Interview with Bill Moseley
By: Jayson Champion
(This interview was featured in Inked Angels Magazine and published in their June 2007 issue.)

Jayson Champion: Alright here we go. I guess first of all tell us how you got started with Texas Chainsaw Massacre 2 and Tobe Hooper.
Josh Vargas: Well lets see. I was a fan of the original Chainsaw movie, and in fact kinda freaked out by it. And so one of the things I did to try to get free of that terror that I experienced when I saw it was to make a little video called The Texas Chainsaw Manicure, and that's just under five minutes and it was set in a beauty parlor and it was about a woman who goes to get her hair done and asks for a manicure and instead of a getting regular manicure, Leatherface with a full mask and a bloody apron and a chainsaw comes roaring out of the back room of the beauty parlor and it looks like he saws off her hands. And then she passes out and when they revive her she looks down and she has a beautiful manicure so she was very excited about that. She then comes out of the beauty parlor and shows her husband, and I played that character, a little cameo, and when she shows me her beautiful manicure I look up and say "Hey, that's great honey! We should celebrate with some head cheese!" And I actually went out and bought a lump of head cheese and I had a birthmark on my face like the hitchhiker in the original, in fact that was the character I was playing, and I actually, in one take, licked the lump of head cheese, which I don't recommend, but it certainly got me deeper into the part. And I had a friend who got a copy of that to Tobe Hooper back in, shit, I think it was maybe '84 or '85, something like that, and Tobe liked it and actually I called him up and he liked the Manicure and he liked my cameo in it, he asked who had played the hitchhiker and I told him it was me and he said if he ever did a sequel he'd keep me in mind and well, a couple years later, he did a sequel and I guess negotiations didn't work for the original hitchhiker Ed Neal, so I got a call, and was more than happy to play what turned into Chop-Top.

JC: Very cool. Well along with the Chainsaw Massacre movies, how do you feel about the remakes going around of the Texas Chainsaw Massacre franchise?
BM: You know I think some of them are decent, you know I think it's kinda sad because it's really the commercialization of some classics. There's certainly a cynical school of horror these days that thinks that, you know, you remake it and horror is gold now and it doesn't cost much to make and you can make something for a couple million bucks and make a hundred million and all that kinda stuff, and it's like a gold rush mentality. I guess it's good for the people who wrote and directed the original because they are getting a bunch of cash in their golden years. A lot of times it's good because it really begs the fans to compare so a lot of times people will go back and see say the original The Hills Have Eyes or Dawn of the Dead or Texas Chainsaw Massacre and so you get into kinda the comparing game. A lot of those movies are classics and to remake them, in a way, is disrespectful but then again they say why does a dog lick his balls, you know? …Because he can.

JC: Alright well I guess on the same lines of remakes I see you played the role of Johnnie in The Night of the Living Dead remake directed by Tom Savini. What was your take on doing that role, of such a classic role of Johnnie?
BM: Well it's interesting because that was actually written by George Romero, as of course was the original written and directed by and it was George basically colorizing and updating his own work. It was funny too because the original Johnnie, Russ Streiner was one of the producers on the remake and I think that in that case it's funny because I think that with Night of the Living Dead and also the original Texas Chainsaw Massacre, these were both cases of young film makers that handed over their films, in good faith, to what turned out to be shady distributors, and the movies went on to make millions of dollars for, seems like everybody but the creators of the movies. I think in this case part of it was George, Russ and John Russo trying to remake their baby so that they could actually participate in the ownership of it, so that made sense. It was actually a lot of fun to play Johnnie, because, of course, that was one of my favorite roles, and I was honored when Tom Savini called me up. We had worked together on Texas Chainsaw Massacre 2, he had created the makeups for the new Leatherface and Chop-Top and L.G.'s skinning and that kinda stuff, so he called me up and said "I'm sending you a script of the new Night of the Living Dead, I want you to take a look and pick any character you want and call me back". And I actually picked Harry, the guy in the basement, because it had more days and I wanted to make more money so I called him back and said "Hey I wanna play the guy in the basement" and he said "Well, uh, pick any role just make sure it's Johnnie." So I was like "Oook!". So I figured I'd better bone up on my Boris Karloff accent so I went to the video store and I rented a Boris Karloff movie called Die Monster Die! with Nick Adams, kind of a H.P. Lovecraft cool movie, and anyways I watched that and that's where I studied his accent and his lisp and the whole deal and I got it down so I was able to say "They're coming to get you Barbara!"... In the remake of The Night of the Living Dead, of course, I play Patty Tallman's brother, she plays Barbara, and we are now starring in a zombie called Dead Air, which were actually still shooting, and that's directed by Corbin Bernsen, who used to star in a show called L.A. Law.

