Clive Barker: I haven’t seen all of them recently, to be honest, but the early movies were all about being addicted to sex and pain, not necessarily in that order. Where we were used to the fetishistic world which was accessed in these movies. But back in the day, 30 years ago, the leather scene or the S&M scene worked; the stuff of the music videos. There was no Marilyn Manson, so you had to go, I think, into much, much more difficult territory. Because the gag had already played several times and become public and good God, Pinhead was on chat shows. I think he’d lost a lot of his power. He’d become familiar. You did a very smart thing, you said, “Okay, this thing is familiar too, so how do we make it scary again?”
David Bruckner: Yeah, exactly. Our first call, Clive, the first thing you asked me was, “How are you going to do the outfits? How are you going to do BDSM now?” And I said, “We have an idea, and it’s different.” Because, I think we were up the same mind here, we can’t simply replicate it. These ideas and these images mean something different 35 years later.
Clive Barker: Absolutely. When I saw the designs, particularly when I saw the photos of the designs, I was blown away because you have reinvented them without violating the force, as it were. I don’t know how all three of us think of this now, but I think that the danger part of the BDSM vision if you will, the dangerous part of it is being stripped away. Almost entirely, I think. I mean, BDSM, that imagery now has been used in fashion, in erotic movies, all kinds of stuff. What is gone from it is the danger.
35 years ago, I was accessing a danger, which was actually in the imagery back then. But it can never stay in the imagery if you’re going to make ten movies of it; eventually, it’s just going to lose that. It’s a tough thing, I think, to take a set of images that are potent because they’re forbidden, which is what I was playing with, and reinvent them without totally violating the tone of it.