Some might be shocked to learn that the man who created such depraved, reprehensible characters as Krug Stillo (The Last House on the Left), Alex (House on the Edge of the Park), and Adam (Hitch-Hike) was actually a teddy bear. Music was his first love, and he was an accomplished musician, having written and performed the soundtrack for Last House, released a few of his own albums, and penned chart hits for other singers such as Elvis Presley and Pat Boone. He even directed what is perhaps the first Santa slasher film, To All a Goodnight. I became friends with David Hess on Facebook, a powerful tool for fans to network and interact with their favorite celebrities. Unlike many of them, David actually took the time to reply, and when I asked him if he would do an interview for my BlogTalkRadio show, "A Taste of Blood", he agreed. I knew from his other interviews that David wasn't the scary person he portrayed in movies, so I was not inordinately nervous while talking to him. He had a way of putting you at ease, and I immediately felt like I'd been talking to him for years.
Though I never met him in person, when I read that he died on October 7th at the age of 75, I felt a great sense of sadness. I felt like I'd lost a good friend, and I realized that David Hess was my friend -- not just on Facebook, but from his movies, too. He played rapists and murderers in his most famous films, and played them very well, but there was a likability beneath the surface. I believe that this was David's larger-than-life personality infusing the characters, and each of the films benefit greatly from his presence. I have transcribed the hour-long conversation we had on my show almost exactly a year ago, and I'm posting it here in tribute to him. I've cleaned it up and clarified a few things, and I edited it a little bit because it amounted to almost fourteen pages of dialogue, but I hope that David's spirit remains intact. He was wrong about one thing, though: This conversation was enlightening. Rest in peace, my friend.
Ryan Clark: Can you talk about how you
got started the music business?
David Hess: Well, I kinda grew up with
music. My mom was an opera singer, and so she was constantly singing
around the house. She tells everybody that the first thing I ever said
was “The Bronx Symphony”. Bronx, Bronx, Bronx... It was “Bronze” I
was trying to say, but I called it “Bronx” because I lived in New York. You know, I guess from there
it’s always been a part of me. I tell people very seriously, although a
little tongue in cheek, “Don’t make me choose between making films and making
music, ‘cause you won’t get any films anymore.”
RC:
(laughs) You’ve written popular songs for Elvis Presley and Pat
Boone. What would you say is your favorite song of the ones you’ve written?
Your personal favorite?
DH:
Of the hits? Of the early hits, you’re saying?
RC: Well, any song.
DH: That
really [runs the gamut], because I’ve done a lot of recordings myself, and a
lot of them have been hits overseas. Do you have Caught Up in the
Moment? Were you able to get a hold of that CD? ‘Cause there’s one
[song] that’s been recorded like crazy. It’s called “Vagabond”. You can
go on my Myspace and download it; it’s there. But I don’t know, of the
early songs, I think “I Got Stung” for Presley. I loved “Daddy Rollin'
Stone” which [The Who and Otis Blackwell] recorded, which was one of my first
songs. Lemme see, what else. “Come Along”. Presley recorded
that, too. You know, I think it’s a misnomer. I think songwriters
perhaps sing songs that they like a lot, and some songs that they perhaps just
wrote for the money they don’t sing, but to say that you have a favorite... I
like ‘em all. I do. The thing is that – as a songwriter, musician,
whatever – you don’t learn this until you get into it a little bit; sometimes
you never learn it, but you can’t move on until you finish that song, ‘cause
you’re stuck on it. Now, you can try and write something else, but it
doesn’t necessarily work as well as it could work if you finish it. If
you kinda move on and say, “That’s it!” You know? You may come back
to it later and rewrite some stuff, but at that point in time, you say,
"It’s done. It’s ready to go." It’s very hard to move on
unless you can say that to yourself. And I think that parallels raising a
family; doing a whole lot of things. You gotta throw the baby out with
the bathwater, so to speak, eventually.
RC:
We have a caller! I might know who this is. You’re on the air.
DH:
(laughs) No, I’ve often asked that question myself, because I know the
woman who owns it. Sandy Cobe originally produced it with [Media Home
Entertainment], and it’s gone through a whole bunch of iterations. I think
that MGM may have it now. I don’t know. I’d like to see it
released; I think it’d be great. But it’s hard to get things
released. You deal with the grey suits, and they’re all, “Bottom line,
what are we gonna make on this?” They don’t care about the
creativity. But I’m glad you reminded me. People keep reminding me
and asking me. As long as you keep reminding me, I’ll keep going to vouch
for it.