JC: And you play Logan?
BM: I do! And Patty plays my ex-wife now, so we shifted from brother and sister to ex's, and she's just awesome. I also worked with her on Evil Dead 3, AKA Army of Darkness. I play "The new capitain of the Deadite Army." Lots of rubber and a lot of horses.

JC: Haha, yeah you can hardly tell it's you! Now in a lot of your roles, until recent, you've had a lot of secondary characters, kinda background characters in a way. Do you think that that was good practice for you to what you've become today where your getting more leading roles?
BM: It was certainly good practice, yeah, I mean I certainly have gotten better as an actor over the years just from all that experience, and it's also how I earn my bread, so it's actually good to have roles both large and small…One time there was a casting director who said something about "There are no small roles, only small actors." I guess that was easy for her to say, but it's true in the sense that, you know, when your on screen, weather you got the lead or not, it's totally an opportunity to, you know, let it rip. I'm very grateful for all those parts.

JC: Ok, now I see you've been in film and T.V. Which is easier for you to actually be in, which is more comfortable for you?
BM: You know I guess it really depends on what the show is, I mean every show is different. Dead Air for instance, is a a feature but it had a very hectic pace to the production. You know when I was working on Carnivāle on HBO, that was a pretty laid back pace, at least for my character Possum, the cook. I've also worked on soap operas, and I show up every once and a while on Days of Our Lives, and that's completely a different way of working. Instead of saying "Action" they count down, there's always two cameras, I don't think there's really any close-ups, they just kinda cover you , and they get you from three angles and your in and out, rarely do you do a second take unless your really blowing your lines out your ears but yeah, so it often times seems to depend on the director than it does on the, you know, whatever the medium is.

JC: Ok well your best known for your horror roles, but what does it feel like to do actual drama like Days of our Lives and the spot you did on ER?
BM: Well I mean it's really no different. I don't have a different approach to whatever the genre is, really what you do is read the script a bunch of times and just prepare, just use your imagination and make it real.

JC: And which genre do you prefer personally?
BM: I don't really have a preference. I certainly love horror, you know I'm good at it, you know the genre is my favorite of all, I'm sure, but it's not like I would rather do one thing than another. You know I'm actually funny so I wouldn't mind comedy.

JC: Well yeah and you bring a lot of comedy to horror.
BM: Yeah well like Chop-Top. In horror films Chop-Top is very much a clownish character. You know, he had a pretty good sense of humor. You can certainly bring all kinds of colors no matter what genre your in.

