister, depraved, the worst kind of evil. Like a serial killer? There you go. They just explained two and a half movies of who Art the Clown is. If a demon enters this world in the flesh, a counterpart must be appointed to stop it from becoming too powerful. It's you, Sienna. As long as you're alive, they're vulnerable, and they know it. That's why Daddy created the sword. Whoever chose me was guiding him. He was preparing me for this. So you think Victoria Hayes is a host now, isn't it? That's why she disappeared that night.

It's amazing that although you change her skin on her arms, her neck, her legs, every other piece of flesh on her body to be this wrinkly, soggy, like I said, swamp witch, we didn't change the sculpture on her face, but you tie in the coloring, and it was so distorted and disfigured and scarred up already as a sculpture that it ties in. It ties in beautifully without having to add that extra layer of fleshy, wrinkly skin. She's such a cool character. It's one of those sculptures that I remember before being involved with Damien and on this third film and getting to do that character. It was one of those makeups that I always thought was really, really cool because In a lot of ways, it doesn't work anatomically very well as a prosthetic. But he landed forms and had enough weird distortion and just everything that was happening with that sculpture and that prosthetic just works. And in a lot of ways, it goes against everything I would normally do if I was to create that character from scratch. And so, in some ways, it was a real learning experience on, you know, I think Damien was just creating something, you know, and I'm not speaking for him on this, but I think Damien was just creating really cool shapes. You know, when he was building Art the Clown and building Victoria, he was just building, you know, what he thought looked cool. And, you know, yeah, there's anatomical forms and stuff there, but... If you really break it down, it doesn't really follow human structures at all. And like I said, breaks a lot of rules, little rules that we've come to learn to do in makeup effects. But fuck, every one of them worked. And, you know, there's always room for learning and appreciation, I got to tell you that. It's like, you know, you learn every day in this business from somebody and... some new technique and some different way of approaching it. You know, everybody's got a different mind, but. That Victoria makeup, really. I'm Santa. Come on, get the kids out of here! Sarah, what did I say? Christ almighty, what's the uproar, people? Get the fuck out! Don't come back! No! Cory? Cory, get back over here! Back in line, kids. Time for the real Santa. Art's going big.

