By • Nov 22nd, 2011 •

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Photo by: Franco Frassetti

SID HAIG: “I don’t kill, I give life, sometimes what I give I have to take away.” (from NIGHT OF THE LIVING DEAD 3D)

The sixties ushered peace, love, and war into American society and as this volatility raged and stung at the hearts of the populace, couch potatoes in American living rooms were unwittingly transmitted a new face of a hood, a terrorist, an all-around bad guy. This master of disguise portrayed Turks, Egyptians, Persians, Hispanics and any other “villainous group” according to Hollywood’s vision at the time. Over a half a decade into the future, his distinctive mug is as lively as it was when hippies and discoing Travoltas inhabited the earth. Embodying psychos and mad doctors and zombies and those that go bump in the night, like a seal of approval, today Sid Haig is the face of horror.

How many in Hollywood can boast a long career that includes appearances on the most popular shows of the day? Haig acted in shows with Danny Thomas, Bob Hope, and Lucille Ball. From FANTASY ISLAND to THE A-TEAM to GET SMART to GUNSMOKE.

Performing in many types of roles, superhero and science fiction genres were among them. As Royal Apothocary in the BATMAN television series, he delivers the line, “…abu rabu simbu tew.” At the hands of the caped crusader, he receives a superhero Bonk, Powie, and Zap. As Drago, Haig is the arch enemy in a cheap STAR WARS Saturday morning show entitled, JASON OF STAR COMMAND.

Haig on Jason of Star Command

Haig on Batman

This line, by Elliot Gould in BUSTING, “That’s not immediate family, that’s a creep.” in reference to Haig as Rizzo’s bodyguard, sums up the other less than savory type of characters that Haig portrayed.

After decades in television and film, Sid Haig experienced a rebirth in the realm of horror thanks to musician turned director, the one and only Rob Zombie. Not since John Wayne Gayce has anyone portrayed clowns in the proper light Haig has as Captain Spaulding in HOUSE OF 1000 CORPSES.

With a white painted face, black lips, rotted teeth, blue arched eyebrows, and dabs of rosy pink on his cheeks, donning a patriotic red, white, and blue Uncle Sam hat, this fast talking, carnival barking, fried chicken sellin’, gas station roadside attraction ringmaster does what clowns are supposed to do. Commit murder.

Those unlucky enough to travel to exit 13 off route 1 in Ruggsville and buy a ticket to Captain Spaulding’s Museum of Monsters and Madmen may find themselves meeting the rest of his family in the unforgiving Texas terrain. If not by chance, then by a map detailed by the Captain himself. They may run and you may hide, but there is no chance in hell that anyone will survive Baby, Otis, Tiny, and Mother Firefly.

Although HOUSE OF 1000 CORPSES was not fully appreciated by all critics, it has amassed a huge cult following. After this movie was released and Sid was billed at horror conventions, the lines to see this man that portrayed the foul clown were quite lengthy. Writer and filmmaker Joe Knetter attests to Haig’s popularity at such shows.

JOE KNETTER: [Haig]…is busy as hell at the show. I swear the guy’s line never ends. In the six years we’ve been friends we’ve done a ton of shows together and he continues to be a big draw, with fans lining up for a pic or signature.

Signing pictures and posters depicting him as his various characters, some fans bring their own images of Haig tattooed onto their bodies, which continues to startle him.

The good people at Saturday Nightmares in New Jersey had booked Sid at their convention of horror, and this is where he chatted with me and allowed me to whisk him away from his throngs of fans for a photo shoot.


Franco Frassetti: When did you first know you wanted to be an actor?

Sid Haig: I accepted my first Academy Award in my parents’ living room at the age of nine.

Franco: Did you go to acting school?

Sid Haig: I went to undeniably the best acting school on the West Coast which is the Pasadena Playhouse . The alumni is amazing: Gene Hackman, Dustin Hoffman, Earl Holliman, Charles Bronson, you know. Names that people might remember.

Franco: What kind of acting did you want to do?

Sid Haig: I wanted to act. I wanted to be real.

