Ok,I found this Interview with bill on his Acompolishs on the web with some dude and had to out it up for you all to see....Hmm he is so hott.

BILL MOSELEY

By Mike Watt

Bill Moseley has gone down in horror history thanks to his role as "'Choptop'" in The Texas Chainsaw Massacre Part II. For those who haven't yet seen this over-the-top masterpiece, "'Choptop'" is a babbling, gibbering, completely psychotic cannibal killer with an exposed plate in his skull, brother to the chainsaw-wielding Leatherface. Because of the popularity of the character and the movie, you often hear his catchphrase "Lick my plate!" shrieked so often at horror conventions.

Moseley has had memorable roles in other genre films since Chainsaw 2. Eagle-eyed fans can catch him as the "Deadite Captain" in Army of Darkness; he gives a fun performance as a psychotic cyborg in Charles Band's Crash 'n Burn. Coming up, he'll be seen as "Otis Firefly" in the eagerly-awaited Rob Zombie-helmed House of 1,000 Corpses. Moseley the actor is a fun guy to talk to. He's giddy and funny, talks a mile-a-minute and never once tried to kill me during the course of our conversation.

HIB: Long before Chainsaw 2, you had a history with The Texas Chainsaw Massacre.

BM: "I saw Chainsaw on the tail end of a double bill with Enter the Dragon. This was back in '74 in Boston. There were just a bunch of inner city folk like myself on a sunny day inside watching these movies. We hooted our way through Enter the Dragon. And as soon as the first frames of Chainsaw started, a hush just fell over the theater. And I think every single one of us thought 'holy shit this is real'. Something amazing had happened and I don't think another peep was uttered for the rest of the movie. Just this pall fell over all of us. I gotta say that it scared the hell out of me. I'm a Yale Graduate, and I took a look at that and was deeply disturbed. One of the things I did to exorcise that bad feeling, I figured if I saw the movie another dozen times or so, it would become so familiar, I would be able to dismiss it. I could find the zipper in the costume and start pick it apart, see it as just a movie. So I did look at it another dozen times over the next couple of years and all it did was drive that wedge deeper into my brain. I was never able really to come clean with it."

HIB: It just stayed with you.

BM: "Absolutely. Then, I was working on a ranch one summer in Wyoming, taking a break from Manhattan. There was a ranch hand, this kid who was the adopted son of funeral home owners in Genosea, Illinois. He was sixteen-year-old kid and he was always wired on some kind of sugar - Mello Yello, or Popsicles, or Oreos - he was constantly jamming sugar, and it would drive him insane. He would go into these rants which I would call the "sugar deliriums". And one day we were out chopping wood in the old corral or whatever, he was just kind of squawking and chirping or barking - kind of a tourettes thing - then all of a sudden, amidst all this gobbeldy-gook, I make out 'Texas Chainsaw MMMManicure', then just sped on with other stuff. I heard that and said 'Whoa', and I went back to my little bunkhouse on the ranch, it was called the Box R Ranch in Coro Wyoming. I went back to my bunkhouse and wrote out a little scenario called The Texas Chainsaw Manicure, about a woman who goes to a beauty parlor and ends up having her manicure administered by Leatherface. I got back to New York after my stint on the ranch and I gathered up some pals. We worked with a woman named Lori Frank who ended up directing it. We pounded out a five-minute scenario, went out and took over a Staten Island beauty parlor and shot the The Texas Chainsaw Manicure, with Leatherface and the whole deal. I had a cameo as the Hitchiker at the very end. I actually went out and bought myself a lump of headcheese. When my wife gets into the car with this beautiful manicure courtesy of Leatherface, I go 'Hey, that's great, honey. We should celebrate with some head cheese!' And then I actually licked the head cheese in a couple of takes - which was really a bad idea.

"I managed to get a copy of it to [Chainsaw director] Tobe Hooper. Tobe took a look at it, loved the movie and loved my performance. And that was in '84. And it wasn't for a couple of years until they started casting in '86 for Chainsaw 2. He remembered my performance, and gave me a call. I never auditioned for the part. I got hired on the basis of the Chainsaw Manicure. I guess it was destiny in progress. There must have been some god - I don't know what he looks like - to get me into Chainsaw 2."