We also had to recreate arts. And Victoria's dentures, you know, again, they were using the same dentures for, God, almost, I think it was almost eight years, they said, from when they were originally made. And they look like it. You know, a pair of dentures that you wear all the time for two films plus conventions and, you know, are bound to, to snap and break, and that's why we make duplicates even for one film. And here they were just on their original set. And so I asked Damien if we could remake them. And it was one of those things that, again, as simple as an idea of that, of just, you know, reproducing some dentures, there were no molds or anything, which is why they couldn't just be... new casts, but your teeth also shift. So Dave and Samantha, everybody, they all talked about how, you know, they weren't uncomfortable to wear, but they, you know, they had moments of being uncomfortable, and too long in the mouth would make them uncomfortable. So again, all the right reasons for making new ones. And so we took new casts of their teeth, You know, just all those subtle angles and directions that just sort of organically happened when Damien first made them. You know, you're trying to build in those organic nuances. Because again, Damien was very, very particular about like, look, I don't want anything to change. And we were taking profile photos of David with... the original sets of teeth in plus the new sets that we were building. And I think we ended up doing like three or four different passes just to make sure that they didn't jut out too far, that the angles of the teeth were correct, the size of the teeth were correct. And again, it seems very, very simple, but, you know, Damien was particular about every little thing, including the, you know, the paint jobs on them. You know, I thought I had done a really good job at painting them originally. And and he'd come back with notes on like, well, you know, there is a little bit more red undertone to it here. And I want to see this. And of course, you know, he's also tweaking it, too. He's making the third installment. If you look at the first Terrifier Clown and then the second movie, Terrifier Clown. Now, the third one, there are nuances and changes with art. His eyes, for example, in this film, you know, are smaller. In fact, I think we did a six millimeter. iris slash pupil. It's just one black circle. And the rest of it had to be sort of, you know, whited out with a little bit of a yellow haze and some pink and red, you know, vessel breaking towards the corners. And so we did full scleral lenses in David. And of course, you know, Every now and then you run into an actor that has really sort of odd measurements for their eyeballs. You know, they don't follow like a traditional line. And David was one of those people. So the contacts had to be, you know, they were what they call ballast, which means they have a weighted end to them. So they always... When they land on the eye, they always turn and fall to one direction and stay in that direction, almost like a pendulum, in a way, on the eyeball. And so we had to do that for David, because if they rotated, they would actually look off-center. And so, yeah, there's little adjustments. And so even, like I said, kind of digressing back to the teeth conversation, as much as we had to nail it perfectly, I think Damien was also being slightly inspired by, you know, making those little adjustments because he could. It's an evolved character now. And here we are, Terrorfire 3, Art the Clown. You know, I'm sure some fan out there has put up pictures of Art the Clown from each movie and has pointed out, you know, small detail changes. You know, I know people were really excited. Damien posted a photo of Art the Clown from the makeup test showing the eyes in it. Did you read my journal? It was actually an image that I had sent Damien for approval, and he had posted it to the fan base, not telling them specifically about the eyes, but the comments that were flowing in. on his social media about the eyes, you know, sort of proved to him that he was, you know, that he was on the right track of doing the right thing with art, because they were all talking about how creepy and cool and different his eyes looked. In fact, going back to the sculpture of art that I mentioned earlier, because we had to re-sculpt it when we did the first makeup test. Damien came out to California to my studio where we did the test. And I wanted him there, you know, for obvious reasons of just taking a look at it and approving the makeup. But I wanted him there because he was the one who applied the makeup for the first two movies, you know, every day and for the conventions. And so he had done Art the Clown 100 times at that point. And, you know, I said, you know, look, I want you here to give us those details, those nuances. I can try to copy what you did, and I think I'll do a good job. But, you know, it would be better if you kind of walked us through specifically what you did. And then we can always enhance or change or adjust from there. And so he did. And when he first saw the makeup, the prosthetic, He thought that we had just cast from his mold or duplicated his mold somehow and cast prosthetics. But the truth of it is we sculpted it from scratch, copying his original piece as best we could, but basically side-by-side sculpture as opposed to the casting and molding process. In fact, I had a new sculptor that I hadn't worked with named Emily Fonce. I hope I'm pronouncing her last name correctly. We always kind of like joked about the pronunciation of it. But Emily was a new sculptor in the studio. And I noticed that she had, you know, she had some really, really, you know, she had a great eye. for a lot of things and picked up things very, very quickly. And I was just about ready to get started on that sculpture and, you know, blocking it out. I had everything prepped and ready. And I said, you know, why don't you jump over here? You know, I have like a day where I don't have anything for you to do. I kind of walked her through because she was already sculpting at that point. but didn't consider herself a sculptor. And I said, you know, look, start broad stroke, find your forms. That's the most important thing you can do in a sculpture. I said, it's all about form. Don't worry about details. Don't worry about anything like that. Let's just get form down. And I came back after about four hours just to check up on her. And she had done, in my opinion, exactly... Did you see the mic come into the frame? No, I didn't. See the mic at the top of the... That was hilarious. Anyways, I hope they find that. I'm going to tell Damien about that. You didn't see it? No. I came like a foot into frame. It was like down to here. Anyways. getting back to the sculpture so she uh after about four hours i was like that's exactly what a sculptor should be doing if they're paying too much attention to the details at the beginning you're gonna lose all the life all the personality you gotta find the form and she did such a great job so i continued to work with her on the sculpture making some adjustments with her um you know scratching some details into it you know doing some there's a mic again They got to pull that out. Did you see that time? And anyways, so Emily