Caller: I was also wondering if the
version that was released by Media Entertainment back in the 80s was the uncut
version, or if there was something cut out of it.
DH:
No, I don’t remember anything ever being cut out of it. You can still get
it on VHS, although it’s rare.
Caller: I was also wondering if you ever
felt at the time during the 80s that you felt like you were typecast as this
type of mean guy, and if it affected you in your career or personal life.
DH:
I’ve always been kind of a violent person anyway. I played rugby; I was
captain of the U.S. rugby team for a while. I like that physical contact, and I
did a lot of my own stunts. I think I typecast myself, perhaps. I’m
a no-nonsense person. I don’t take any shit from anybody, and never
have. I guess that kind of rubs off on people regardless of whether you
tell people that or not. They kind of sense it. I’ve always felt
that Hollywood and the money machine takes the easy way out. They kind of
took the easy way out with me. But that’s okay, too, because it helped me
to support a family and not end up homeless.
Caller: I just wanted to let you know I
absolutely loved House on the Edge of
the Park, because the host right now introduced me to the song “Do It to Me” [by Riz Ortolani]. It’s been in my head forever.
DH:
(laughs) Is that wishful thinking or just the love of the song?
Caller: I love the movie, but that song
brings it over-the-top for me. And the bald-headed African American
woman [Marie Claude Joseph]. That sends it way over.
DH: She was French, and she didn’t speak a word of English. During the downtime, I used to tease the shit out of her in English, and she wouldn’t know what I was saying. And I’m a bad tease, I’ll tell you. I can really tease. So that was kind of fun.
RC:
Thanks so much for calling in, Ryan. Those were some good
questions. In fact, I was gonna bring up To All a Goodnight myself, but
I’m glad he did so I didn’t have to. (laughs)
DH:
Lucky you! I may have really gotten on your case about it, but him I wanted to
be polite with. I’m essentially a misanthrope. Can’t you tell?
RC: I guess so! (laughs) I’m sure you’ve talked about this before on the DVD of Last House on the Left, but how did you get the role? Did you answer an audition?
RC: I guess so! (laughs) I’m sure you’ve talked about this before on the DVD of Last House on the Left, but how did you get the role? Did you answer an audition?
DH:
I did. I had a couple scenes with Louis, and Nicholas and I kinda worked
together as a team on the film. Tragic, tragic, tragic. Nicholas died
young, was a wonderful actor, very wonderful person – just a sweetheart, I
mean, just a real sweetheart. Here’s another guy who was totally
typecast. Could have done anything, and was a really good actor.
Unfortunately he’s gone, so there’s nothing I can say except good luck wherever
you are, Nicky. You were a good guy.
RC:
Do you have any stories from the set with him that you can remember?
DH:
Well, we did that whole Abbott and Costello thing, and Wes only took about two
or three minutes of it. “Where’s Charlie? Oh, Charlie’s over there
in the bushes!” “No, Charlie’s not in the bushes, he’s across the
street!” We riffed on Abbott and Costello, when that scene was being
shot, for a good hour. They were rolling; guys had tears in their eyes;
the camera operator had to stop because he was laughing so hard! The
camera started to shake! It was funny. And we just kept going, you
know. This is a kind of an important thing, I think, to say: A lot
of actors that are cast as heavies – and I have to consider myself one; Nicholas was one, too – are very funny people. I mean, they could almost
do stand-up comedy if you wanted them to, because they don’t take themselves
seriously, because when you’re doing a heavy, it’s not you. You’re really
playing the ultimate role that’s not you. Of course, you have to dig into
your past or whatever it is that motivates you to be able to play that part,
and play it as realistically as you can. But bottom line, it’s not
you. You don’t go out killing people. So being a heavy is the most
fun thing of all, because you don’t necessarily bring yourself to it.
RC:
I must say you do a great job of it. You’re not that way,
obviously. I know it.
DH: How do you know that? (laughs)
RC:
I mean, I’ve seen interviews with you, and I know you’re a softie deep
inside. You don’t wanna kill people! (laughs)
DH:
Not unless I have to. (laughs)
RC:
It is unfair that a lot of people see you in these movies – not just you, a lot
of actors who play heavy type of roles – and they think you are that
character. I know you’ve said about how people would look at you after Last House on the Left came out and
they’d cross the street, ‘cause they didn’t want to run into you. And
it’s not fair, because actors are actors, they’re not really that character, so
I definitely understand what you mean by that.
