Hailing from London, Anthony Hickox started out as a club promoter, but found himself writing and directing his first feature film after arriving in Los Angles in the late 80’s. It is said that Tony met producer Staffan Ahrenberg after crashing into his car. Tony talked Staffan into accepting a script as payment for the damage and Waxwork was born three days later. Eventually, the film found it’s way to a studio and it is now credited as one of the first self referential horror films. Hickox would then go on to make Waxwork II: Lost in Time, Warlock: Armageddon, and Hellraiser 3: Hell on Earth just to name a few.
Hellraiser 3 has a backstory as colorful as Hickox’s entry into the film world. The first in the franchise to be filmed outside of the UK, the first in the franchise to show Pinhead’s human side, the first film to be released under the Dimension Films banner, the first horror film to utilize CGI and the first Hellraiser to not be fully endorsed by Clive Barker, it would seem that Hickox had a lot going against him, but he still turned out a fun, gory film that holds up remarkably well. Imbuing the film with his personal film techniques, Hellraiser 3 is a love it or hate it entry into the franchise, but I find it to be as wonderfully unique as Hickox proves to be in this interview.
1. Hell on Earth is the first Hellraiser film to be shot in America. Did you find this to be an asset to production or did you worry about changing up the overall aesthetic of the film series?
No! I’m a Brit who loves American film making. Thats why I came here! The opportunity to bring Hell to a new audience was a privilege.
2. The Boiler Room and the character of JP are very American in their overt masculinity and, in ways, a hard rock version of Patrick Bateman. Did you have any specific influences for either of these?
I ran night clubs in London. Love that this was set in one. As for Munro. He was Petes alter ego! I just wanted to bring him to life. And live the guy all men really want to be! Sorry!
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