HIB: And how was working on Chainsaw 2?

BM: "It was beyond my expectations. I had been in a couple of low budget pictures before, but nothing along the lines of a Cannon big budget picture. So it was a lot of money. More than I was making as a freelance writer in New York. I was making about two-fifty a week, on average. All of a sudden I was making scale plus ten, which was about eighteen-hundred bucks a week. So that was great. The minute I got off the plane, [special effects and make-up master] Tom Savini and the make-up gang shaved my head. So I was completely disoriented. Somewhere between a marine and a moonie at the airport. They put me in a head mold and they cast my body, which is what they used to make the Muppet - the mummified brother body that I carry around with me. I was kind of - Bill Mosely as we know him was gone for about eight weeks there."

HIB: Did you find it odd to be in 'Choptop''s head for that long?"

BM: "No, actually, it was pretty comfortable. I didn't take it home. I didn't go out and kick animals or chase anyone down and shred them with a straight-razor or a claw hammer. But it was pretty easy. I had that connection with "'Choptop'". It's funny. It's something that I've never really lost. [The voice] helps me in parenting my two daughters. They're happy kids."

HIB: Any bizarre things happen on the set?

BM: "Bizarre? Well, time was pretty strained [because] Cannon Films was threatening to pull the plug. I think the last day we shot was July 3rd, which spilled over to about noon July 4th. That was a twenty-four hour day. So, yeah, we're all dragging a little bit by the end there. The scariest part of the day for me there was we shot I think one of the last - if not the last thing - was running up the stairs emerging from the chainsaw lair onto a replica of the Materhorn, while I was chasing Stretch. The camera was at the top of the tube looking down at me and there is a tremendous explosion - the cook had a hand grenade which blew up the room. They had basically made a large bomb with a lot of debris in it - kind of a 'dirty bomb', I guess. And it was made by crazy, exhausted Israeli pyro-technicians. And my job, on action, was to run past the bomb, scamper up the stairs and then the bomb would go off, so that there would be enough explosion that the camera could see it while I ran up the stairs. This frightened me. I figured that maybe this was a snuff film and that they were going to blow me up - all my stuff was in the can, so they didn't really need me anymore. They could then say 'see the movie where Bill Moseley was blown to smithereens'. Wasn't someone killed in BEN-HUR? A guy gets dragged by a chariot and then trampled by horses. That's what worried me. I was scale-plus-ten, so I have the feeling that they could have afforded [to lose me].

"I did find the energy to scamper up the stairs before the bomb detonated. So I made it. And I was very relieved. I thought I really dodged the bullet, you know? And then it turned out that something was wrong with the shot. I don't know if there was a hair in the gate - oh, the explosion wasn't big enough. So they needed to make it into a bigger explosion so we had to do it again. Of course, I'm talking to you today, so obviously I wasn't killed. But the last day was sort of like the fall of Saigon."

HIB: "'Choptop'" felt very much like the insane extension of Edwin Neal's "Hitch-hiker" character from the original.

BM: "Ed is absolutely 99% of the inspiration for 'Choptop'. I have always thought that Ed's work in the original Chainsaw, and has definitely creeped me out as much as any other performance. All of those performances, Jim Siedow, Gunnar Hansen, they were just really frightening."

HIB: You've recently been paired with Ed at various conventions.

BM: "Yeah. Particularly this last Fangoria convention in New York. I had my hands full just keeping an eye on Ed. I was never sure if he was going to hug me or throttle me. What was great was, sitting between us was a contingent from a magazine and soon-to-be motion picture called Are You Going. I guess they're trying to sell the magazine in order to shoot the feature of the same name. I think both Ed and I are slated to be in Are You Going as soon as it gets going. So it was nice to be sitting with a potential employer between us. It connected us in a positive way. Then on Sunday, Ed and I took the stage as a brother act. And really had a good time. That was the first time I'd had the opportunity to meet Ed. And he's a great guy."

HIB: How did the fans react to seeing you two together?