DH:
It’s a compliment in a way, Ryan, because it means you’ve really done your job
well. So you can look at it from that point of view, too. And
bottom line is that when you’re an actor, you want the job. There’s no point in being an actor if you don’t have
the platform or ways to show your craft. As far as Louis Jourdan went [on
Swamp Thing], that was a tragedy on
the set, because I think about a week before we were scheduled to film, his son
committed suicide.
RC:
That’s horrible! I didn’t know that.
DH:
Yeah. So he was on the set and had to leave. I think they postponed
the funeral, because he really wanted to do the film. And I understand
why; he wanted to get as far away from that tragedy as he could and try to
clear his own head. That was a real tragedy.
RC:
I could ask you about Last House on the
Left, but I think I’ll ask you about House
on the Edge of the Park and Hitch-Hike,
because there’s already been a lot said about Last House, and I know it’s an important movie – I love it; it’s
one of my favorites – but there’s not as much said about Hitch-Hike and House on the
Edge of the Park, and those are great Italian films. How did you get
started working in Italy?
DH: They called me. They said, “Come over, we got a role for you.” I said, “Well, get in touch with my agent.” “No, we wanna talk to you.” I said, “You better get in touch with my agent, unless you make me an offer I can’t refuse, literally.” They said, “Okay, we’ll pay you this much.” I said, “That’s not enough.” They said, “Well, how much is enough?” “Oh, this much.” “Okay, between that and what we offered you, we’ll split the difference.” “Fine,” I said, because that’s what I figured with the number, and I went. It was that simple. No agent, no nothing. And they gave me a piece of the action on the film. I had the sales for the United States, or part of the sales, I think it was 25 percent. And guess what? Contrary to what most people tell you about the Italians, how they withhold your money? No. They gave me everything that they owed me. They were very honest. Very, very honest. So I had nothing but good experiences there. And of course, Hitch-Hike was with Franco Nero and Corinne Clery, and it was after I’d done a film called 21 Hours at Munich where I played Berger. He was a wrestler for the Columbia wrestling team. He used to work out at the same gym that I worked out in when I was playing rugby, so that was kind of a strange situation because the Israelis all got shot. He was the only American on the Israeli wrestling team. And Franco [Nero] saw my acting. He says, “You wanna do this film with me?” I said, “Sure, why not? Let’s do it together.” He says, “This is the story. Here’s the script.” I read the script; I loved every minute of it, and I guess, if truth be told, I was on this quest, unbeknownst to me, but somewhere in the recesses of my subconscious, studying what socio-pathology is all about. What is it like to be a sociopath? What do you feel? So all three films have that kind of overview, and then, of course, I went on to do other films. None of them really fit into that mold, per se. People have started calling that the trilogy, and I guess it is, in a way. At least, my trilogy.
RC:
But there’s differences in all three of those characters that you played.
They’re not the same character at all, even though they’re all violent people.
DH:
There are parallels in the characters, but they’re not the same circumstances.
RC:
And I love all of them, but I have to say Hitch-Hike in particular is a very underrated gem of a movie.
It’s just a wonderful movie and I think more people should see that one.
DH:
Well, thank you. It’s a classy movie. It was made by a very classy
director, Pasquale Festa Campanile, who is an intellectual who [was nominated for an Oscar] for writing. He was head of the literary department at
the University of Bologna, and there was another tragedy, he died very early.
RC:
That is a shame, but it’s not surprising that he was an intellectual. You
can see it in the movie; it’s not just another exploitation movie.
There’s nothing wrong with exploitation movies, but there’s something
more there in that film in particular. I think it’s very important to
point that out.
DH: I think he did try. Anybody that has a sense of self and a sense of world wants to explore it. What are we all about, if not finding out about ourselves? You wonder. It’s a lifelong struggle to find out what you’re all about.
DH:
Well, it was intentional. That’s what I said I wanted to do when Wes
asked me if I wanted to write the score. It came at the same time that I
got the role. Two seconds later: “Will you write the score?”
“Yeah, sure.” I think he was more aware of my music than he probably was
about my acting abilities, ‘cause he didn’t really see them until we were on
the set, but he knew about my music. And I told him, when we sat down and
talked about it. I said, “If you want me to do a traditional score, I’m
not gonna do that. I want thematic material, I want songs, I want stuff
that counterpoints what’s going on on the screen, ‘cause as a musician, I
really wanna twist the knife in, to the visual. So if you like that idea,
then hey, we’ll go for it. If not, then maybe you need to get someone
else to write the score.” “No, no, no, no, no! I like that
idea! Let’s do it.”
