The Last House on the Left

The Last House on the Left – behind the scenes featurettes has a couple of new featurettes for The Last House on the Left. The first one includes interviews with Wes Craven and producer Sean Cunningham:

The second one has some behind the scenes footage, including a couple of really cool fight scenes between Garret and Tony Goldwyn:


Interview with Sara Paxton (The Last House on the Left)

SCI FI Wire interviewed Sara Paxton (Mari in The Last House on the Left). A couple of quotes after the jump:

Starring in Last House was no doubt an opportunity for you to show what you can do as an actress, but what else about it compelled you to audition and sign on?

Paxton: Definitely Wes Craven. He’s an icon, and that was interesting to me. The role, the script. What really sold me, though, was when I met the director, Dennis Iliadis. I hadn’t seen the original Last House on the Left, but I did watch Dennis’s movie Hardcore, which is an independent film that he did in Greece. That movie completely shocked me. Then I was like, “Oh, OK, he means business. He’s a good director. Where do I sign?” Reading a script like that, and a remake, of course, it’s so touchy. You don’t know where it can go. It can be really good or bad, but maybe with good actors and a good director it can be something special. And I really think that’s what we ended up doing, something very special.

How hard was it for you to be in the presence of Garret Dillahunt before and after shooting those scenes in which he terrorizes you?

Paxton: I’m not one of those actors where, if I have to hate you, I’m really going to hate you in real life. That’s not something I need to do. And Garret was so nervous. He didn’t want to hurt me. He was worried that I’d start crying or get emotional. He was the scared one, the one that backed away, and finally I came to him and said, “Don’t worry about me. I’m a big girl. I can handle it.” If anything, I was worried that he wouldn’t be rough enough. I was worried that the scene wouldn’t come off real because he wouldn’t throw himself into it completely. But we had our talk and we came to an agreement.

And since we have you on the phone, we’ve got to ask about Mr. Ed. You actually shot a Mr. Ed pilot with Sherman Hemsley and Sherilyn Fenn?

Paxton: Gosh, I was about 15 when I did that [in 2004] with Garret [Dillahunt], and Sherman Hemsley was the voice of the horse. I think it could have been a good idea. With the horses, it was a lot of work. I remember at least five days out of that shoot where the horse got loose and trampled over some lights, ran through the set, knocked down craft services. The horses were going a little crazy. So maybe that was too much of a problem.

New Last House interview with Garret, Winter’s Bone confirmed

Garret talked to recently and apparently he is already filming Winter’s Bone in Branson, Missouri. The film is directed by Debra Granik, with Jennifer Lawrence and John Hawkes (Deadwood’s Sol Star) starring. Here is the synopsis, taken from this article:

“Winter’s Bone” centers on 16-year-old Ree Dolly, who hails from a large family of Ozark meth cookers. When her no-good father goes missing — after using the family home as collateral to post bond — Ree must either bring him back alive or prove that he’s dead. Otherwise the authorities will seize the family’s house, throwing Ree, her two younger brothers and their mentally ill mother out into the cold.

And here is what Garret said about filming The Last House on the Left:

Bloody-Disgusting: How did you land the role in Last House?

Garret Dillahunt: The director, Dennis Iliadis (although I like calling him by his proper Greek name, Dionisius) had seen ASSASSINATION OF JESSE JAMES, apparently, and called me in for a meeting. I don’t know what he saw in Ed Miller that made him think I could pull off Krug, but I’m glad he did. I had to meet with Wes’ approval after that, and then we were done.

BD: Were you familiar with the original before you took the role? When did you see the original film?

Garret: I wasn’t familiar with the original prior to shooting. Particularly surprising since I like so many films from the ’70s. BADLANDS, ELECTRA GLIDE IN BLUE, SCARECROW… always on my favorites list. Film is a lot like literature in the sense that I feel like I’m always reading yet there are these great, unexplainable holes in my library. Not much Faulkner, for example. It’s the same with film. There are just so many I haven’t gotten around to, and yet I see a shitload of movies. We all watched THE VIRGIN SPRING together, though. And I thought that was pretty amazing and ahead of its time. In some ways we owe more to that film. I watched the original LHOTL later, after I was free from the fear of being improperly influenced by it.

BD: The original is pretty brutal and hard to watch, do you feel that was the goal of the remake too? What do you think they were trying to accomplish and what were your goals?

Garret: Was that the goal of the original? To be brutal and hard to watch? I’m not sure, I guess, what our goal was other than to tell the story in our hands well and true and complete. The result is certainly brutal…relentlessly so. I felt like I’d been mugged after the first screening. I’ll say I think it is certainly a timely film (again). People are angry right now in this country. Good, hard working people feel like, through no fault of their own, outside forces have come into their lives and torn them apart. They feel violated and disrespected and powerless. Those forces are given a face with Krug and Co., and this normal, American family decides to take some power back. That decision is not without cost–psychic and otherwise.

BD: Can you talk about the dynamics of the father and son relationship you have with your son? And maybe talk about if you see some connection to the Collingwood family’s relationship.

Garret: Well, Krug and Mr. Collingwood (Tony Goldwyn) have both fathered children. There the similarity ends, pretty much. Heh. I really appreciated the inclusion of this storyline in the script. It fleshes out the character so much and, actually, made it easier to play him as I felt sorry for him. I think he is a guy who’d benefit from LOTS of psychotherapy. He loves his son, but doesn’t know how to raise him properly. He has twisted ideas about what being a man is. He’s quite intelligent, yet makes horrible decisions. He has been beaten up by life and has responded to those setbacks in the most unhealthy of ways. Everything is a slight..a personal attack that he cannot get around. When we meet Krug, he is already lost. He just doesn’t know it yet.

Read the rest of the interview at