BM: "It seemed like the fans - I don't think there were any questions about our relationship to Chainsaw one and two, or the history of how we got the job. I was kind of surprised, actually. I figured that there'd be someone to wonder why Ed wasn't in TWO, or what I thought of Ed as an actor in one form of another."

HIB: From Chainsaw 2 you went on to Savini's remake of Night Of The Living Dead.

BM: "I have good memories from when I played Johnny in his version. Tom was one of the only directors I've ever worked with who let me take a shot over again. I don't know if that's such an exciting story, but when I'm in the graveyard with Barbara, at one point I'm standing behind our mother's gravestone, and I'm pestering Barbara. At one point, I reach up from the gravestone and grab my own throat and go 'No, mother!' and pull myself down. I had that idea on the set and it was something that I just hadn't gotten right. It was okay for camera, and everything. Everyone was planning to move on. And I said to Tom, 'I just need to do that one more time. I know I've got a good take in me.' People were starting to take the lights down again, and he ordered them to put everything back and allowed me to do it one more time. So that was great. And that's what you see in the movie, it actually worked out."

HIB: Was the cast privy to a lot of the tension that was going on between Tom and the producers? [Note: NOTLD '90 has become legendary because of the problems inherent between Savini and the producers who had also worked on the original film. There is conjecture on the part of the fans that the producers did not want Savini's remake to overshadow the original classic Night Of The Living Dead and hampered his production.]

BM: "I was there for exactly one week. The first week. So I wasn't there for a lot of [the problems]. I got a rough overview - there were a lot of watchful eyes on Tom because this was the chance for John Russo, Russ Streiner, George [Romero] to finally capitalize on their masterpiece, and have absolute ownership guaranteed and the monies owed them. [Note: Russo and Romero sold the rights original Night Of The Living Dead, which almost immediately went into public domain. NOTLD '90 was made so that the producers could gain copyright over their storyline.] So it seemed like Tom was in a precarious position in terms of - not only in terms of them making sure that he never fell behind or cost them extra expenses, but also George had already directed this thing and it was a classic. So there was nothing in it for George to direct the remake. It seemed that they needed a guy who, if things didn't turn out, they could pin it on him.

"I was just so happy to get the job and be working with Tom Savini again. He sent me a copy of the script and said 'Pick any character that you want'. I went through and started picking characters, the Tommy Toles character the Billy Butler character, ones that had more scenes, longer time and therefore were going to make more money [laughs]. That was my criteria for selecting a part. And he called me back and said 'Sorry, I meant, pick any character, just make sure it's Johnny'. So one thing - Russ Streiner did a fantastic job. Another hard act to follow. So the first thing I did was run to my local video store and rent Die Monster Die, just to get my Boris Karloff accent down. So I could really nail 'They're coming to get you, Barbara'. And I practiced it. I really practiced his genteel English lisp, or whatever he does. And I really got it down. That was my preparation for the role. That was a big part of that - to reprise that role. And be out of make-up for a change."

HIB: That's right. You actually show up as yourself, not covered under pounds of latex.

BM: "It was nice to actually just be a human being for a change. And a victim. John Vulich and Everette Burrell made that nice dummy for me, which my merciful stand-in for the head-against-the-tombstone gag. There was a debate whether to use a dummy and a real tombstone, or to use me and a fake tombstone. And I think the shot itself is just awesome. It's just so powerful. And also, wrestling with the zombie, that was pretty much unchoreographed. We did a tiny bit of choreography, but Tom just wanted us to go for it. It was a little dangerous, since we were surrounded by marble tombstones. But I think the fight looks great too. That dummy comes back at the end when the zombies break into the farm house. They didn't want to pay to have me come back for that two-second shot. [laughs]"

HIB: So, over-all, no complaints?

BM: "I just saw the DVD a couple of days ago, and I just realized that my name is mis-spelled in the credits. I have a habit of not having the greatest relationship with line producers and things like that. There was one person who was notorious for shaving minutes - we were all getting paid scale again, and by saving money here and there this person might have made more money or received a bonus. I was one of the ones who stood up at one point and said 'hey, wait a minute', so that might have branded me a trouble-maker. I know that in contracts, it's important to have a clause where you say 'It's important to spell my name right or else it's a couple of g's penalty'. But I don't really have a specific story of back-room stuff."