Franco: What was your first casting call experience like?

Sid Haig: The first one was for Jack Hill for his student film at UCLA called, “THE HOST.” I kinda had a leg up going in because Dorothy Arzner, who was the head of the film department at UCLA, and the first female director in Hollywood, was friends with one of my instructors at the Pasadena Playhouse, and she called her and said ‘We’re looking for a guy. Jack’s not happy with anybody he’s seen, do you have anybody?’ And she called me and said get your ass to UCLA right now. Went over there, we met; I read for him, boom, done! After that things started snowballing. I did another picture the next month. I did another picture the month after that. My first television show, which was the original UNTOUCHABLES, so everything just snowballed.

Jack and Sid have a long courtship. After Hill’s student film, the two worked together on many of Hill’s productions. What is an article about Sid Haig’s career without input from Jack Hill? Short of expectations of a response from Alan Shafer, Hill’s representative, it was shocking to see an email from Jack Hill in my inbox: …I’m delighted to learn that Sid is getting the serious attention he deserves. Mr. Hill recalled the details of his initial meeting with Haig.

JACK HILL: My mentor in the UCLA cinema department was Dorothy Arzner, who had been for many years the only female A-picture director in Hollywood. I was struggling to cast my student film, THE HOST, and after letting me go through some disappointments (read: mistakes) on my own, Dorothy tactfully suggested that I take a look at a student she knew from the Pasadena Playhouse school who she thought would be suitable. It was a young guy named Sid Haig. My first impression of Sid was that – well, he wasn’t exactly what I had in mind for the role (another mistake in my learning process) – but when he read for me I immediately noticed that he had a way of using his entire body that convinced me, this was the right guy. It was a physically, as well as dramatically demanding role – a sort of metaphysical Western that included a fight scene as well as sexuality.

Sid didn’t need much direction on my part, other than how to physically play to the camera. He mostly just showed me what he had in mind, and I pretty much agreed with him and let him run with it, a technique – if one can call it that – that later became my way of working with actors: see what they bring to the role and be open to it. In other word: First rule of directing is the same as the first rule of medicine: “First, do no harm.”


Franco: SPIDER BABY was your first major film?

SID HAIG: That was #4 and to work with Lon Chaney, Jr. was amazing ’cause as a kid I used to go see all of his movies and now, all of a sudden, I’m there working with him. The first couple of days I was in awe, but he was so cool.

Franco: Did he give you any tips. Did he help you along the way?


SID HAIG: He helped me in ways that didn’t have anything to do with acting but basically telling me what kind of situations to stay away from and what to do and what not to do to get ahead in the business. So, it was cool.

Franco: Did you get to see SPIDER BABY after it was released? I heard that there was a problem with prints disappearing.

SID HAIG: Yeah, I did see it. The reason it went underground for three years was that the producers filed bankruptcy and that was part of their assets and they couldn’t do anything with it until they paid off their bankruptcy. So, that is why it took so long to get out there.


Jack Hill on SPIDER BABY

JACK HILL: It wasn’t long after, I had the opportunity to make my first complete feature film, which eventually became what is now known as a classic cult horror-comedy, SPIDER BABY OR THE GREATEST STORY EVER TOLD. (See, there was a big Hollywood epic out at the time entitled THE GREATEST STORY EVER TOLD, and, well… How could I know that my little movie would still be finding new fans two generations later?) I wrote the script with Sid in mind; in fact he was the inspiration for the character of Ralph, the monosyllabic idiot that virtually steals the show. His only dialog was, “Ih! Ih!” along with a few grunts and drooling laughter. Perfect casting, in my admittedly grass-driven imagination (it was the sixties, after all).


I wrote it with Sid in mind is a reoccurring statement from all the film directors and writers that I have spoken with concerning the thespian of Armenian descent.


Jeff Broadstreet, director of the upcoming NIGHT OF THE LIVING DEAD 3-D: REANIMATION wrote the part of Gerald Tovar Jr. with Haig in mind.