JC: Absolutely. In comparison to Otis and Chop-Top are the character's similarities just coincidental or did Rob actually write out the character based on your role as Chop-Top?
BM: Well you know it was interesting, when I first met Rob I was MCing a little a little horror award show in which he was getting a horror award, and I was actually done up as Chop-Top in a tuxedo, and it freaked him out because Chop-Top was one of his favorite characters, and when he offered me the part of Otis, what I thought initially, was what he wanted was basically a kind of a made over Chop-Top. So I started thinking "Well ok, I'm going to do this as kind of a Chop-Top with more of a redneck look than a crazy hippie look". And god bless Rob, he gently but firmly guided me away from Chop-Top. In fact when I got the job I hadn't worked in a while so Chop-Top was kinda my security blanket and it was time to grow up and let go, and it was very interesting because thanks to Rob's insight and his vision for Otis, you know, he was kinda able to gently, but as I say, gently but firmly steer me away from Chop-Top, and by the time I finally got Otis I realized that I tried to distinguish between the two just in terms of the centers of gravity and the centers of the characters, and with Chop-Top so much of it was up in the shoulders about scratching the plate, it was all about, kind of you know, it's kinda up in the sholders, the plate, the scratcher and with Otis it's all in the balls, you know it's like two thumbs in the belt buckle and like you know, just like a big "Fuck you!" kinda guy, and it took a little while to figure out to leave Chop-Top and find Otis, and that really was really my journey, if you will, in House of 1000 Corpses, you know working with Rob and you know just slowly but surely letting go of Chop-Top and finding Otis, so it was really kinda interesting because I didn't know it was actually going to be as successful as it ended up appearing in the movie, I kinda thought it would end up being a kind of choppy character, that there would be half Otis/half Chop-Top, and I didn't know how it was going to work, but thats again is a tip of the hat to Rob that Otis is pretty much formed in House of 1000 Corpses, and by the time we did Devil's Rejects I had found Otis, so I kinda think of it as, you know, House of 1000 Corpses was going to the dealership and checking out different cars and finally deciding on "I'm going to take an Otis" and then Devil's Rejects was taking Otis out on the open road and seeing what he can do.

JC: Very good, now along with working with Rob, what was it like working with him, and if your daughters were younger would you let him babysit your kids? Haha.
BM: Oh absolutely! Rob is actually a really good guy, very calm, and a very smart sweet guy, and a lot of times you would imagine he goes home and sacrifices his pets or something. But actually speaking of his pets, he loves his pets, he and Sheri have been together a long time, and you know there's a lot of stability in him which is actually really important, I think, if you let your imagination go like he does and it's really important to have some kind of an anchor, and Rob is really just a, well I wouldn't actually call him a normal guy but I'd absolutely trust him with my kids.

JC : Very good. So was House of 1000 Corpses your first role with Sid Haig?
BM: Yeah!

JC: And how did you two get along?
BM: Unfortunately I don't think we worked together but one day on House of 1000 Corpses. The only scene I worked with sid was at the end when he drives up in the Cadillac and we pick up the girl who has escaped, and I'm in the back under a blanket ready to put a knife through her neck. But uh, that was it, so I didn't really have a chance to really hang out with Sid. Devils Rejects we were together a lot more, also things like Texas Frightmare Weekend, the convention circuit, you know, Sid and I have become great friends. We ended up spending a lot of time together, in fact, last year we went to Paris, we were in Paris, just the two of us, for about a week between appearances, and we just had a ball! We went to the Eiffel Tower, Le Louvre, hahaha, and we went to The Moulin Rouge and saw high kickin' naked French dancers, it was quite a hoot!

JC: Haha, very cool. Ok, well I noticed these days with House of 1000 Corpses and The Devils Rejects that your on lunchboxes and shirts and posters, you have your own action figures. I guess it's just now your getting your Chop-Top figure? Is that right?
BM: Uh Yes, actually I just was informed, somebody sent me an email that, I think there is a Chop-Top figure coming out.

JC: That's right. And what is your opinion on the popularity you've gained since your role as Otis and the fact that you've pretty much become a sexual icon to most of the women that dig horror movies?
BM: You know I think that it's actually really flattering but it's also, I'm still kinda scratching my head. It's actually funny because actually I was just at a convention in Nashville over the weekend, so it kinda reminded me that a lot of women come in really expecting me to be standing behind my little table, with my pictures on it, bare chested, with a, you know grinning skull with bat wings tattooed on my chest, a bunch of blood, a beard, and long hair, ready to ravish them on the spot with a pistol, I guess. When they see that I'm actually, you know I don't look like that, a lot of times, I gotta say that there's a look of disappointment across some of their faces, and I can't really do much about that but I just tell them when they are looking for some hope that Otis does exist, I tell them that, you know, it's the "Inner Otis" that they should be worried about.

