Obviously, when you're talking "great" slasher films, you're letting a good deal slide, but I maintain that there is an art to getting the genre's Agatha Christie-inspired formula right. Feel free to swap out "art" for "shamelessness". And if you're going to be that way, feel free to read "right" as "wrong in every respect".

But as a guy who grew up in the '80s, I think there's something incredibly honorable about a slasher movie that goes about its business without winking to the audience or skimping on the requisite gore/nudity for fear of a protracted ratings board tangle. True, most of my favorite film critics believe the late '70s/early '80s slasher boom nearly ruined cinema, but just as frustrated housewives will always have soap operas, I think slightly-to-considerably damaged men should never go without two or three no-nonsense stalk-and-stabs a year. There's nothing wrong with trash that knows its trash as long as it's not too self aware: SCREAM already autopsied the genre; there's nothing left to examine save for one's lack of originality.

Ten minutes into the immensely entertaining MY BLOODY VALENTINE 3D, it's clear that Patrick Lussier - who cut SCREAM and its two sequels - understands this. The dialogue is boilerplate, the premise perfunctory, and the cleverness reserved for the kills - which are damned rousing when compared to the original MY BLOODY VALENTINE. And it's in 3D. Good 3D. Maybe not Cameron 3D (or even Zemeckis 3D), but certainly better than METALSTORM 3D. And then there's gun-toting Betsy Rue scampering about in absolutely nothing for three or four minutes. It may not be the scene of the year, but it's definitely the scene of right now. And it's particularly noteworthy for its lack of mean-spirited exploitation: never once do you feel like Ms. Rue isn't in control of her portrayal.

I had no opinion of Lussier as a filmmaker prior to the BNAT screening of MY BLOODY VALENTINE 3D because I'd only seen DRACULA 2000 (which left no impression); now, I want President Obama to appoint him Slasher Czar (with screenwriters Todd Farmer and Zane Smith - and special makeup effects designer Gary J. Tunnicliffe - as his advisers). And if you go into MY BLOODY VALENTINE 3D with the proper expectations, I'm confident you'll agree. This is great, bloody work.

When I sat down to talk with Lussier at last week's press junket, he was in a great mood. I'm sure the BNAT reception for his film contributed not a whit to this.

Mr. Beaks: No one had seen this movie when you brought it to Butt-Numb-a-Thon. Harry hadn't even seen it yet.

Patrick Lussier: We literally finished it two days before.

Beaks: I remember you saying that. You hadn't even test screened it?

Lussier: We never tested the film. Because of the 3D process and because of the complexities of getting the f/x down, we did not have a version we could screen until that screening. So that was the first time. But the studio was confident in the film. They knew it worked; they just didn't know how well yet. So that was very brave of them to give this film a trial by fire. We decided that if we're going to screen this film, we're going to show it to the toughest audience in the middle of the night.

Beaks: Tough, but an audience that really loves movies. And one that knows how to view them in the appropriate context.

Lussier: That was so important, too. It was an audience that would welcome us with open arms - but don't disappoint them! And we were confident that we weren't going to.

Beaks: What I really love about this movie is that it feels like it came straight out of the '80s.

Lussier: That was very much the intent.

Beaks: It was so refreshing to get one of these movies without that glossy, updated feeling - aside from the 3D gags of course.

Lussier: I graduated from high school in '82, so I remember the heyday of the slasher film very well. And then having cut the SCREAM movies and HALLOWEEN: H20, I was very aware of, and had the chance to experience, the slasher film mechanics: how they work, and what are the dynamics of telling that kind of story; what do you need to make it work in terms of reveals and the mystery element, and in terms of the other components. I feel really fortunate to have worked with Wes Craven and Kevin Williamson on those series of films. And so when it came time to do this film, I'm was so thrilled that it had no supernatural element, that it was brutally straight ahead. I was so exciting to be part of that, and to resurrect this amazing killer that was allowed to disappear. Thanks to Mike Paseornek at Lionsgate, who I believe was an executive on the original film. We knew that this character deserved another chance. I was honored to do that.

Beaks: And in 3D. When you were going into production, was the fact that you were making a 3D horror film kind of liberating? Were you thinking to yourself, "Fuck it, we're just going to have fun!"

Lussier: That's a great way to put it. That and the title of the movie itself: it's called MY BLOODY VALENTINE, not MY CANDY-ASSED VALENTINE. That's saying, "We are going to lean as far over the edge as we can without falling in." Because we owe it to the people who see this movie to do that; we owe it to the fans of the genre to do that. If we don't, then we're not doing our jobs. And the studio completely embraced that. It was great to be able to make a movie that was "fun", that was designed to be a good time at the movies, a great Friday night. That's what we wanted it to be. To really harken back to that great time when video was just starting to take off, when you still went to the theaters to see these movies and it was a huge deal. That's what we wanted to do.

Beaks: And to push so far. Watching the film, I kept asking myself, "How did they get away with this? Did they get away with this?" And you said that when you showed it to the ratings board you gave them more gore and nudity than you expected to use.