RC:
That’s a good thing, because it’s really a remarkable score.
DH:
I wouldn’t say that it was easy to come by, ‘cause there’s nothing that’s ever
easy to come by, but it was natural to come by, given the permission to do what
I wanted to do. And luckily, that’s what happened.
RC:
Were you ever approached at the time to release the soundtrack?
DH:
I was with Epic Records at the time and they dropped me because of the
film. Not only did my record company drop me, but my agent dropped me
also. It was such an unconventional film; contrary to what
they were used to seeing. It upset a lot of people.
RC:
There had never been anything like that before. I can’t think of another
movie before Last House on the Left
that had that raw, gritty, violent feel to it. Texas Chainsaw Massacre did, but that
came later.
DH:
Right. Well, they kinda faulted me for it, Ryan. They faulted me,
being the lead actor, I guess. I don’t think that’s my imagination.
Maybe they wondered how much of what I was doing was the real me or how much of
it was acting. Of course, you bring yourself to a role, but the bottom
line is that wasn’t me. It was an acting job.
RC:
On one hand, as you mentioned, it could be a compliment that they took it so
seriously, because you did such a great job of turning yourself into this
monster, but on the other hand, it can probably be very frustrating to be
typecast as that type of character, because people think that’s who you are and
you’re not.
DH:
It’s a strange phenomenon, because that film obviously changed the course of my
career in many respects, but having said that, women – and I say “women” as a
whole; I mean, maybe there’s some that don’t – but they can’t help but like
Krug somehow. And they all tell me that. “Gee, we really liked
him!” “We hated him!” “But we liked him!” “We hated
him!” “But we liked him!” That’s a bit schizophrenic, isn’t it?
Yeah, you’re not supposed to like that character.
RC:
(laughs) You know, on the surface though, I can understand why
they said that. While he’s not a likable character, there is still
something you put into all three of those characters in the “trilogy” that kind
of make them likable even though they are despicable characters. Krug
having the scene where they’re remorseful for what they did for a moment and
little things throughout the movie, and Alex in House on the Edge of the Park is a scary character, but he’s kind
of goofy at times and likable in small moments. Not thinking about what
he’s doing, you know, cutting people up and everything.
DH:
None of them do. That’s the whole thing. It’s even more than not
taking responsibility: It’s not being able to take ownership because you
really don’t think you’re doing anything wrong. You’re living your life
the way you should live it, and, “Oh my god, I’ve just killed somebody, but
okay.”
RC:
They get caught up in it.
DH:
It’s not an issue. And I think that’s the frightening thing.
RC:
Speaking of being frightened, there’s the famous story of Sandra Cassell being
scared of you on the set [of Last House].
Do you think she was justified in being frightened? Were you really into
your character so much that she would be terrified of you?
DH:
Yeah. I think I picked on her a little bit. I mean, not
intentionally, but I had this feeling that I had to keep her on her toes,
because there was just so much of what that film was about that really hinged
on her being totally frightened, that if I broke character, it would cause
something different. I don’t know whether that is true or not, but at the
time I felt that I had to stay in character. So yeah, I was really mean
to her.
RC:
On one hand, I hope you didn’t scar her for life, but on the other hand, it was
very effective for the movie, because she was so believable as this frightened
little girl in the movie.
DH:
She was wonderful. Totally wonderful.
RC: I think everybody in the movie – well, maybe except for the parents, but they’re not that bad, I’ve seen worse (laugh) – is just fantastic. So it really worked.
DH:
Well, you don’t know it until afterwards. And even then you’re not sure,
but I guess that’s true, that it did work. The ensemble in that film just
somehow created magic. And it was allowed to happen, and many times when
you’re on a set, it’s not allowed to happen. There will be control
issues: The director will want everything done exactly the way he wants
it; the writer, "Don’t change a line"; the producer, "We need you to do the
role this way, that’s what you were cast for", you know? None of
that happened.
RC:
This is something that’s been brought up a lot when this film is discussed on
the Internet, but I just wanted to get your opinion about it. The film,
while it’s often hailed as a classic – which it is – it’s also sometimes
criticized for the comedic scenes, and I wanted to get your opinion about those
scenes. Do you think they work in the movie, or do they break off the
scary quality of it? What’s your take on that?
DH:
Oh, I think if you didn’t have them, the audience would be pulling their hair
out. They’d be screaming. The film ratchets up the tension so much
that you need a break. The comic relief – and it was dumb, stupid
slapstick, essentially – breaks that tension. I think if it had been any
slicker, then it wouldn’t have had the same effect.
