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There came a point in time when Michael was under a great deal of pressure to alter the film in a way that was just disturbing to him. I had not seen the movie, yet. He phoned me in July of '92 to look at his version. It was exactly what was released two months later with the exception of a couple of reaction shots which we went back in to get. I liked the movie very much and asked him what the studio's problem was. I felt that he was at a point where they might have worn him down (if that's at all possible).

 

Madeleine Stowe

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Kubrick wasn’t making a movie when I was working with him. He was preparing to make a movie, which is something quite different. Part of the charm of working with a director like Kubrick, if there is or was a director like him, was that during the privileged period before he even showed (the script) to the studio, it was just between him and me. You are sort of creating a game in the ball court of theory. There is no film being shot; there is no budget. It was in many ways a very exciting time. It’s also very fraught, particularly for a writer, because you don’t know if it’s going to be of any point.

 

Frederic Raphael

 

The biggest thing I learned was, especially the way I operate and how I am as a person, if I'm going to do a creative endeavor, I need to have full, complete control. Top to bottom. And with my book and website, I always had that. With the website, definitely, with the book, basically, with the movie...I didn't in a lot of ways. Nils and I, we had a lot of control, more control probably than almost any first time movie makers do within a normal studio system. We were in the middle between independent and not, because someone else paid for everything, and they kind of let us do what we wanted, but then once the movie was done creatively, it went in a direction that I did not want it to go, and there was nothing I could really do about it. It's hard enough to swim in that movie current by yourself, but when you've got weights tied to you and someone pulling you in a different direction, it's almost impossible. You need to pick a direction and go with it. If you're going to be a big studio movie, go be that, and if you're going to go be a rogue independent film, go be that. We had different people with different levels of authority on the movie that pulled us in different directions, and it just doesn't work. Either be in control or let someone else do it, but don't...too many chefs. I'm going to be better next time. Failure instructs, failure improves. Failure shouldn't deter you, unless you're just bad at it.

 

Tucker Max

 

Here's a story: There was a documentary filmmaker who was making a documentary film about education in America. And he's shooting across this classroom with lots of people, kids, who are completely distracted at the television in the back of the classroom. When they get back to the editing room, they realize that on the television, you can barely make out the show for two seconds; it's "The Simpsons," Homer Simpson on the screen. So they call up Matt Groening, who was a friend of the documentary filmmaker, and say, you know, Is this going to be a problem? It's only a couple seconds. Matt says, No, no, no, it's not going to be a problem, call so and so. So they called so and so, and so and so said call so and so.
Eventually, the so and so turns out to be the lawyers, so when they got to the lawyers, they said, Is this going to be a problem? It's a documentary film. It's about education. It's a couple seconds. The so and so said 25,000 bucks. 25,000 bucks?! It's a couple seconds! What do you mean 25,000 bucks? The so and so said, I don't give a goddamn what it is for. $25,000 bucks or change your movie. Now you look at this and you say this is insane. It's insane. And if it is only Hollywood that has to deal with this, OK, that's fine. Let them be insane. The problem is their insane rules are now being applied to the whole world. This insanity of control is expanding as everything you do touches copyrights.

 

Lawrence Lessig

 

Michael made his debut in John Carpenter's 1978 horror classic, Halloween, possibly the best scare movie to come along in the last twenty-five years. ... [W]ith the release of the sixth (and hopefully final) movie to bear the Halloween moniker, we see how far the mighty have fallen. ... In the final analysis, The Curse of Michael Myers is a horrific motion picture — just not in the way the film makers intended - Directed By Joe Chappelle.

 

James Berardinelli