gets credit for, you know, re-sculpting Art the Clown. I think she's going to be very happy about that. Oh, there's Tom Savini. Good old Tom. You know, Damien's an East Coaster. He's, you know, who isn't a fan of Tom Savini? You know. classic 1980s horror movie effects artist. It's only right that he's in the movie. Now, I would argue that we should also be putting Rick Baker in here and a few other 80s horror icons, but I get the Tom Savini thing. But we had some great sculptors. I already mentioned... Mike O'Brien, who is one of the guys in our shop, great job. Dan Crawley, who was an all-around kind of, you know, artist jumping around from sculpture to molding to casting to gag effects. Brock Pope played a big part on practically every effect. He's just a good all-around lab tech. I mentioned Mark Killingsworth. Saeko, S-A-E-K-O, Saeko. She's an amazing sculptor and played a huge part on a lot of these, you know, gory visceral, that opening act sequence where the head shifts when the axe goes into her head. That sculpture was done by Saeko. The arm being cut off, things like that. I should also mention Manny Lemus. an amazing artist whose work at different shops is just fantastic. He came in and worked for a couple months with us on a lot of these gags. Eric Harris, who has been a right hand for me for about 10 years now, really helped me move forward our technology with you know, digital dentures and, you know, digital mold making and sculptures on this, as well as painting and doing some other stuff, again, all around. Emily, who sculpted the Art the Clown that I was talking about earlier, She's actually a hair person. She did most of the hair work on this show as far as, like, for the fake bodies and, you know, all the eyebrows and eyelashes and beards and things that go on a fake body. That's what she did. She's sleeping. But, yeah, it takes a team. You know, the great thing about the digital, which there are a lot of effects in this film that we did digitally, and when I mean digitally, meaning we scanned... We sculpted, we digitally printed the molds, and then we did traditional casting from all the digital work. I would say about 35% of the effects that we did for this film, we did digitally. And again, I just explained what I meant by that, but they are practical effects. But because we did them digitally, it really gave me the ability to not only oversee the effects for the show, which is a big task, which means I don't get the opportunity to sit down and sculpt for eight hours a day. I wish I could. But it did give me a chance to sculpt a lot of these pieces and make molds and do castings and painting a lot more than I would normally because I'd be able to bring my computer home and sit in front of the TV with my family and still work. And so I was able to... to produce more on this show than I've had on recent shows, just because of that technology. So I was very excited about that. Well, again, I don't think I'm gonna give anything away by saying this is... this doesn't look like a good outcome for two college students in a shower having sex and a serial killer in the bathroom with them. I'm just gonna start now, because this sequence This is a big sequence. I remember reading the scripts with Damien and going over the list of effects, and he said that the shower sequence has to be the big one. This has got to be his bedroom scene from part two. This has got to be the big kill. And I remember asking him, it's like, well, I don't get the difference between this kill and all these other big kills. He was like, no, no, no, it's got to be big. It's got to be big. So this was the sequence that I was saying earlier. we pushed to the very end, partly because he hadn't had a chance to really fully figure out what he wanted to do. He was just like, it's with a chainsaw, it's two naked people in a shower, and it's gotta be visceral. And I looked at a lot of chainsaw kills from all the different movies, and I told him, I was like, everybody cheats it. He was like, yeah, we can't cheat this. We gotta see everything. And so this was quite a big sequence. Probably one of my favorite effects is coming up in this sequence. I think it's this next step that he takes. Oh yeah, that'll get you every time. So that's a dummy in the corner of this shower stall. I don't want to give away That's a fake hand. I don't want to give away too much behind the scenes on how we did this, but that's what we're here talking about. So this was like a little corner unit that they had made. Like those are two fake walls within the bathroom that we shot this in. That's a fake body there and with the arms up as he's coming down on her with the chainsaw. And this was all sort of impromptu. He was like, I just want to be hitting her with the chainsaw. And... And I want her arms to be flailing and stuff like that. So sort of on the day, in the moment, we shoved some rods into the fake body. And Damien's on one side of the body. I'm on the other. We got a third person below us and a fourth person above us. And we're sitting there pumping blood. I'm literally in between the crotch of the... the gentleman, you know, wielding the chainsaw, coming down on it. Damian and I are puppeting the... puppeting the arms. Yeah, and of course, I'm talking over all these moments of... these inserts of the leg being ripped off and... a nice testicle hanging there, if you got a chance to see that. That was being wrapped up in the chainsaw there. So yeah, because this sequence was towards the end, but it also wasn't really a full discussion of what we were seeing and how we were going to see it, until literally just a couple weeks before we had to ship it. We had to build this entire sequence in about three weeks. So we got cast of the actors' heads. We pulled a lot of stock molds that we had and started putting stuff together. And because this was one of the last things we were building, I had more time on my hands to be involved with that sequence in particular. And as we were building it, we were, you know, putting a lot of tubes and things and trying to come up with stuff. And it was just one of those, you know, I think it's one of those things that, you know, after 30 years and after three months of shooting this and, you know, feedback from Damien and how he wanted to see effects and stuff like that, Basically approached it with the most dummied-down version you could get. You know, throw some tubes in there, reverse the chainsaw so the blade is kicking up blood and spitting it out. Lots of pressurized blood bags. So as the chainsaw hits, blood's exploding, and it's not just being pumped. So there's really a combination of those things, different viscosities of the blood. You know, and then, again, just fun, quick editing. In fact, that shot looking up between his legs as the chainsaw's going through it, and he's being spread open. You know, Damien had some great angles, and he was, you know, putting it all together. And I go, Damien, let's just lower the camera and get this one sort of landscape shot looking directly up his crotch. as you open the body, and he was like, yeah, yeah, that's a great idea. And so he lowered the camera, so I feel very proud of that one moment where we see the body and the testicle. Such a proud moment to share with Mom and Dad.