JC: Haha, that's funny. Now you say the conventions and stuff, like you mentioned Nashville and you mentioned Texas Frightmare Wekend, I notice your at just about every horror convention out there. Does it take away from your personal life going from movies to conventions?
BM: No not really because when you put it all on paper I think I maybe do 7 or 8 conventions a year, which really isn't a whole lot, so you know whenever I have an acting job that takes precedence over appearances. I've had a couple of them that I haven't been able to show up at because I've had an acting job. But it all seems to work out, you know I have a happy home life, the kids fed and well loved and happy so it hasn't seemed to cause a problem yet.

JC: Well that's a good thing. Speaking of your kids, what do they feel about you acting?
BM: I think they both like it in their own ways. I have a 20 year old and so she can actually see daddy's movies and she seems to be a fan. In fact she's a sophomore in college and was talking about maybe making a horror movie, and I just thought "Oh well." you know, "That's good." And then my other daughter is 8 so, you know, she can quote a couple of the lines but her mother and I haven't really subjected her to Devils Rejects or Texas Chainsaw Massacre 2 yet. Were going to wait until she's 10!

JC: Haha! At least 10! That's great. And along with that, how do your neighbors feel about you, knowing your living in the neighborhood?
BM: You know one of the nice things about the parts that I do in horror movies is that they are, for the most part, they are makeup roles, except Johnnie in Night of the Living Dead, which was pretty much me, so I go to like the laundry mat or the supermarket and I don't really know if anybody really recognizes me. My neighbors do know who I am and what I do, they just wave. Now that may just be out of terror, it might be a fear response to keep me away, but you know I've been a good neighbor so, you know, they haven't been missing any pets or anything, or children or spouses.

JC: Haha that's funny. Alright well since you started with Texas Chainsaw 2 to now, you've become quite popular, especially since the Rob Zombie movies. What do you feel about your personal growth since you started with The Texas Chainsaw Manicure?
BM: You know it just reminds me about how crazy and unpredictable life in show business can be, I mean I haven't been able to really find a logical progression in my career. You know it goes in bits and starts, your up, your down, there are long periods where your not working and no one wants to see you on auditions, then all of a sudden some crazy thing happens and you spike back up. You know it's not a career for the faint of heart, and you know when people, especially kids are asking me "How did you get started?" and "What should I do because I want to have that kind of career?" and you know I wish them well, I just tell them there really isn't really any rhyme or reason to my career so maybe they should talk to somebody else, haha. You know when it came down to doing the Chainsaw Manicure, you know I've always loved horror films since I was a little kid so I guess there was, the spirit was there, maybe the karma was there, but my progression was so Non Hollywood that I don't think I could really serve as a template to anyone else that wants to get into the business.

JC: Alright well speaking of your childhood, what movies did you grow up to that you contribute to your inspiration within the horror genre?
BM: Well when I was growing up all the movies were black and white so I was definitely into the movies from the 50's and 60's, atomic mutation movies, totally into The Incredible Shrinking Man, Day the World Ended, there was one actually called The Beginning of the End which had giant grasshoppers, Giant Gila Monster, The Killer Shrews, so I got a lot of those kinda science-fiction mutation movies. One of my favorites was The Brain that Wouldn't Die, and in fact as part of my personal homage to The Brain that Wouldn't Die, I based my character Dr. Heinrich von Strasser in Rob Zombie's fake trailer in Grindhouse, he did a trailer called Werewolf Women of the SS, and I played the evil Nazi doctor who turns women into werewolves, and I based that character on Franz, the lab assistant with the withered arm in The Brain That Wouldn't Die.

