And the focus just racked from my eyeball to the people to the saws - and the idea popped. And I was just standing there in front of an upright display of chainsaws. There were just so many people to go through. And those big crowds have always gotten to me. It was around holiday season, and I found myself in the Ward's hardware department, and I was still kind of percolating on this idea of isolation and such. I had been working on this other story for some months - about isolation, the woods, the darkness, and the unknown. TH: I was in the Montgomery Ward's out in Capital Plaza. If one sees the American Nightmare first and Chainsaw after that, you'll see it in a different kind of light.ĪC: How did you come up with the idea for Chainsaw ? And then there was Watergate, and out of gas. The influences in my life were all kind of politically, socially implanted. But what they didn't know is that in the basement is a crypto-embryonic-hyper-electric presence that managed to influence the house and the people in it. Most of it takes place in a commune house. It was about the beginning of the end of the subculture. Like a script on a napkin, improvisation mixed with magic. It's kind of vérité but with a little push. I did a lot of commercials in Austin, we had a commercial house that I was part owner in called Film House. I didn't know that much about the system back then, but I knew that you needed to set off a big skyrocket - have a star or something. I think that was probably my first glimpse that things could be different, things could be done outside the Hollywood system. It was this silent, basically no-dialogue, short subject that was nominated for an Academy Award. TH: I saw at the State Theater a long time ago a short subject called "Skater Dater" by Noel Black. Austin Chronicle: Where did you get the crazy idea that you could make a movie here in Austin?
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