RC:
I’ve always defended this movie when people say that the comedic scenes ruin
it, because I think there’s something charming in those scenes. Like you
said, it helps to ease the tension. I think without those scenes, it
would just be too grim. It would not be as watchable. I don’t mind
it. I think it’s very enjoyable; it’s all part of the experience.
DH:
It absolutely is. I don’t know how much you can call the movie itself a
slice of life; I’m sure that’s what we all had in mind, even though we may not
have thought it at the time. But there are buffoons that live in our
world, and there are people that are totally inept. I mean, the whole
Peter Principle was based on that, you know? You rise to the level of
your ineptitude. And that came out about the same time. So it makes
sense that there are people that can’t get it done.
DH:
I didn’t expend too much emotional energy on that. I went to Europe
shortly thereafter and did a lot of work there, and the film was always
bubbling under and hanging around, and it never let go. I knew that there
was something about it that was really special, so I didn’t waste any energy on
wondering why it wasn’t getting a release in the U.K. I figured
eventually it would, and if it didn’t, then they would get it some other
way. That didn’t alter my performance or anything; that just meant that
there were some people in the U.K. that were pretty stupid about their ideas of
what moviemaking was all about.
RC:
As much as I hate censorship, I also believe that without censorship, a lot of
the things that are remembered through the years would not be as
remembered. Last House might
still be known, but if it hadn’t had all these problems – not just Last House, but any film that’s
controversial -- maybe its legacy wouldn’t be as strong.
DH:
You keep using the word “problems”. Would you call them problems?
They’re not problems; they’re just challenges. The film doesn’t have the
problem; it’s the people that are looking at the film, that are passing
judgment on it, that are sitting in positions of power, so to speak, and they’re
the ones that are calling the shots. It doesn’t affect the film. It
affects the time.
RC:
The reason I kept saying the film has “problems”: I’m seeing it in terms
of the potential audience not being able to see the film the way it was
originally intended. I don’t mean the film itself has problems. I
meant there are problems with people being able to see it. But you’re
right. Now you can see whatever you want, mostly. So it all works
out.
DH:
Incidentally, I happen to agree with you when it comes to censorship. I
think that censorship in the hands of wrong people is a burden that we really
don’t need. But I think that if it’s treated justly, which I think it
probably is by most people, then it’s okay, because there are things that we
don’t want, for instance, our kids particularly to be exposed to, at least at a
certain age. You know, there are a whole lot of things where censorship
can be a good thing, but it should be a collective decision, not one person’s
decision.
RC:
I don’t condone censorship at all. I agree with you that kids should not
see certain things, but I think that’s really up to the parents. And if
they can’t do it, then... I don’t know. I just think it’s the parents’
responsibility.
DH:
And look at the parents that you have, just even in our country alone.
Look at ‘em.
RC:
I agree with you. It’s terrible—
DH: What are you talking about? This fuckin’ country is falling apart when it comes to parenting. Falling apart! The parents are dumber than their kids! What do we expect? We got a bunch of dumb parents out there that are waving the fundamentalist flag every single chance they get. I get really pissed off when I see that, because a kid doesn’t have any way to fight back. What can they do? Leave the house at three?
RC:
It’s a very unfortunate situation.
DH: Do you have any kids, Ryan?
RC:
Oh, no. Well, I’m gay – I’m not saying I couldn’t have kids, but I’m not
interested in having kids. I see what you mean, but I also think that
kids being exposed to certain things doesn’t always turn out bad. For
example, I was pretty young when I saw Last House on the Left. I was
about eleven, I think. I know some people have probably seen it younger
than that. And I’m not going out and killing people, even though other
kids would always make fun of me and say, “Oh, you’re gonna grow up to become a
serial killer ‘cause you watch these movies.” And I haven’t.
(laughs) It depends on the people. Certain children can deal with
things better than others, I think. I was watching movies harder than Last House on the Left. I was
just interested in it. I wasn’t going out and doing it, obviously.
DH: You’re probably interested in what they have to say. There’s no question that it’s a very wide-open area of filmmaking, cult films. You may call them exploitive, but you can also say whatever you want to say within the context of a horror film, a slasher, an action-thriller, whatever. You get a much better sense of reality, of truism, by the words that people speak. That’s what I like more than anything. Speaking of which, did you see the post I put up [on Facebook]? You did, didn’t you?