JC: Very cool. Well, so, what's next for you? I see that you have a lot of movies on your plate. What's the next big Bill Moseley movie?
BM: You know, like right now were not done with Dead Air, and that, I hope, will be really cool. You know it's a great script by Kenny Yakkel, and it's a really cool script and that has been a real challenge, I actually play not only the lead I'm actually the hero so I'm actually the good guy in it, and that's something new. It's very exciting.

JC: And it's a zombie movie right?
BM: Yeah! So that and I have a couple of movies that are in various stages of , you know, coming out, I know you were asking me about Fallen Angels which is really cool, actually I think I gave them the line, it's "The Da Vinci Code with monsters". I haven't seen it yet, but Jeff Thomas is directing it and we've been talking about Kane Hodder and I teaming up for a movie that he might be producing later this year called Off Duty. I've also been talking with Tim Sullivan about maybe doing a part in 2002 Maniacs, the 2001 Maniacs sequel. You know it's kinda funny because me and Kane are buddies, and he was the stunt coordinator in The Devils Rejects, and I think he did just a fantastic, albeit an unsung job, I mean some of the stunts, especially me whipping out Banjo and Sullivan, it was really amazing stuff but he played, as you know, the demon of Envy in Fallen Angels and we wanted to make sure that our scene really rocked when he killed me.

JC: Now speaking of Fallen Angels, how did it feel working with fellow conventioneers like Kane Hodder and Reggie Bannister and like, Michael Dorn out of his Worf costume?
BM: You know I didn't work with Reggie but I know and love him, but I did work with Kane and Michael, and it was a lot of fun. I liked Michael a lot, I never met him before and I've never seen him on the convention circuit or anything so that was the first time meeting him and it was really great working with him, he's very a professional guy and a good hearted guy, and working with Kane, of course, was old home week, I've worked with him before and I think Michael Berryman was in it and I didn't work with him but I have certainly worked with him before and hope to work with him again.

JC: Very good, alright tell us a little bit about House, looks like it's going to be a big one coming up.
BM: Yeah House is the second film for a company called Namesake Productions that I've done. They actually have the same director, Robby Henson, and Robby directed me in the movie Thr3e that had a theatrical release and I think it just recently came out on DVD, ad Thr3e and House are both based on novels by a writer named Ted Dekker, and Ted is a, I guess he's a faith based author, so they were interesting because some of the criteria for making those two movies was that they were horror and thrillers but there couldn't be any blood, no language or sex. So I was curious to see how they were going to make horror movies, taking some of those key ingredients out of the mix. But Robby did a great job I think, I think Thr3e looks really cool, I have long hair in that one, playing a character called Slater, that I see has a little Chop-Top, a little Otis and a little Poland rolled in there, because we shot both movies in a little town called Lodz Poland. But anyways I loved Poland, and it was fun working with Robby and it was a good cast. I think in House actually Michael Madsen is in it, and actually a couple "Rejects", Lew Temple who played Pete and Leslie Easterbrook is in it, good old Mother Firefly. And Leslie and I actually are husband and wife and our son is Lew Temple, so that was also a little strange.

JC: Very cool, well I see a few more that your doing, looks like your extremely busy, like in post you have The Alphabet Killer, Babysitter Wanted and Anderson's Cross. How about those?
BM: Anderson's Cross I actually did probably four years ago and I'd be interested to see it, it's very much a dramatic part, not a horror or thriller, so we'll see that when we see it. There's another one that's from that era, it's a movie called Home Sick that Adam Wingard directed, who's one of the finalists on the Steven Spielberg's "Find the next director" contest on TV right now, and I did that one with Tiffany Shepis and Tommy Towles, who I've worked with four times I've seen, thanks to IMDB, haha. But there are those two, then Babysitter Wanted should be coming out pretty soon, it's pretty much ready to be viewed, so I think they're just looking for a distributor. I play a cop in that, so it is a horror film per-say but I'm not the "horror guy". Then Alphabet Killer is directed by Rob Schmidt, who also did Wrong Turn, and were buddies, and I have a cameo in that. Lets just say I have a small but significant part in that.

