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“’So much easier for us,’” Sullivan laughs. So we wrote that whole opening sequence where they lay siege to the Sawyers’ ranch.’ Well, Lionsgate is like, ‘Wow, this is awesome. “And they were like, ‘What?!’ ‘Well, we heard you guys need this immediately, so we wanted to show you we’re motivated, and we’re really excited about this movie.
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Then we said, ‘Um, hey, we got a full pitch, but also we’ve written the first eleven pages of the script.’ We had written a fifteen page treatment of this, because we’re like, ‘This is our story!’ But we never said that in the room, we just gave them the fifteen pages. So, we go in … the Producer was in the room with all the executives from Lionsgate. Nobody knows it’s our story, but it’s our story. “We have to pitch our story, and they don’t know that it’s our story. “’But this is our idea!’,” Sullivan recalls thinking.
“So suddenly, Debra and I are told we have to pitch Lionsgate to get the job. Now, Lionsgate had no idea, they thought the Producer had written this outline. Then Lionsgate sent that out to seventeen other writers, and asked for pitches. Lionsgate, unbeknownst to them, got our two pages that we had written for the Producer, delivered them as though he had written these two pages, which he had not. “Here’s the thing, we’d written a two page outline of what we wanted to do. Unfortunately, trouble reared its head early on for the writers. We wanted to show the whole history of the Sawyers in the movie. We also had flashbacks to Leatherface as a child. That they had a ton of money, but because they were so insane, the money didn’t mean anything to them. We also gave a reason why the Hartmans and the Sawyers were sort of the Hatfields and McCoys, and also why the Sawyers had all of this land. Part of that was that we showed why the Sawyers became diseased and became crazy, that it wasn’t just that they were born in the Deliverance mold. “Once we went past that, we created kind of the concept around Texas Chainsaw. Leatherface (Dan Yeager) in Texas Chainsaw 3D (2013)
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That’s where the whole opening of the movie happened.
Then the police would go to the Sawyer house, and we need to see that scene and what would happen. “And Deb and I were like, ‘Well look, it only makes sense logically that Sally, when she escapes, the first place she would go is to the police. “I said, ‘How cool would it be if you can actually take the footage from the end of the first movie, separate the layers, and create a 3D effect out of that first movie?’ They loved that. “We thought that it should start where the first movie ended,” Sullivan notes. Come up with your own version of the Texas Chainsaw Massacre, come up with what you would do.’ We were like, ‘Great!’ They don’t even want you to look at the script. Here’s the thing – Lionsgate does not want to use Stephen’s words at all. He comes to us and says, ‘Look, Stephen Susco is out of the project, and I want you guys to come in. “He loved our writing, we were geniuses, blah, blah, blah, blah, blah. “He was a producer who at this point had scored the rights to produce six new films in the Texas Chainsaw franchise,” Marcus reveals. So Lionsgate parted ways with him.”įollowing Susco’s departure from the project, the film’s Producer (who shall remain nameless for the purposes of this article) was tasked with seeking out a replacement for the writer. “So we were told they said, ‘Yeah, but we don’t want that in this movie.’ So Stephen wrote a couple drafts that had cannibalism, because Stephen is a badass. Well Stephen Susco, being a true fan of the genre, went ‘How the hell do you make a Texas Chainsaw movie that’s not about cannibals? Because that’s what they are! They eat their kills!’ That’s the whole point of the story, the barbecue. So they did not want any movies with flesh-eating in it. And we were told by the producer that was the thing that they were really not interested in … because of the massive disaster that was Midnight Meat Train. “He was hot off The Grudge, and wanted him to do a movie where there was no cannibalism. “So Stephen Susco was the first writer on Texas Chainsaw,” Marcus begins. Marcus join Bloody Disgusting here to detail their original screenplay and its development, the most egregious changes to their story which still rankle with fans to this day, and their ultimate thoughts on the finished film.
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With this installment of Larval Ink, we’ll be hacking into 2013’s much maligned horror requel pioneer Texas Chainsaw 3D, peeling back its skin and rummaging around its viscera to reveal the film’s bloody beginnings as a much different script from husband and wife screenwriting team Adam Marcus and Debra Sullivan.
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