DH: You’re probably interested in what they have to say. There’s no question that it’s a very wide-open area of filmmaking, cult films. You may call them exploitive, but you can also say whatever you want to say within the context of a horror film, a slasher, an action-thriller, whatever. You get a much better sense of reality, of truism, by the words that people speak. That’s what I like more than anything. Speaking of which, did you see the post I put up [on Facebook]? You did, didn’t you?
RC:
About the bullying?
DH:
About the gay kids that are committing suicide. I can’t stand that!
My god!
RC:
Yes, I did see that post. Thank you so much for writing that.
That was a great post, and I totally agree with you. It’s
ridiculous, the situation that we’re in right now in this country. And I
wish it could stop, but it probably won’t because people are just stupid, I
think. (laughs)
DH:
You’re right. That’s a whole area that’s gonna take a while, because most
of the country’s been brainwashed to such a degree that now they have to be
unbrainwashed, and that can take just as long. I mean, that poor
kid! What, jumping off a bridge? ‘Cause he’s...?
RC:
It really disgusts me.
DH:
That so disturbed me. But not just that. The idea that there’s this
percentage – and a good percentage of the population – that can’t get past the
idea that women are sleeping with women and men are sleeping with men.
"That’s not supposed to happen." Well, who says that? Who? I
mean, where did this happen? What law? The church? This is “the
word of god”? Go fuck yourself, “the word of god”! God has no
opinions.
RC:
I’m not religious at all, but I understand that even people who aren’t
religious can still have those ideas in the back of their mind that
homosexuality is a sin and all this stuff, because we’re so brainwashed to
believe it, and we can’t think for ourselves. Sometimes I find myself
thinking about religious things that I don’t believe in – like “heaven”, that
somebody who died is up in heaven, or something. I don’t believe that,
but I still think about it, because I’ve been brainwashed.
DH:
Why not? They may be in a better place. It may not be the way it’s
described.
RC:
I don’t claim to know what the truth is, but I don’t want people telling me
what they think the truth is, and forcing me to believe that. I’d rather
just see what happens instead of believing something that might not be true.
DH:
That’s presupposition, which I resent also. Their minds are made up before
they even get into the situation, just because this is what they expect to
experience based on past knowledge, which they don’t have anyway. It’s a
mess.
RC:
It’s a horrible thing we’re all in, and who knows when it will change.
I’m sure it’ll change eventually, but it’ll take some time.
DH:
Things are a lot different in the rest of the world. I think we lag
behind the rest of the world in terms of accepting individuals for who they
are, not for what we think they are. We have a very puritanical concept
of humanity, and that doesn’t surprise me because this country was settled by
the Puritans. So why should it be a surprise? It shouldn’t.
RC:
It’s not surprising if you look at history, but so many things have
changed that you just want everything that annoys you to change, and it’s very
frustrating when we’re just stuck here in this position, and there are all
these closed-minded people around.
DH:
Well, you change what you can change, and what you can’t change, be smart
enough to know that you can’t change it.
RC: (laughs) Exactly.
DH:
I’m gonna run, Ryan. It’s been really great talking to you. It’s a
lot of fun, and I’m glad we opened up the conversation to some other things.
RC:
Before you leave, is there anything you want to plug or promote that you want
people to know?
DH: I’m doing a new album. I have no idea what it’s gonna be called, but hopefully it’ll be better than the last one. I think it is, but there again, I’m in the middle of it so I can’t really say. I’m doing a film also next year with my oldest son, Jesse, that my partner and I essentially wrote for him, but it’s not just based on him, it’s based on a couple of other things. I’ll be going to Rock and Shock this coming weekend, and I’ll be at Cinema Wasteland next year, in April, and I’m gonna try to do four or five conventions a year so that I can get out there and say hello to people. And then Ruggero Deodato and I are doing another film, and on and on and on. Just keep working, that’s all. Just keep working! Bottom line is I just want to keep working and having fun. ‘Cause I’m having a lot of fun at this point.
RC:
Thank you so much. This has been an honor to talk to you, really.
I’m just such a fan, and it’s been enlightening.
DH:
I don’t know how enlightening it’s been, but thank you for having me, ‘cause
it’s always fun to talk to somebody who’s got intelligent questions and who’s
thoughtful.
RC:
Aw, thank you. I appreciate that so much. It’s been great.
DH:
All right, talk to you soon, hopefully.
RC:
Okay, I’ll keep in touch. Thank you!
DH:
‘Bye.
RC:
‘Bye, David.
Goodbye, David.
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