HIB: Do you think 'Choptop' is the character you'll go down in history for?

BM: "'Choptop' is far-and-away [what I'm recognized for]. But I'm hoping that when House comes out, I'll be pegged for Otis. He's such a classic, memorable character. It was great. It was 'Choptop' that got me the part. Once again, thank you, 'Choptop'. It was in '99, I was asked to emcee an in-house horror award show at the Universal City walk, here in Los Angeles. Basically Univeral's little show to give awards to its own, whether from Unversal Horror Classics, or The Mummy, or Universal stuff. I was asked by a friend of mine who knew I had a horror history to be the emcee. And since I had done the [short film] All-American Massacre written and directed by Tobe's son Tony Hooper. Part of that was meeting a make-up guy named Todd Bates. Todd was a Chop-top fan who knew that make-up cold, so he was able to put the make-up on me for All American Massacre. I asked Universal if they'd like me to come as Chop-Top and they said that'd be great. Among the award recipients was Rob Zombie, because he had designed a maze for the Haunted City walk at Universal. When he came out to get the award, when I was there to hand it to him, I guess it freaked him out. He's a big Chainsaw fan, and a 'Choptop' fan. We talked a little bit backstage after the show. Maybe two months later, January 2000, his manager, Andy Gould called up and told me that Rob had gotten this script approved - greenlighted - by Universal - and would I think about or would I want to be in this movie? And I said 'Let me think about it - Okay!' Didn't take long!

"So, according to Rob I was the first person to get hired for the movie. We didn't roll until either May or June of 2000. This was going to be the big Universal Horror Film, we shot it - the house itself was from Best Little Whorehouse In Texas - the "chicken ranch' on the Universal Tram Tour. That became the House Of 1,000 Corpses. We shot a lot of it on the Universal Backlot. And as we shot, all these trams were going by literally twenty feet from the location. We became kind of part of it. My character is 'Otis'. And Otis is the evil genius artist of the Firefly Family. I'm a much harder, slower, meaner guy than 'Choptop'. Again, I am kind of an evil genius, but I'm not as twitchier-skitchier as 'Choptop'. I'm sort of Rob's nightmare of Johnny Winters. I have long white hair, cowboy hat. I'm kind of a backwoods ass-kicker, who happens to be into making sculptures out of human beings."

HIB: The Firefly Family is Rob's version of "The Chainsaw Family" then?

BM: "A cross between 'the Chainsaw Family' and the Marx Brothers. It's pretty intense. The only footage I've seen is the footage I've looped [for dialogue]. That looked fantastic. Rob also had a great set designer named Greg Gibbs, and the two of them really worked hand-in-hand to bring Rob's colorful imagry to the screen. It's visually very powerful. Loud colors. Most of those old dark house horror movies are usually very drab, not much color to it. But this movie the colors are very colorful. They really add to this mutant carnival atmosphere to this movie. And there's a lot of red. Heh, heh, heh.

"I know it's going to be great. Even if it isn't. [The cast] actually showed up to a Fango con in Pascendena in costume - me, Karen Black who plays the matriarch of the family, and Rob, Sid Haig - who plays Captain Spaulding in weird clown make-up. We really fired people up at the convention. And people are so excited about this movie because not even for what it may or may not have for them. But here's someone like Rob Zombie saying 'it's time to get back to our horror roots. Enough of this corporate horror crap.' I think just the idea or attempt alone has got everyone really really excited. It's not going to be a Scream Or Urban Legend Or I Know What You Did Last Summer. This is really gonna kick some butt."

HIB: Sounds like a good time was had by all.