JEFF BROADSTREET: I knew Sid’s work because of Jack Hill. I was familiar with COFFEY and FOXY BROWN. I had some friends who were special effects make up guys working on a movie so when Sid came out in HOUSE OF 1000 CORPSES, he was just such a breath of fresh air that I literally said to myself, “Where had this guy been?” I really want to work with the guy. I really want to put that guy in a movie.” So, that came out in about 2003 and when the opportunity came up to do NIGHT OF THE LIVING DEAD remake in 3-D, I told the writer that I want to write the Gerald Tovar Junior role for Sid Haig. I remember him looking at me and saying, “Do you think we can get him?” I said, “Let me worry about that.” So we wrote the role for him in kind of his voice and, of course, I didn’t tell him about this until later. So, when I hired my casting director, whom I had worked with before, he said, “I think we can afford him, I think we can get him.” He came in, just to meet. I didn’t ask him to read and then we offered him the part. He was a lot of fun to work with and it’s always fun when you get your first choice.


Barb is in the garage at the mortuary after fleeing from the building and encounters a zombie. Sid Haig’s character, mortician Gerald Tovar Jr., rushes in with shovel in hand, broadsides the zombie while exerting a loud grunt and instructs Barb with a sense of urgency, “Miss you can’t be here.” A beat later he delivers the line, “Employees only!” with boisterous amused merriment. The exchange between the startled Barb looking for answers and Gerald offering condolences while beating the zombie about the head, yet again, has the feel of a classic Warner Brothers cartoon. The scene ends with a rotund naked zombie lurching forward as the mortician is repelling him as if he were just a mere annoyance while trying to reason with the undead. “Mr. Del Amo, Mr. Del Amo, this isn’t helping either one of us.”

Haig’s multifarious emotions delivered from line to line displays the actor’s ability in the scene where Gerald Tovar Jr. sits in the farmhouse living room detailing the genesis of the zombie population. The scene plays out as written below:

Upon his entrance to the house evading a zombie assault, he gasps for breath while offering a hello to all present and seats himself as if there were not a care in the world.

Gerald: Do you have anything to drink? Some tea, uh water, water would be fine.

Silence. Burning stares from all.

Sheepishly, a shoulder shrug , and a chuckle.

Gerald: I’d be happy to get it myself.

Followed by a big gleaming grin.

In a deep slow rhythmic pattern: Gerald: They started coming back to life about two weeks ago.

Gerald is asked: Are you saying the dead have been coming out of the ground for two weeks?

Gerald blurts out reassurances that they are not and is asked to specify.

In a deep voice. Gerald: The other ones.

He looks to the ground then with open sad eyes. Gerald: The ones that were supposed to be cremated.

Delivering an excuse like a child taking blame, then taking credit for other things, happily smiling.

Gerald: Other things too that were supposed to go into the fire.

Stressing the syllables, Haig’s delivery is akin to telling a campfire story.

Rhythmically. Gerald: Parts, parts of bodies. Medical things.

A slow deep resonance.

Gerald: I think if I could have burned anything, it would have been themmmmmm.

Franco: What kind of direction did you give him in the living room scene. His diction, the way he rolls his eyes. His voice gets very low at some parts. Did you have anything to do with that?

JEFF BROADSTREET: I am going to be frank with you now and you can print this.

Franco: Okay.

JEFF BROADSTREET: I didn’t really give Sid a lot of direction. I mean I gave him some direction, but he didn’t seem to want to take a lot of direction from me. I only gave him like two line readings the whole film. And he didn’t want to do it, but he did do it. In any event, I didn’t coach him through that role. Basically, my feeling is since we wrote it for him, when you hire an actor like Sid Haig or Jeffrey Combs, you hire guys like that with a short shooting schedule, you are basically hiring them to do what they do. I am also a student of Hitchcock and Welles. Hitchcock always said that if you cast right your movie is about half way there. So, I didn’t give him a lot of direction in that scene; I just talked to him about it generally. But, what I did was, I shot a lot of coverage of it. I shot the master and then I shot all the other actors coverage next. There are like five or six people in that scene. And then I shot Sid last. So, by that time, he was really warmed up and what I did was I just set up a dolly track, I set up a short dolly track in front of him. And all I did was very slowly dolly into his face until it was pretty much a big close-up. And then we pre-cued the line and when he said a certain line and then we’d very slowly started tracking back out. It’s one of my favorite scenes in the film.