I was talking the whole time, but that was a pretty lengthy, violent sequence. Of course you can. It's your character, then. Thanks, Dad. You're very welcome, sweetheart. What I was saying earlier, and I don't know if I ever finished the thought, actually, because I think we were interrupted by another sequence. The one great thing about having more money and having more popularity with the film is... You can call people like Jason Patrick to be in your movie, you know, Lost Boys. And you can see that Damien's done that a lot more in this film. He's really brought in a lot of, you know, Tom Savini and, you know, Clint Howard and Daniel Robeck and Jason Patrick. Just a lot of great people to come in and do fun little cameos and, you know, just these momentary moments. things on camera that, you know, they just, they fill out the movie. I wouldn't say they legitimize it, because the movie's already, I think, legitimately a part of the fan base, and anybody new is gonna be watching it. So I gotta say, this is a cool fucking sequence, and we didn't do this. John Caglione, Academy Award winner from Dick Tracy, put this sequence together with a couple of his students out in New York and did a fantastic, really cool job with those two characters, the Mother Mary statue and the demon there. When we originally broke down the budget and talked with Damien about all the effects in the movie, you know, it's huge if you really think about every little gag and her scars every day that she's working and the Arthclown and the Victorias and their evolutions and all the effects and all the kills. And, you know, look, we still got another 30 minutes in this movie or something. So it's not over yet. When I got the official final script from Damien, I read about that sequence in Hell, that vision there. And I said, well, what about these two characters? Like, where'd this come from? He was like, yeah, yeah, yeah. Well, you know, I might just end up dividing the work thing because you already got a lot on your plate. And I go, yeah, I do. And of course, it's described, you know, whenever you read the script, this is where conversations have to take place because what I imagine and what he imagines and what other people imagine are all going to be different. And so, you know, I'm imagining this. Oh, yeah, there she is. So I'm imagining this sequence, this big demon, bigger than life, and I'm doing all, you know, in my head, I'm thinking all this stuff, and this statue that's gotta move, and then you give it to an old pro like John Caglione, who, you know, fucking knocks it out of the ballpark with, you know, some simple pieces, great paint job, and again, you know, hands down to Damien for lighting and shooting it in such a way that just makes it just really cool. You know, you see what you're supposed to see. You don't see what you're not supposed to. And, you know, it comes... Again, it's just a testament to not everything has to be overbuilt and overthought. And this whole movie really put a different perspective on that for me. It's kind of like, you know, keep working on... It's what I used to say about a lot of these horror movies that I'm not particularly a huge fan of. But, you know, you get these... you know, hostile and saw movies and things like that. And there's been different effects artists from different companies working on all these types of movies, so I'm not airing anybody out here, but, you know, the effects can be really goofy sometimes. And they're not so forensic, but they're fun. And that's what people remember is the big, over-the-top, fun effects. And I don't really do a lot of those types of movies. So this was a real, it was kind of a real challenge for me to not be so forensic and be a little bit more over the top about it and try to get a little bit more into Damien's head as far as, you know, more, more, more, more, because my instinct is to always go less, less, less. But, you know, Art the Clown pulling out intestines and on a crucified body and things like that. You know, it's fun. Here we have our Victoria dressed up like Pale Girl, the crown of thorns. In fact, Mark Killingsworth, who I mentioned, who did the frozen rat and stuff, we worked together on Passion of the Christ 22 years ago. And Mark made the crown of thorns for Passion of the Christ. So when Damien said that he wanted a crown of thorns on Victoria, I was like, fantastic. You know, I'm going to bring in Mark and we're going to make... Crown of Thorns, the exact same way that we made it on Passion. And Damien was thrilled about that idea. He was like, oh, fuck, that's awesome. That's great. So there you go. If it's good enough for Passion of the Christ, it's good enough for Terrifier 3 or vice versa.