BM: "I had the most fun since Chainsaw 2 on House Of 1,000 Corpses. I'm an older, wiser actor since then. I've been through the Hollywood grinder and been ground quite a bit. Showting up and just because it was a totally fun role. I didn't know if Rob was going to be kind of a rockstar guy who wanted to be a director who couldn't do it as well as others. But as it turned out, Rob has a lot of experience doing his own videos. He really knew the technical side of things. He knew the shots, the coverage, he had all that stuff down. And then working with the actors was totally awesome because he's such a fan. Karen Black, Sid Haig, Tommy Toles, Michael J. Pollard, me, the other guys - this great character actor named Dennis Pfimple, who plays 'Grampa'. A lot of different real characters. Rob was a fan of a lot of our work. He came at it from that point of view. He also wrote the script so he was able to unlock some things, certainly that I had missed. That was really helpful. And he did it in a really cool way, so that it felt like collaboration rather than an order. I loved the guy. I thought he was fantastic. I thought the script was cool, and when we shot it, it was a lot different on the set than it was on the paper."

HIB: Do you think that was part of the problem with Universal deciding not to release it? [Note: it has been announced that MGM will be releasing House Of 1000 Corpses around Halloween with an R-Rating intact]

BM: "I think that was Universal's main complaint, if you will. They had certainly read the script, they had greenlighted the script and put in whatever money they had put into it. We shot it under their nose on the backlot of Universal with executives on the set pretty much every day. Maybe it was how Rob put it together or something, but somehow from the transition of script to rough cut apparently some magic happened that freaked them out.

"I'm not sure how much [of the reticence to release it uncut] had to do with outside events like Columbine or the moral crisis in the Clinton White House or the Presidential campaign that was heating up between Gore-Lieberman or Cheny-Bush, each one saying 'I'm more moral than you are'. There was also an R rating scandal that had Washington head wagging their fingers at studio execs for selling R-rated material to children. So there was a lot of political charge in the air. The fact is that it went beyond what Universal was expecting. I think Universal was looking for a Scream Or I Know What You Did Last Summer that they could put into two thousand theaters, it would give the kids a good scary ride. A nice roller coaster that has some nice twists and turns. I don't think they were ready for just an all-out rough, raw, kick-ass back-to-the-seventies type horror film. But it's Rob Zombie, what did they expect? I think they were lulled by the fact that he's a Todd McFarlane action figure. Maybe they forgot that this was Rob Zombie and he ain't taking any prisoners."

HIB: American studios' treatment of horror movies has changed. It used to be that horror movies were part of their staple releases, particularly around Halloween. Now we have to wait years for watered-down Halloween and Friday The 13th movies. It's odd.

BM: "Obviously something happened between the seventies and now. And I think there was this creeping censorship that manifested itself in a certain kind of subtle and insidious way. I've found out - and you tell me if I'm wrong - but I've found out that big newspapers in this world of consolidating media, most newspapers won't carry ads for movies worse than R-rated. If that is true, obviously, if you get something stronger than an R-rating, there goes your advertising. TV and media won't carry anything greater than an R-Rating. You have theater chains that won't carry anything harder than an R-rating. You've got blockbuster who reserves the right to edit their own versions of the movies it rents. I don't think they'll handle anything stronger than an R-rating. So that puts a lot of power in the hands of the MPAA, the ratings body. And who are they? What gives them the moral authority to figure these things out. Because if they decide that this is going to be NC-17, that's pretty much a death-blow to certain movies. Especially with the cost of movies they've got to get a wide release to make back the cost of their production money. So you put it all together, and how much of that is accurate I'm not sure, but you kind of get a general idea through capitalism that that's where the censorship is. No one's coming out making a moral judgement because that's too obvious. They're doing it in a lot of subtle ways that end up hurting the pocketbooks of the filmmakers. Forcing them to let go certain gory images that are to heavy for the MPAA. So you end up getting sanitized gore - if there is something like that. Sounds like an oxymoron. You get MPAA-sanctioned gore which is no gore at all."



Visit Bill Moseley on the web at www.choptopsbarbque.com and at allamericanmassacre.com.

It has just been announced that he will be appearing in the independent horror film DEAD PLANET with Debbie Rochon.








<c> Order of Darkness 'Nadiya''Damien' 2004 <c> House of 1000 Corpses Rob Zombie 2003