JC: Alright now speaking of the sheriff you play in Babysitter Wanted and your role in Fallen Angels, in comparing the good guys and the bad guys you play, what's your take on that? You know because you have a really good range of all your characters, like certain roles are completely opposite of the others. Now which do you personally like playing?
BM: You know any role can be good if it's properly imagined and written, I just find with characters like Chop-Top and Otis that there's a lot of love that goes into their construction. There's a lot of subtleties to the characters, obviously the characters themselves are big but they also have a lot of looks to them, and with some of the other characters, although now I find myself getting cast now against type as kind of an approach to using me, which is fine with me, but lets just say I haven't found a character yet as well written or imagined on the good side of things as I have on the bad side. But as an actor the challenge is, if you really want to sink your teeth into something, which is a nice horror phrase, haha. But so far the juiciest parts I've been offered are, you know, Otis and Chop-Top.

JC: Alright now going on a different subject I hear your not a big fan of the MPAA. What are your feelings on how strict they are now days in comparison to how they used to be, like say when you were playing Chop-Top in Texas Chainsaw Massacre 2.
BM: You know not being a film maker I don't really have as strong of an opinion as maybe someone suggested. As a fan, you know, it's almost like it doesn't matter really because of whatever the MPAA is going to make you cut out of the theatrical release will just become a selling point for the DVD. So you know, again, not being a film maker, I don't have the heartbreak of what they wouldn't let me put in the theatrical release. I'm sure it's a question better asked of film makers. You know do I remember when Texas Chainsaw Massacre 2 came out that it was given an X rating back then because of all the violence and what that meant was simply, I think Cannon Films just decided to release it unrated, and back then you could, I think what has happened over the years a lot of Mom and Pop's theatres have been absorbed into these giant Multiplexes, and just a couple owners of thousands of theatres, and a lot of theatres have a policy that they wont show anything rated more than an R, so basically in order to get your movie put on a screen, or even to be considered, you have to get your R rating. You know sometimes the film makers will hold out and say "No, were going to release it unrated" or whatever, and you end up at you know, maybe at most, a couple hundred theatres. Most of the kinda theatres that will release a movie like that are more of your art house kinda theatres.

JC: Like 42nd street.
BM: Well not so much 42nd street, which doesn't exist anymore.

JC: Yeah well like it used to be.
BM: Yeah, well that's how Texas Chainsaw Massacre 2 was released. They released it because there were still a lot of drive-ins back then and independent theatre owners that just decided they wanted to release it, and with or without the MPAA's blessing. You know one of the things that Rob had a problem with with the MPAA was their inconsistency. I think the example that was used, I'm not sure if he used it or who came up with it, but there's this scene in House of 1000 Corpses where Baby runs down one of our victims at a gaveyard and begins stabbing her, and I read somewhere that Rob said that the MPAA said "If she stabs her five times it's unrated and if she stabs her three we'll give you an R." So just kinda arbitrary things like that. I would imagine that the MPAA is a pretty hard job because there really is no standard, I mean it's obviously very subjective, I've heard that sometimes the MPAA will change a rating based on what music appears behind the same footage, so you know it is such a subjective business. I can understand why there would be a rating system, just to kinda warn parents not to bring your kids in to see something that is, you know, hideously violent or that is more entertainment for say adults. I don't know. You know, as I say again, just in terms of losing that extreme stuff, again if you want you can always catch it on the DVD. And now that you can get big screen TVs for cheap, what the heck!

