Logline: When the sadistic demon Pinhead is unleashed into modern-day New York City, ambitious TV reporter Joey Summerskill must uncover the secrets of the mysterious puzzle box to stop him and his newly created Cenobite army from turning the city into hell on earth.
U.S. Theatrical Release Date: September 11, 1992 - Opened at #8 at the U.S. box office during its first weekend.
I was probably 22 years old and with limited means when I auditioned for the role of Brad, a supporting character, in “Hellraiser III: Hell on Earth". At the time, I was between cities, staying with my family in my hometown of Richmond, VA. I had just moved out of Los Angeles and was preparing to move to New York City.
I had to travel to High Point, NC, to audition, and my parents declined to help me get there. I don't blame them; I was a bit difficult back then. They were practicing tough love, and I thank them for that. Gotta make it on your own, kid. I was working as a dishwasher at a jazz club in Richmond called Bogarts, so I had a few bucks to keep the acting dream alive.
My girlfriend dropped me off at the bus station, and I boarded a late-night coach down to High Point. I didn't have enough money for a hotel, so I slept on the sidewalk of the location that the production provided. It was really the local news channel's studio. I woke up a few hours later in the early morning to employees walking over me as they arrived for work. I groggily asked them, “Is this Hellraiser III: Hell on Earth?”.
Kind of ridiculous, but I was young and chasing after these potential acting jobs, so sleeping on the ground for a chance to land a film role was okay by me. I auditioned for the director and booked the job! That was a big win for me back then.
I returned to High Point shortly afterward and shot the scene. Essentially, the process was - show up, get through wardrobe, hair, and makeup, have a quick chat with the director, Anthony Hickox, and the cast members, Terry Farrell and Ken Carpenter, and “Action!” Of course, I prepped in advance and memorized my lines and tried my best to create some kind of interesting character for that moment. As my eldest daughter explained it best to me, my character Brad was “Quintessential '90s douchey guy character.”
Fun Fact about actress Terry Farrell: Early in her career, she modeled for the cigarette brand, Virginia Slims. Classic! I love that picture of her ad below.
As an actor or actress, especially today, there are many more opportunities for one to work beyond traditional acting jobs (theatre, TV & film) . Today, anyone can work as a lifestyle model. My youngest daughter was a figure skater as a child, and she recently skated in an Amazon Studios Christmas movie. So, the special skills, gifts, and talents you have been given and developed can be applied to these special ability roles in the entertainment industry.
Terry and Ken were absolute joys to work with. Terry alleviated my first movie scene jitters (she was a veteran of many movies and TV shows by this time), and Ken did the same. They helped me settle in.
British director Anthony Hickox was the first director I noticed who would confer with the actor, quietly whispering his directions in the actor's ear, unlike some directors who prefer shouting directions across the room. His method really stood out to me, and I appreciated his technique.
I distinctly remember the classic Panaflex cameras on set. Many years later, I would end up working for PANAVISION in Hollywood CA.
I was invited to stay an extra day on set to watch the special effects crew work. I was receiving my education in filmmaking as a working actor, and it wasn't lost on me how special it was to be a part of it and witness all the departments working together to make a motion picture.
These moments on the set of “Hellraiser III” I carried with me, whether or not I was working on a movie or behind the scenes in production support.
When “Hellraiser III” opened, I watched the movie alone in Times Square. I learned a few years earlier in Hollywood to always attend your premiere solo because you never know if your screen time will end up in a heap on the cutting-room floor. It has happened to me! I was in a pilot produced at Paramount Studios, filmed my scene, and then a month or two later was invited to the premiere on the lot. Thank goodness I attended solo because…I got cut from the picture. That was a humbling lesson.
BEHIND-THE-SCENES NOTES
- A fast-paced shoot with minimal rehearsal time
- In-camera editing meant that what you shot was basically what you got.
- Clive Barker later contributed to the tone and additional material
- The blend of practical effects with early CGI marked a transitional era in horror filmmaking
- Domestic Box Office Theatrical (U.S.) Gross: approximately $12.5 million, Production Budget: roughly $5–6 million (estimated).
Time Out London Review: With its bravura camerawork, fetishistic Cenobite designs, nerve-jangling soundtrack, and literate Peter Atkins script, Anthony Hickox's film is a worthy successor to Clive Barker's flesh-ripping original. Freed from the stone prison of the Pillar of Souls, Pinhead (Bradley) quickly dispatches decadent rock club owner JP Monroe (Bernhardt). Hearing of JP's gruesome death, TV reporter Joey Summerskill (Farrell) sniffs a scoop, but what she finds is something more nightmarish: Pinhead and his new purveyors of pain, Camerahead, CD, and Barbie. Forget the disastrous Hellbound: Hellraiser II; this is adult horror to die for.