Haig appeared in a few lackluster films but always gave an A+ performance. In HOUSE OF THE DEAD 2, he is a doctor who is responsible for the virus that creates the zombies. This was a year before his 3-D zombie premiere. In A DEAD CALLING, he plays husband George to his onscreen wife Marge, played by Leslie Easterbrook. (The couple was also married in HOUSE OF 1000 CORPSES and DEVIL’S REJECTS.) George is a caring concerned father who smiles brightly and assures her that everything will be alright. In this film, there is zero creep factor in his character. However, it would not take a gambling man to bet that future appearances by Haig will be in the form of characters that one does not wish to meet.

Haig proves the point.

Franco: Anything you want to promote now? Is there anything that we will be seeing you in the future?

SID HAIG: Yeah. I’m in a film called CREATURE…I’ve done four films after that , MIMESIS – the definition of mimesis is life imitating art. And I did a film called THE SACRED, and THE INFLICTION, and ZOMBEX, yet another zombie movie, so I’ve been busy.

MIMESIS’ director, Douglas Schulze recently returned from screening his film overseas and at the U.S. premiere of the film at the Blue Water Film Festival in Port Huron, Michigan.

Franco: Did Sid audition? Or was the part specifically written for him in mind?

DOUG SCHULZE: Yeah. Actually, the whole genesis for the idea was that we were looking for a powerful, intimidating factor, visually. Someone who actually could carry a bit of a dramatic performance and kind of look internally to the character, if you will. And, so when we were writing it I was kind of working with a co-writer and we were saying, “Sid Haig would be great for this part.” We wrote it with Sid in mind, not really knowing if we would have the chance to work with him and we were very surprised. The schedule…the planets aligned, so to speak and we were able to work with him.

Sid Haig and Doug Schulze

Franco: Was he exactly how you envisioned him to be? Did he do something different from what you wanted him to do?

DOUG SCHULZE: He came to us a very open actor. He likes to hear the Director’s perspective from the onset. So, the first time we got to meet and sit down to talk about the character, he wanted to hear my perspective on it. He sat very patiently listening and not talking. He gave me his take on it and we hit a nice middle ground. His approach was pretty dead on for what we were looking for. Sid’s character is actually a film director, an independent film director we perceive may be a mastermind behind this group and we are not sure if he is the good guy or the bad guy.

CREATURE is a film that brings back the monster horror genre. Sid is Chopper, good ol’ boy of a backwoods-down-in-the-bayou family that harbors a secret. Much like HOUSE OF A 1000 CORPSES, Haig’s character is happened upon by the roadside in a convenience store that is out of fuel and a working bathroom and the hangout for the local yokels. As did Captain Spaulding, Chopper also displays a creature-human hybrid mix that brings back memories of George W. Bush’s January 31, 2006 State of the Union Address asking Congress to ban human-animal hybrids.

Director Fred Andrews spoke about Sid in CREATURE.

FRED ANDREWS: You know what, the girls were so scared of him when they first met him, and he’s such a puppy dog. They are like, “Oh, my God, he scares me.” Working with Sid was amazing. I was really, really lucky that he was able to do it. He was busy. He was booked. We spoke and we kind of hit it off right away and he consented to come down and sweat for me. I can only say this, the guy is such a pro. He’s been doing it for so long.

Franco: I think fifty years, he said.

FRED ANDREWS: Yes, Paul Mason, my Executive Producer, was the guy that gave him his first acting job on LAREDO. So Paul called him and said, “Fred really, really wants you guys to talk.” It just worked out great. So here it is, I’ve got like the younger actors and we’re like ten hours into it and it’s hot and sweaty and it’s night and there’s bugs all over the place and they’re like, “Oh, I need bug spray , I need this.” And Sid’s just sitting and waiting for his lines. He never went back into the trailer. He would just wait. He said, “That’s my job, I am here to do my job.” Directing him was just fantastic. Pruitt Taylor Vince was also in the film and he and Sid are in a really big scene together. I have David Jensen who is another big character actor and Wayne Pére who kind of played like my local guys. So when you had these four actors together with Sid, it was just amazing! It’s just some of the best character actors you’ve ever seen. It elevated the film to a whole different level.