JC: No doubt, now off the movies tell us a little about Cornbugs and how you came to be in the band with Buckethead.
BM: Buckethead turns out to be, like Rob, a Chop-Top fan, so again thanks to Chop-Top for guiding me through life here in getting me jobs and music. But Buckethead came to see me at a play in the early 90's here in Los Angeles, I was actually playing Timothy Leary on stage. It was about Timothy Leary and Charles Manson taking acid one night, side by side in San Quentin, and Buckethead showed up because he knew the guy playing Charles Manson. He invited me to jam with him sometime, so I came down to his place and jammed and you know I just did vocals, he already had some music recorded and wanted me to just go off as Chop-Top, so I did and we got along, we liked each other, so he invited me to play on his, then, Sony album called Giant Robot. He flew me to New York and so I did a couple of tracks on that, one was called Onions Onleashed and I did another one for him called I come in Peace, and they were good. And so we had a working relationship by that point and did that for a producer called Bill Lazlo. And then I started getting invited to horror conventions, which was great, and I looked around and just saw actors selling 8x10s, which is fine, but I just kinda had the feeling the fans would dig more than just a little picture, so I called up Buckethead and asked him if we could make just a little cassette tape with just five or six songs, and I had that on my table as well for the fans, and he was into it so we got together and went to his rehearsal studio and just cranked out some tunes, and that lead to a happy musical relationship that has produce, I guess it's five CDs and I put out a couple DVDs with some of our hijinks, jumping around at his place, and just kinda gobbledy goop, you know music videos taken from old Atomic Energy Commission videos, you know "duck and cover". It's been fun! It's been actually really great and I love Buckethead. I consider him the world's greatest guitar player.

JC: Now the lyrics you come up with for the Cornbugs albums, of course they are all Chop-Top, but are they all rehearsed or are they all improved?
BM: The lyrics, originally, were made up on the spot, then as time went by I started bringing in just stuff I wrote in my notebooks, fragments and stuff, old poems, and then sometimes I would actually make up the lyrics, you know write them down. Usually the best part for me was when I'd wake up and I'd have some song in my head and I'd write it down in the notebook on my bedside table, but I don't think there's ever been a second take of any Cornbugs song, we've never rehearsed, so we just get together, they are all spontaneous, which for better or worse is Cornbugs.

JC: Ok as for one of the Cornbugs, what the hell is a "Slunk"?
BM: Slunk is actually from William Burrows movie Naked Lunch. It's a calf that is under six months. A lot of times during World War II, according to Naked Lunch, there was a slunk trade out of Egypt, and of course you don't know if it's accurate, but apparently if you eat it if it's less than six months old, it hasn't developed anti-bodies so you can get horrible infectious diseases from it. I'm not exactly sure if that's what happens in the song, but that's about as much as I know about it.

JC: Alright now one more question about Cornbugs. What does Buckhead look like under the bucket?
BM: Well that I certainly can't tell you.

JC: Haha, but you have seen him without the bucket right?
BM: Well I can't tell you that either.

JC: Haha, keeping his identity safe for all mankind! Well alright, I guess what conventions are you going to be attending for the rest of the year?
BM: Well I'm certainly going to Texas Frightmare Weekend, I'm going to a convention called Monster Mania which is actually this coming weekend in Cherryhill New Jersey, and I think I'm going to one in Indianapolis some time in June.

JC: Horrorhound Weekend, we'll be there as well!
BM: Yeah!

JC: What would you say has been your favorite convention in the past couple of years?
BM: Well certainly Texas Frightmare Weekend is up there. You know I really like them all. There really isn't a favorite. You know it's kinda like asking "Which is your favorite kid?"

JC: Haha, nice. Well I think that should do it unless there's something you'd like to say or something you'd like to plug.
BM: Well just my website, choptopsbbq.com where you can actually get your Cornbugs stuff, and that's about it!

JC: And on the website you have autographed pictures and, well, just about anything autographed!
BM: Pictures, posters, I think I even have some scripts and stuff.

JC: Well I think that's about it! Thanks Bill!
BM: No problem.