“No, not the dog!” – John McNaughton on Henry:… | Little White Lies

Interviews

No, not the dog!” – John McNaughton on Hen­ry: Por­trait of a Ser­i­al Killer

18 Apr 2022

A man with curly hair looking out of a car window, set against a rural landscape.
A man with curly hair looking out of a car window, set against a rural landscape.
Three decades after it first shocked audi­ences, John McNaughton’s twist­ed thriller receives a 4K re-release cour­tesy of Arrow Films.

As Hen­ry: Por­trait of a Ser­i­al Killer receives the 4K Ultra HD treat­ment cour­tesy of Arrow Videos, here’s a nev­er-before-pub­lished inter­view with direc­tor John McNaughton from 1993 by David Hayles.

Direc­tor John McNaughton and pro­duc­er Steven A Jones, respon­si­ble for the infa­mous Hen­ry: Por­trait of A Ser­i­al Killer, were guests of hon­our at the 1993 Shots in the Dark film fes­ti­val at the Broad­way Cin­e­ma in Not­ting­ham, a week of films devot­ed to the crime and mur­der genre.

Quentin Taran­ti­no, also a guest at the fes­ti­val, got to meet McNaughton for the first time, and they were able to pat each oth­er on the back for their equal­ly star­tling­ly debut films; Taran­ti­no could be heard enthus­ing about one of the final scenes in Hen­ry, where the epony­mous hero meets an old lady walk­ing her dog Delores, a scene which, McNaughton told me lat­er, had in the past prompt­ed some audi­ence mem­bers to shout out, No, not the dog!” 

Dur­ing the fes­ti­val McNaughton and Jones intro­duced a spe­cial mid­night screen­ing of the film. Have a swell time,” McNaughton said with a mis­chie­vous grin. Those of you who haven’t seen it before,” con­tin­ued Jones, will be in for a sur­prise.” The same could be said of watch­ing their lat­est pic­ture, which they were pro­mot­ing at the fes­ti­val, Mad Dog and Glo­ry, star­ring Robert De Niro, Uma Thur­man and Bill Mur­ray, a quirky love sto­ry script­ed by Richard Price (writer of The Wan­der­ers, and the remake of Night and the City, also with De Niro), and exec­u­tive pro­duced by none oth­er than Mar­tin Scorsese. 

McNaughton had sent Scors­ese a tape of Hen­ry, which Scors­ese loved, and decid­ed to get McNaughton on board to direct a big fea­ture. But a com­e­dy romance? I asked McNaughton to explain why he was put at the helm of a film with­out a ser­i­al killer or dis­mem­bered head in sight. 

After Mad Dog was final­ly released in the US, we did a video press con­fer­ence with De Niro and Bill Mur­ray and Richard Price and Scors­ese,” McNaughton says. Mar­ty had nev­er explained it before but he final­ly said some­thing. You know, I have this script, it’s a real­ly sweet, a sweet sto­ry you know, and there’s this pic­ture, Hen­ry, it’s crazy – let’s get the guy that did this Hen­ry and give him this sweet sto­ry and see what happens.’”

Two adults, a man and a woman, embracing in a bathroom with tiled walls.

It was cer­tain­ly quite a leap for the team to move from Hen­ry, with a $100,000 bud­get and crew of about five, via sev­er­al inde­pen­dent pic­tures, to a big bud­get Hol­ly­wood film with an A‑list cast and a crew of sev­en­ty. McNaughton seems to have tak­en it in his stride: You’re always ner­vous on your first day of shoot­ing, you always think you want to throw up. But by that time, you’ve got­ten to know De Niro and Mur­ray, and been in rehearsals etcetera. So unless they’re going to change their per­son­al­i­ties entire­ly it’s pret­ty cool. By the sec­ond day I was ready to com­mit sui­cide though! We were already half a day behind sched­ule. My advice to film­mak­ers is don’t do the crane shot on the first day!”

For their next project, a love-tri­an­gle mur­der sto­ry’ based on the 1964 pulp fic­tion nov­el Carny Kill, which Hen­ry him­self, Michael Rook­er, is set to star in, McNaughton and Jones are mov­ing back to the inde­pen­dent scene: they coin­cid­ed their trip to the Cannes Film Fes­ti­val this year (where Mad Dog was in com­pe­ti­tion) to raise mon­ey for the film. Doing Mad Dog allowed them to set up a pro­duc­tion com­pa­ny, and for Jones, who has pro­duced all of McNaughton’s films, to quit his day job in adver­tis­ing, but, as Jones says: Inde­pen­dent is the only way to get our projects done – the stu­dios are less inclined to finance the things that are dear­est to our hearts.”

Being very pre­cious about the process of film­mak­ing, from the ear­ly stages of con­cep­tion right through to get­ting the colour tim­ing right and super­vis­ing the trans­fer of film to video (“if it’s left in the hands of engi­neers they always go too light” he com­plains), McNaughton is no hap­pi­er with the tam­per­ing of the video ver­sion of Hen­ry in this coun­try, trimmed by BBFC cen­sor James Fer­man so it could be grant­ed a cer­tifi­cate. In the noto­ri­ous home inva­sion’ sequence, where Hen­ry and his side­kick Otis video­tape the mur­der of an entire fam­i­ly, it tran­spires that what you are watch­ing on-screen is actu­al­ly the killers re-watch­ing their hor­rif­ic deeds at home on the VCR. Fer­man has cut in reac­tion shots dur­ing the sequence, so that the audi­ence is not tricked, as well as to elim­i­nate some of the harsh­er graph­ic moments.

I haven’t seen the cut, and I don’t want to,” says McNaughton firm­ly, with a brief glim­mer of men­ace. It’s one thing to remove stuff, but when you re-edit, you’re chang­ing the con­tent and mean­ing of the pic­ture. It’s a key moment of the film. You have to ques­tion your­self and say, I’m like them – I watch vio­lence to enter­tain myself.” By cut­ting it the oth­er way, you’re releas­ing the audi­ence of that respon­si­bil­i­ty, in my opin­ion mak­ing it more gra­tu­itous and irresponsible.”

Many regard Hen­ry as one of the sem­i­nal hor­ror films of the eight­ies, and it has been a hard act for McNaughton and Jones to fol­low. They still pro­mote the film as it grad­u­al­ly released around the world (it recent­ly emerged in Bel­gium), and if to your taste, you can now pick up Hen­ry T‑shirts and even a Hen­ry pic­ture disc sound­track, which inci­den­tal­ly was com­posed in part by Jones him­self. Asked if they will do anoth­er hor­ror pic­ture they say if the right script comes along, yes. At the moment, though, half the scripts we read are ser­i­al killer ones.” 

It’s unfair, though, to say that McNaughton is only com­fort­able with screen sav­agery. Ask him about his biggest film influ­ence, and he will tell you Peter Pan, which his par­ents took him to see when it was first released. I saw it again two years ago when they final­ly released the LaserDisc,” he says, and I thought it was every bit as wonderful!”

Hen­ry: Por­trait of a Ser­i­al Killer is released on Lim­it­ed Edi­tion UHD and Lim­it­ed Edi­tion Blu-ray on 18th April by Arrow Video.

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