Below is part two of a three part installment in which we present the interview with Michael Rooker.

Q:  (Can you share with us) how the make-up works against you physically. How where able to ignore the make-up and keep it from ruining your performance… or we could ask another question...

(Laughter)

MR:  That was good! That was good! But I will continue that the make up, this particular make-up has been, uh, very demanding. Really demanding make-up; it takes about four and a half to five hours. We were coming in and putting in six hours, now we’ve gotten it down to like four and a half hours. And hopefully by this point in time… this is, I think, my last day in this particular makeup. And I hope, I cross my fingers that we’ve gotten it down, that I’ve gotten it down to a science so that we work together; me and the makeup guys. Because I gotta tell you, if you’re in the chair and you’re kind of cock-eyed, sort of sitting a little crooked in the chair and the makeup gets glued on wrong; then you’re like this all day long. (Contorts himself in the chair into a very uncomfortable looking position) So, I’ve done that already. Like the second time through… my neck was cranked the wrong way. It was really hard. But now I make it a point to stay… straight and allow them to do their work on my body. So that when they’re done with the makeup, at least my spine is straight; my head is straight and my shoulders. That helps a lot.

Q:  How would you compare (working on) this film with your other horror films like “The Great Henry”. And how would you compare working with a first time director like James Gunn on a bigger film, as opposed to working with John McNaughten?

MR:  It was Mr. McNaughten’s first turn as a director and Mr. Gunn’s first turn doing it as well; and they both did their homework. They both knew their job and they both knew exactly what they wanted. And not only that, they know what they want but they’re also willing to let go. And when an actor comes up with a better idea, they go with the better idea. And that’s always a good thing for a director to have because it’s a work in progress; no matter how well the script fits. And the two projects are totally different; at opposite ends of the spectrum. But, you know, I’ve never done anything that had… I mean, I don’t even use makeup in real life on any of my other projects there’s no make up done to me at all. I go into the makeup chair. I sit down in the chair, have a sip of my coffee, I look in the mirror and get up and smile at everyone and leave. (Laughs) They really like it when you come in on the first day; at least come in and say hello. But then I walk out and they like, Wait a minute… don’t want a base? Don’t you want us to fill in your eyebrows? Don’t you want us to do this? And I’m just no, no; I’m looking fine I think. Now they’re paying’ my ass back big time on this, boy! I’ll tell you what; they’re kicking by butt on this one. My neck will be sore for the next month I think. But yeah, yeah... I think the two projects… Henry, in the early ’80’s totally started my career. Henry took five years to be released. People were recognizing me, from that project, on the street before it was ever released. I had already done Mississippi Burning, Eight Men Out and JFK… not JFK but Sea of Love. Both projects are challenging in their own right. This one is challenging on many different levels. The character is not just your average, everyday, run-of-the-mill, you know, monster bad guy kind of thing. You know, I didn’t want to that and Mr. Gunn didn’t want to do that as well. (The character) is fairly naturally played. The levels of the character are extreme.

Q:  James was telling us about the final scene between you and Starla where everyone was getting choked up. Can you talk about that?

MR:  You know, when we were talking about the makeup… sometimes the make up… luckily for me it really didn’t get in my way. Even though it’s a tough makeup; it’s a painful makeup to wear all day long. It’s… sometimes the pain involved can fuel emotions going on inside your body at the same time. You know, you got to just use what you’ve got. I mean you’re emotionally in pain in this last scene, and you’re physically in pain. They help each other. So the makeup and the actor sort of become copasetic and utilize one another (laughs) in a way that... unfortunately I wish I wasn’t in pain, but am usually. And it’s in this makeup. But um… I don’t really think about the makeup. When I’m out there doing it I haven’t been really concerned about it all; except what the other actors are giving me. You know, I just work it. That’s all.

Q:  Can you tell us about your character, Grant Grant? Who he is what he does…?

MR:  Grant Grant’s a former Marine. He’s not really too good with women. He’s not a very romantic guy; but he is loyal. And he is committed, or he should be committed. No… (laughs) he’s a committed individual. He love’s his relationship with his wife. She’s beautiful. She’s, you know, emotionally way beyond him. She’s a very romantically inclined individual and she ain’t gettin’ it from Grant. And she’ll never get it from Grant; of course, until Grant gets taken taking over and, in essence Grant dies. And because he’s regenerated so quickly by the alien creature, in my opinion, the memory, the emotions and all the things that are inside the human being Grant; all the love that he feels for Starla, that he just really doesn’t know how to show or give it properly, are manifested in a positive way in the creature. So instead of becoming a creature that’s ugly and mean and ferocious kind of monster stuff. Grant now as the creature, as the monster, becomes a more caring, loving, human individual; more loving and caring than he ever was as a human. ‘Cause these are the first emotions this creature (is exposed to); telling a girl you’re so lucky to be a human being. You get to feel and see and taste a love; and then, of course, all of this right before he turns into a womb, you know? (Laughter) It’s uh… quite interesting.

Q:  Kind of a family thing…

MR:  It’s a crazy little… well (a family thing)… as long as you’re over eighteen! (Laughter)

Q:  Do you try to find a cure like in the fly, when Jeff Goldbloom tries to find a cure and figures out he can’t…

MR:  No, there is no cure, there is no cure. No. Once the creature takes over Grant, the creature has developed and has his own goals and instincts to follow. You know, he has to; BUT even though the human Grant is dead and passed on, those memories of emotions and that spirit and that love, I think love is the key, it spans that distance and it connects. Because the love for Starla is what keeps the creature semi-human. And it also is what basically, in essence, at the end of the movie, destroys him. Because he’s, he’s gotta have her. I mean, he desires her so desperately, that all of his instincts are being focused in on her; as opposed to taking over the world and stuff. But, you know, he’s created a shrine. I mean, he’s got to have her. And all his energies are focusing on getting her back.

Q:  Did you reference films like King Kong?

MR:  Those are exactly some of the images that come through. Creature from the Black Lagoon, King Kong, Frankenstein; all of these creatures… that… have this human emotion of love… passion… for another being. And that’s what happens to Grant.

Q:  He’s more Grant than he is the monster…

MR:  There is a constant battle throughout, pretty much. The creature has to follow its instincts. But, there’s still this little tiny essence of Grant’s humanity still there somewhere in his brain; that is still going… turning around and going away, when he’s about to get her. And he goes and gets someone else.