Lussier: Absolutely. With SCREAM, we went back nine times to get an R-rating. It was a real challenge to do that. And having gone through that process, and having seen what we had to do to that film... ultimately, there was maybe a minute that we had to cut out of it, but it was a minute of key material, and Wes's vision was probably compromised because of it. Not wanting to go through that again, and having done this a few times, I knew that if we showed them something more extreme, that if we were willing to cut back to the "hero" version of the film, that they would respond as they responded. But the thing that happened is... they saw the movie in 3D and they got into it. From what I hear, they were actually enjoying the film and laughing and jumping just like anybody else. That was refreshing to hear because you don't really know what happens in the MPAA. Are they all wearing cloaks and slaughtering goats? The fact is they're just people doing their jobs. We had someone there watching the process, and it was pretty amazing to hear that - and to find out that they were going to let us release the movie that we wanted to.

Beaks: I know that's the trick that some people use: to give them more than you think you're going to need. I wonder if they get wise to that at some point?

Lussier: I think you're being judged strictly on face value. And you have to be: they don't have anything else to go on. They don't know what you're willing to do yet. Ultimately, if they would've given us an R rating on the more extreme version, we would've done a version that would've been slightly more extreme, but not as extreme as that version was. SCREAM 2 is a great case in point: we trumped up that movie like you wouldn't believe. We put so much more violence and blood and gore in that, and got the R rating first time out of the gate. We were like, "Okay, how does that work?" And then we backed it off to the version of the movie that Wes wanted anyway because that version was too much.

The ratings board is a strange thing. When you look at a movie like FELLOWSHIP OF THE RING getting a PG-13 with severed heads being lopped over a castle wall, and then other horror movies having to fight just to get an R... that doesn't really track to me. There's a random quality to it. So when there's a random quality and the guidelines aren't clear, you're not totally sure how to play in that environment.

Beaks: Further to this ratings thing, I want to talk about the scene, which is Betsy Rue just... going for it. (Laughs) That's the bravest thing I've seen in quite some time.

Lussier: That's Betsy. In the script, she was always naked in the hotel room, and then she put something on and ran outside. But when she came in to audition, she was under the assumption that the entire thing was naked. So Todd [Farmer] and I went and spoke to our respective wives and asked, "In this situation, what would you do? Would you put your clothes on or not?" And both of them said, "Fuck that! I wouldn't put my clothes on! I'd go out there and pop a cap in his ass!" So we went to the studio and said, "What do you think if...?" And the studio said, (Excitedly) "Really? Would she do that?" And I said, "Well, I think Betsy's game, and I think it would be fantastic for the sequence and make it so much fun." And to Betsy's credit, she does an amazing thing: by the end of that sequence, you forget she's naked. She's so intense, and her performance is so good, and you're so hooked into her terror. Not a lot of people would do that, but she's absolutely fearless. And an incredible joy to work with. She was awesome. I just have nothing but admiration for Betsy.

Beaks: How long did it take to shoot that scene?

Lussier: Three days. Everything shot at the motel was three days, and then we shot one day on a stage for the interior of the manager's room. We actually built the room where her bed is. So I guess a total of four to do that whole piece de resistance.

Beaks: I heard at the premiere that you had a list of kills that you were working from?

Lussier: Yes. The document of death. In the original film, the miner kills with a variety of weapons: he uses a big drill, a nail gun and all sorts of things. Since so many of those things have been done after that, we wanted to make the pick his Excalibur. This was weapon of choice, his lightsaber that he was going to use. But at the same time, we were like, "Okay, how many ways can you kill somebody with that?" And Gary [J. Tunnicliffe] was really quite brilliant at coming up with several ways. His perverse sense of anatomy, and how it comes apart... we would all sit there and puzzle over it. "Hey, we could do it like this? Or like that?" All of these terrific ways to render someone to pieces with a pickaxe.

Beaks: It was very inventive. Now whose idea was it to bring the great Tom Atkins back?

Lussier: It was actually a novelist friend of mine, Tom Piccirilli. When we were going to shoot [in Pennsylvania], he was like, "You know... he lives there. Tom Atkins lives in Pittsburgh." And I was like, "I love Tom Atkins. HALLOWEEN III is awesome! THE FOG!"

Beaks: NIGHT OF THE CREEPS!

Lussier: NIGHT OF THE CREEPS! How is that not out on DVD? We kept on asking him the same thing. That's his favorite movie. So we met with Tom, and he and I... it was like we'd been friends forever. I said, "I so want you to do this." And he said, "I so want to do it." He was the first guy we did makeup tests for, and we kept having him come back because we just wanted him there. He was so much fun. There should be a great extra on the DVD featuring Tom.

Beaks: Are you already planning for a sequel?

Lussier: If the movie gods shine on us and we are allowed to do so, Todd and I definitely have continuing adventures in mind. We have new twists and turns to be revealed even though you may think all things have happened.

Beaks: But are there more ways to kill someone with a pickaxe?

Lussier: Well, we have our top men working on it right now. (Laughs) Yeah, that one we're going to have to figure out.

Beaks: You're out to engineers and the like?

Lussier: Yeah. We're getting computer renderings of a pickaxe going through a human body. "Oh, you can do it like that? Well, how many can you do at a time?"

You heard it here first: multiple pickaxes for MY BLOODY VALENTINE 3D 2. Title's gonna need some work.

MY BLOODY VALENTINE 3D is out Friday, January 16th in theaters across the country. Do not see this movie in 2D.

Faithfully submitted,

Mr. Beaks