It’s difficult as an actor because you feel as if you’re just standing still and saying words. He was leading me to realise that the makeup was so powerful, I didn’t need to sell it to the audience. But do less.” So I would take things down a notch, and he would say the same thing again. He said: “You have no idea how amazing this looks on camera. His threat is implied: look what I did to myself – now imagine what I can do to you.Ĭlive was very excited to have his creations walking and talking around him. I had a sense of power, of majesty, of a kind of beauty. Most of my decisions about playing Pinhead were made there and then. The first time I wore it, I sat in front of the mirror trying to make friends with this new face, playing some lines and seeing where they took me. The makeup took five or six hours to put on at first, though they got it down to three or four. The makeup was so powerful, I didn’t need to sell it to the audience Doug Bradley There was no doubt in my mind that this unnamed guy with the pins in his head had a certain je ne sais quoi that a mattress-delivery guy didn’t. For a split second, I had an actorly conversation with myself: because Hellraiser was my first movie, I thought it might be a good idea to be seen on screen as myself. I was also offered the role of a removals man. He said there might be a part for me – what became known as Pinhead. He first mentioned in the fall of 1985 that he was putting together a low-budget British independent horror movie. I’d known Clive since we did a play together at high school in Liverpool. Photograph: Allstar/New World Pictures Doug Bradley, actor ‘I was also offered the role of a removals man’ … Doug Bradley with Nicholas Vince as Chattering Cenobite, left, and Simon Bamford as Butterball Cenobite. It was a celebration of the beauty of these strange secret rituals. And I got a good reaction from the S&M crowd – and still do. Pinhead was only in it for eight minutes, but it quickly became apparent people liked him. New World gave it a wide release, and it made $33m worldwide. The American censors gave it an X rating, and to get an R we had to take some spanking out of the flashback scenes and shorten some of the violence. He suggested Hellraiser, which is exactly right. I wanted to call the movie Hellbound but Christopher said it was too negative. They got us to relocate the story to America, and overdub some of the accents – which I didn’t feel great about because the original story had been so English. I didn’t get bothered by them again until later on. Robin and I had changed the schedule so we were doing something incredibly bloody – one of them may have got their Burberry splashed, and they fled after 15 minutes. They see something they like and they want to take charge.” Three of them came over, all in new Burberry coats. Then, about halfway through the six-week shoot, they said: “We’re coming over.” Robin Vidgeon, my director of photography, said: “I’ve seen this a million times. Just before filming started, I went to the library to find a book on directing – but it was out Clive Barker I had Richard Marden, who had worked with David Lean, as editor, and Bob Keen, who had done special effects on Star Wars and came up with Frank’s resurrection scene. You can only go that far into darkness if everybody’s on board. Luckily, the crew were very gentle with me. The week before filming started, I went to the library at Crouch End, where I was living in London, to get a book about directing. The austere atmosphere definitely informed Pinhead: “No tears, please. It was the first time I ever saw people pierced for fun. No drink, no drugs, they played it very straight. There was an underground club called Cellblock 28 in New York that had a very hard S&M night. On S&M’s sliding scale, I’m probably a 6. But I was emotionally inspired by them, too. The look of the Cenobites, such as the pins in their leader’s head, was inspired by S&M clubs. My film required some design elements that hadn’t been seen before, the equivalent of Freddy Krueger’s fedora, striped sweater and burnt face.
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