The pandemic has made many think of the treatment of the aged. Many are not in a good situation for various factors sometimes beyond their control. The Horror genre has perpetuated many images of the old in making them those that are acted upon or do and control activities and others. Complex in the case of drama and arc within a film or book, one not easily achieved. Neglected often is the work and process behind these characters and the actors of both sexes that inhabit their roles. More to these people that bring the atmosphere in brief moments than putting on a prosthetic piece or a practical effects setup under the wardrobe.
John Dugan was born in Brazil Indiana. Had Theatre training at the Goodman School of Drama at the Art Institute of Chicago. The school is now the Goodman School of Drama at DePaul University. Alumni later included Michael Rooker, Joe Mantegna, and Gillian Anderson among others.
I had the distinct pleasure to speak briefly with actor John Dugan about his work playing the original Grandpa Sawyer in the original Tobe Hooper directed TEXAS CHAINSAW MASSACRE and his work process. This exchange took place in a booth on the convention floor at the CALGARY COMIC AND ENTERTAINMENT EXPO in April 2022. This interview has been edited for content.
TS: Can you tell me about your training as an actor?
JD: I did training for films at the beginning, Voice training, and several productions in several productions including worlds by Ibsen.
TS: How does a twenty-year-old get the role of Old Man in the Texas Chainsaw massacre?
JD: In Chicago, screenwriter Kim Henkel (Producer of the 2022 remake) asked me plus I was small in stature. I also knew Tobe Hooper in passing.
TS: How would a twenty-year-old get into the mind and character of a cannibalistic head of the family?
JD: The character of Grandpa was embryonic. It was suggested that I would be like a newborn baby nursing and the hand movements
TS: The makeup must have helped. How would your shooting day begin?
JD: The makeup as spirit gun and latex in the original. When I did the 3D, the process changed to mask. I would have makeup done then I would be driven thirty-five miles to the set which was an actual farmhouse in Texas.
TS: How were you directed in the ‘banquet scene’ in the original?
JD: Tobe was seeking always to improve. The farmhouse was a real house. The lights were brought in making it very warm inside as it is not a studio. We are shot basically on a 24-hour schedule. In the 3D version, they built a replica of the farmhouse.
TS: How did you feel when you were asked to reprise the role of Grandpa?
JD: I had done other things but I said I had been waiting forty years to do this (laughs).
TS: How was Tobe Hooper to work with on the original?
JD: He made us do the entire banquet scene multiple times. Would shoot master shots from both front and back and right and left. The whole scene again with close-ups of each actor in order to get reactions. Multiple takes for each. The lights were big and close as well in the house. Windows were blacked out during the day for the night scenes.
TS: How do you get into the role as an actor?
JD: I am a character actor, not a leading man. In ROCK PAPER SCISSORS (2017, Directed by Tom Holland who did the original FRIGHT NIGHT in 1985). Playing a pedophile who is also a family relative (Uncle Charles). I researched forms of sexual arousal in men besides the obvious. I altered my breathing, my voice delivery. The memory work as an actor helps but it is also difficult to do. I was also told not to show restraint. I salivated in moments.
TS: Are you surprised by the impact of the original TEXAS CHAINSAW film?
JD: (Big smile) Oh yes. I have been asked to appear at the 40th-anniversary tributes to the film. I love speaking with fans of it at shows and screenings.
TS: I have thought that it is similar in impact and production style to HENRY: PORTRAIT OF A SERIAL KILLER which is why I asked.
JD: I lived down the street from John McNaughton (Director/co-writer of HENRY) I sometimes see Michael Rooker at shows. He does not speak to me.
TS: Is there are roles you would like to do someday?
JD: Big question, (Takes a breath and thinks)
TS: Would you return to the theatre?
JD: I spend a lot of time with my family now. Like to maybe do some Tennessee Williams.
TS: Like 27 Wagons full of Cotton?
JD: (Eyes light up and big smile) Yes, that old chestnut 27 Wagons. (At this point John went into a pinpoint short monologue for the play in a Tennessee accent)
TS: Sounds like you could do Burl Ives’s role in CAT ON A HOT TIN ROOF. Southern Gothic?
JD: Burl had some career troubles after the HUAC hearings (House UnAmerican Activities committee in 1947) He outed people including Pete Seeger.
TS: I have read about those hearings with Bogart and others. Saw the impact in such films as Trumbo (2015)
JD: You know they destroyed a lot of people’s careers. Burl was reduced to singing his songs.
TS: Did you or do you get ideas for a film when you are on the set or in idle moments?
JD: Yes, quite a few I wrote one called THE SIDE KICK about a sidekick of a hero. It was taken by a third party.
TS: Thank you for your time at this moment.
JD: Thank you (warm shake of my hand)
Mr. Dugan and I talked while he conducted the business of greeting and talking to fans who approached him. Living up to his belief to always talk to people. Special thanks to Dan Doherty and others at the Calgary Horror Con booth to allow this to happen. Even giving up a chair for me without electrodes or shackles. Thanks to the actor himself John Dugan for sparing some moments.
