The following interview was conducted July of 2005 with screenwriter Tom Holland. Holland, who wrote the screenplay to Psycho II (1983), has enjoyed a successful writing and directing career with such films as Cloak & Dagger (1984), which re-teamed him up with Director Richard Franklin, and the original Child's Play (1988). Richard Franklin also comments in this interview. Franklin's comments appear in red. Franklin passed away from cancer in 2007. Holland has been a big supporter of this site and can be heard on the audio podcast!

How did you get the job of writing one of the most long awaited sequels in movie history?
Director Richard Franklin hired me. Our mutual lawyer passed him a copy of a screenplay I had written that became a Lorimar movie called Scream for Help (1985).

No it was the screenplay for your Arthurian piece.

Richard and I hit it off and he hired me. It gave me a huge boost up. My film before that, The Beast Within (1982), had been a failure.

I was not a fan. As I am not a fan of Philippe Mora.

What did you think of the Robert Bloch novel?
I never read it, but Richard described it in detail.

I never read it either. Was told not to.

The biggest problem, as I understood it, was that the audience didn't like Norman Bates. The key to Psycho was the viewer felt so conflicted about Norman. Horrified and sympathetic at the same time.

Agree in spades.

What gave you the idea for the screenplay to Psycho II?
Richard and I talked it out. He had a very clear vision...

It was an image of someone dressed as mother descending the stairs. And Norman buying it.

about what the script should accomplish to be satisfying. We kicked a story around an came up with basic premise: the relatives of the victims were trying to drive Norman crazy after he was released from prison.

It was mostly about working out how to restore "mother". In order to restore Norman's super(ego) motivation.

The moral of the story was that one shouldn't mess with those who had paid their debt to society -- and were still a little crazy.

True.

Describe to me your interpretation of the story of Psycho II
It is a story about people who don't want to be what they are, but can't escape their fate of their past. Norman Bates carries an essential goodness with him. He is a kind, loving and caring man; but he has never really expunged his guilt for the murders he committed over 20 years ago, even though he was insane. He wants to make it; he wants to keep his sanity and his grasp on reality. The ambivalence the audience feels about the people involved derives from the multi-layered narrative line. Everybody has good and bad. It's not a clean-cut case with any character or situation in this picture. This is built around the format of a psychological thriller.

About how long did it take you to write the film script?
I'd say it was 3 months, give or take.

How many drafts were there?
Not many, but the polished were endless. Tony also had his demands. The "toasted cheese" sandwich scene between Norman and Mary in his bedroom was written because he was demanding a softer scene with Meg Tilly.

Had forgotten that.

Were you nervous about writing the most talked about sequel of the 1980's?
Terribly. I knew it was a real responsibility. But you have to remember, the studio didn't think it was any big deal. It was originally intended as cable movie for Oak Communication, which I believe was a company down in San Diego at that time. The script was good enough to get Tony Perkins to commit and that changed things. Universal got a theatrical release out of a film made at TV prices, just as Hitch had with the original. Nice symmetry there.

More than that. It was their biggest hit of "83. Do you realize "it's 22 years" since it was released?

Did you spend time on the set of the film?
Yes. It was both thrilling and a lot of fun. the set was relaxed. Richard knew what he was doing.

Much thanks. It was what Orson called "the confidence of ignorance" (he had it on KANE, but never again).

How was it working with Director Richard Franklin?
Wonderful.

Even more thanks.

What did it feel like to be standing on the hill in front of the infamous Psycho House?
Words fail me. I got the giggles. Of course, there was a constant stream of electric carts going by. It was a high point of the Universal back lot tour.

How was your relationship with the actors on the film and did you have any input?
I joked with the actors, made an appearance as a deputy sheriff in the jail house scene, but I had no input into how they played their words. I was called in to assuage Tony when he was upset with Meg and demanding script changes, but Richard calmed him down.

Describe what it's like to write a movie screenplay - especially one like Psycho II when you know it will be important to your career.
Anxiety producing, but I never had any doubt about how good it was. I was at casting sessions and felt confident in Richard's selection of the actors. It's definitely Richard's film, but he wanted me around at various points, and I was brought into the whole process.

Modest Thanks

I think we all became friends, which we are to this day, me, Richard, and Andrew London. That was really promoted by Richard's openness and inclusiveness.

Words are starting to fail...

The entire project was a wonderful experience for me, and quite unusual in Hollywood. I think it was because the studio expected so little from us, and let us alone. It was truly a sleeper hit. The previews were what convinced the studio to back it.

I agree and love your turn of phrase.

Do you have any funny anecdotes to share about the making of the movie?
Funny? No, but the interaction among the actors was food for gossip. Tony didn't get along particularly well with Meg. I thought they were both wonderful.

What gave you the idea for Mrs. Spool to come to Norman and confess that she is in fact his birth mother?
I think that was mine.

I'm certain Spool was yours. What a wonderful name.

It had to be explained logically. We knew we had to kill her, but the shovel on the head was Richard's. I remember being shocked by the suggestion.

You didn't let on.

But the abruptness and black comedy were a perfect end to the picture.

What was your reaction to the film when you saw it?
I was thrilled, but I had also seen it coming together in the editing room. Scene after scene was working. It lessened my anxiety.

Were you ever approached to write Psycho III or Psycho IV and what was your reaction to the subsequent films?
I was never approached to write Psycho III or Psycho IV. I never watched Psycho IV. I did, however, watch Psycho III - the one Tony directed, but he didn't know what he was doing. His taste in movie making was art house and very abstract. He confused mood with story. Very few people know how to do sequels. They trade off the success of the one before, with diminishing financial results. Therefore the studio puts less and less into them, until they've killed them. It's hard for me to think of a time a sequel has been better than the first one that started the series, and that includes Psycho II. Even though it was one hell of a film, it still isn't the artistic breakthrough the original Psycho was.

Hear hear! What fun. Thinking back 22 years. And it seems like yesterday!

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