What did you do to my daughter? I thought you never asked. So for all you people who have Halloween Christmas trees, you might want to think about the intestines wrapped around the Christmas tree for next season and the Christmas tree head topper, quite literally. You know, that's probably something we should make and sell.

Terrifier 3 Christmas Topper. Now this entire sequence, nobody's going to know this, but I'm going to rat it out anyways. No pun intended there, but it was entirely different in the original script that Damien and I spoke about. The uncle's head, who is the Christmas tree topper, and his body there, was going to be pulled out of the oven, and it was going to be cooking, and they were going to be serving slices of meat and, you know, other things. You know, anyways, the entire sequence kind of shifted and moved as we progressed. There were some things that Damien needed to do and some other things he didn't want to do anymore. And how this This gag coming up was always intended, but always kind of a rough one to wrap our heads around how we were going to do it. I won't give it away too much. But anyways, that's seeing his brother's head in that cage, by the way. I think I'm just reminding myself of that, not so much telling you, because I was talking over the moment. Mom! Mom!

say classic, like we've seen this 100 times in movies. I think it's the old thing from, you know, the story I know is from the war, right? I think it was the Vietnam War, but I could be really wrong on all my facts here. I just remember stories when I was a kid of, you know, they would put a bowl over someone's stomach with rats inside and then start burning the bowl from the outside and the rats to get away from the heat would start to dig into the body. I don't know if that's where Damien got this idea from, but that is the idea is, you know, the rats are moving away from the flames and coming out the throat. Oh, here you go, savior. Here you go, CNN. Jesus Christ. Love. And then I'm gonna invade that pretty pink flesh of yours. I destroy you from the inside out, just like I did this bitch. Now, I wasn't on set this day, but Ryan Ward, who was one of Tinsley's on-set reps, was there doing that gag. He was there the whole time, along with Heather, on set. And when they were doing that gag, supposedly one of the tubes making up the crown of thorns got pinched, And so as they were filming it, blood wasn't coming down her face, and her entire back was getting soaked because there was a leak in the back. When they were pumping the blood, they were like, why isn't it coming out? And then they noticed her whole back was drenched with blood, so they had to obviously do a fix to get it to work properly. Fucking kill you! Stop! You cruel fuck! She's just a baby! Leave her alone! Don't! Stop!

Maybe I spoke too soon. Now you know that it's her brother. That was Gabi. See you soon. Love you.

