In this house... Hello.
I know... on my birthday. It's come.
Oh, it's your birthday. Was I subtle?
I tried dropping subtly.
I have as a birthday present.
We have to give him a some sort of a nice birthday.
Find something from. I'll take a pumpkin.
I'll take a pumpkin.
So as an audience member and I'm sorry if it sounds weird,
but seeing you in the kitchen, terrified for your life, covered in blood
by someone with a big knife, chasing you around the room and is nostalgic.
It's almost weirdly comforting.
Is it the same for you when you're in those moments, having done that?
So many times?
Is it nostalgic or, you know, you sort of too focused on the acting side of things?
I'm focused on the reality.
I want those moments to be real.
I fight for the reality,
not the fakery.
I want everybody to be safe.
But I worked very hard
with the stunt team with David Gordon Green to not make it look like a movie fight.
I worked really.
I was not as fun as I am right here,
right now
to get my point across that things were looking
like a movie fight, and I wanted it to be a street brawl.
And so for me, it's the reality of the moment that I.
I mean, it's nostalgic, but it's really I'm
in that moment of what is is quite profound entry into the series.
I mean, what he represents, obviously, is fear
and this kind of manifestation of evil and defeating him is kind of
defeating one's own kind of standing up against one's fears.
Is that something that you think has been quite prevalent theme
throughout this show?
Do you think it's something it's kind of slowly crept up to the surface?
I think that was the.
I really think that was the headwaters of the whole thing.
I think that's what John Carpenter and Debra Hill when given the task
of writing a babysitter slasher movie and the producer Irwin Jablonski said
set it on Halloween night, and that was John and Deborah's
thesis statement, I think, which is
create a tremendous sense of reality.
Mundane, quotidian,
American town, Midwest,
teenage girls talking about boys like just doing what girls
do, leaves blowing Halloween night,
and then introduce who's
this enigmatic white masked killer.
I think it does
exactly what you said it did from the beginning.
It it puts onto him all your fears.
It gave every it's like the every fear a person.
I think that was the intention.
All the intellectualized.
Michael Myers, Laurie... Final girls, women
and you know, all of those are are
added on from an intellectual conversation.
I don't I think that was their intent and it worked.
And that's why it worked.
Another constant from the start, one of the things that illuminates
this franchise so well is that music.
I just want to invite all the way back, Do you remember
where you were when you first heard it. Okay.
First of all, as I said earlier today to my team,
I don't know why John Carpenter hasn't been nominated for an Oscar for that
theme, for that for the score of these movies, that original theme.
You have to remember, this movie was made for $300,000 in 17 days.
John Carpenter, who is a musician.
Musician probably first and foremost before a film maker
had a Synclavier, had a
synthesizer,
and on his own meaning
meaning, meaning, meaning, meaning like that.
It's unbelievable how evocative that theme is.
I think might be one that may be the best ever.
Oh, I think it's the best.
It's it's it's incredible.
And he has not been given enough
acknowledgment.
We give acknowledgment all fucking day.
All we do all day is like, oh, you should win an Oscar hanging in there. And.
And the one person who score
should be nominated is John Carpenter.
It's my final question.
When you look back over this Halloween experience, is there one thing for you
that really highlights your your whole time and experience?
It could be a fine encounter.
It could just be a memory from a set one day,
something that you're going to take with you that lingers longest in the memory.
So John Carpenter
said he wanted Laurie to be vulnerable.
I was 19 years old, barely got out of high school.
I don't even know if I could have
spelled vulnerable, and I didn't really know what it meant.
I wasn't yet in touch with language and myself.
And, you know, you're 19.
You're just and
I thought it meant weak
and I didn't like that, but I didn't say anything.
And then I did my work and then I saw the movie.
When the movie first came out in Hollywood, I decided to go
see a late night screening of Halloween when it was in theaters.
And I remember
standing in the back of the theater, sitting in the back of the theater.
And right when Laurie leaves the house, when her friend's been choked
and she checks on the kids and then she leaves the house, she crosses the street.
It's that Steadicam intercutting Laurie's POV.
Laurie Laurie's POV. Laurie The house.
Laurie House.
Laurie Halfway across the street and it's a long sequence.
A woman stood up in the middle of that theater and went,
Don't go in there.
There's a killer.
And there and I realized in that
moment, that's what John was saying to me.
That was what all of the previous
minutes of that movie were to lead up to that
you and the audience cared enough about Sweet.
Laurie Strode
that you don't want her to be hurt.
That vulnerability.
And that was the moment that I realized what he was going for
and why all these years later,
you still care about Laurie Strode.
Thank you so much.