I'm sure somebody will say it, and if they don't say it, I'm going to say it right now, and you can edit this out if Damien has final approval or not. But they shot this whole sequence, and we had a joke because all production would tell us was the location is Scott's dad's house. Scott was a gentleman who worked on the set and obviously knew Damien, and they were all friends going way back. Scott's dad had this house, and they're using it as the location to shoot this whole sequence of the aunt and uncle's home. And so the joke was, it was like, where are we shipping this to? And it's like, Scott's dad's house. And we would try to put on our best Jersey accent, Scott's dad's house. And so everything was Scott's dad's house. And this is Scott's dad's house. But the funny fact I was going to say was, I think Scott's dad, which I still don't know Scott's dad's name. It's Scott's dad. From what I understand, they're going to Airbnb this home after the movie's released as a terrifier home. And so if you're one of those morbidly curious travelers. You can rent out the home that they shot Terrifier 3's torturous sequence here. There was a moment in post-production that we had to come back and do a couple days of additional photography. And we weren't able to use Scott's dad's house. And so they built... like a two-wall section of this corner with the tree and the chair and the desk and, you know, all the things that you're seeing here for some of the effects, you know, that we've seen and that we're going to see and, you know. Again, I hope I didn't blow anything by saying that this sequence isn't over. Yes. Then do it. I always liked the fact that she has Christmas ornaments for clown balls on her chest.

The hands being smashed and mangled were one of those additional shots that we did in post. He needed a...

to these more mangled hand moments. Her opening this box right here, this moment, it's all additional photography. You know, when you watch a movie, you think that they're Obviously, the audience just feels like, oh, they captured all that on the day when they were there. And you realize when you're editing something together in post, there's these little moments, these little gems or these little additions that are going to add so much more. So you go back in and...

another one of those sequences with Victoria's death here where we had talked about it a lot and had a lot of ideas about how to, you know, approach it and specifically what he was going to see. And then on the day, you know, a few little minor tweaks here and there and some new ideas and then... You know, you sort of come up with it and hope that you get something that's pretty cool.

those inspired moments. So that whole Victoria dissolving head thing was one of those, again, inspired moments. Like, I want to see her head dissolve. And we hadn't built a dissolving head or a head that could dissolve or do anything like that. So the blood he wanted to almost treat like acid, like it was like, you know, I don't want to say alien blood, but, you know, he wanted this sort of sense of, you know, it's not just regular blood. She's also demonic and, you know, possessed in a way and everything like that. And so with the head dissolving, he kind of wanted to do this idea that it kept going into mush and he would keep cutting back to it. So that last moment that you just saw with Victoria's head looking like a pile of goo with the... dentures in the eyeball and stuff in it. That was the day before we shot that. I think it was Scott's birthday. I could be wrong. Scott's the son of his dad. Scott. His birthday. And there was birthday cake left in the fridge at the stages. And so, you know, I got down and kind of sculpted a face form and... I ran some tubes up into it and just started injecting this pile of cake. So, yeah, sometimes you don't have to overthink an effect. Just need chocolate cake and some blood. You're good to go. I can't! Yes, you can!

Come on, baby, where are you? Come on! Please, come on! Oh, baby! Don't let them get us! Oh, God, help!

Gabby! Gabby!

a few digital effects. So we applied the wounds and, you know, basically did like a reverse heal and reveal effect. Applied the pieces and then they digitally close them up.

Phil Falcone the uh if there was ever a team in doing the Terrifier movies it's that gentleman right there Phil Falcone who's uh the producer of the all three Terrifier movies he was he was the guy uh that Damien in making the first one went to you know to give some financial help as well as to uh just help sort of organize and produce the Terrifier movies. And so the Terrifier movie franchise exists not just because of Damien, but because of that guy right there. And Phil is a hell of a guy. Not only a character, if you've ever had a chance to meet Phil at a convention or anything like that, he is... Absolutely a character, but he is as genuine of a human being as they come. I really do love that guy. He's a straight shooter. Nothing disturbing about a bloody clown on a bus at midnight.

Will there be a part four?