JEFF BROADSTREET: He was great to work with. It was a small film with a short shooting schedule and I kept expecting him to maybe kind of lose it or something. There was one day that he was kind of cranky, and we found out that he had fallen asleep in his trailer, and his trailer happened to be right next to the generator. He had been inhaling diesel fumes. So he came on the set, and I thought, “Oh, he’s finally losing it, finally losing his temper.” But no, he came to apologize that he was a little cranky. He said, “I’m sorry, I fell asleep in the trailer and I woke up with a headache.” I kept expecting him to be kind of…I don’t know…in these small movies … I worked with some actors that kind of lose it sometimes. He was great to work with.

He had actually hurt his knee out at the farmhouse set and that last day that we were shooting him in the scene where he gets attacked by all the zombies at the car, his knee was swollen. So, when all the zombies attack him and push him down, I told them to barely touch him, put your hands on him very lightly. I didn’t care for the first take so I asked him to do it again. Everybody looked at me as if I were crazy. “He’s got a bad knee, are you nuts?” “I’m sorry, but I’ve got to do it again.” He said, “Look, I know I have a hurt knee, but if we’re going to do it, let’s do it right. Have them go ahead and grab me.” I thought that he was a real trooper.

JOE KNETTER: Sid Haig was one of the first people in the business to support my work. At the time I was just writing more for fun than anything. Being a huge fan of H1000C and his character Captain Spaulding, I knew who Sid was and was familiar with his long body of work. I took a chance and wrote him to see if he was interested in reading some of my stuff and maybe giving me a blurb to use. Not only did he agree but he also went on to write an intro to my next book.

A fellow actor and friend of Sid’s, Bill Moseley shared screen time in both of Rob Zombie’s films, HOUSE OF 1000 CORPSES and THE DEVIL’S REJECTS and also in A DEAD CALLING. With numerous on-set and touring stories to tell, this is one that is ever so fitting for a pair of horror actors.

BILL MOSELEY: Sid Haig and I are great buds and we worked together alot. We travel to different conventions together and we had gone on a ten day European swing. We were making different appearances. We had a couple of days in Paris and had a personal appearance for that big toy store in Paris and the couple that translated for us said that if we wanted to have fun in Paris, they’d be happy to be our tour guides . “We speak English. Obviously, we are French people and could show you around.” Sid and I were in a hotel right next to a very famous old cemetery called Père Lachaise. It’s where Chopin is buried, and Jim Morrison, and a bunch of other famous people. We said that we’d love to go see that cemetery. They said that was awesome because the husband of this couple actually worked there. So, we were going to get the inside tour of the cemetery. We showed up and met the couple and they had brought along a friend of theirs, a kind of a Goth guy, and we had this great tour and we saw all the cool stuff and we had lunch afterward.

The months went by, Sid and I came back to the U.S., and Sid called me up and said, “Do you want to hear something weird?” I said, “Yeah, sure man, what?” He said, “I posted a picture on my website of the five of us. The couple, their bud, you and me, at the graveyard, and one of the fans on my website identified their friend. He was called ‘The Vampire of Paris,’ or something like that.” This was a guy who had been quite infamous in Paris because he had also worked at Père Lachaise Cemetery and had actually been caught eating some of the cadavers. He had gone to jail for it. He had literally brought home a hand or a leg and cooked it up or whatever and ate it. He was our silent companion and he seemed like a nice guy. Sid and I both got a kick out of that.

Those that have worked with Sid Haig do wish to work with him again. If it is not a leading role, it just may be only one scene. Rob Zombie placed Haig in his version of HALLOWEEN as the grave keeper Chester Chesterfield. Quentin Tarantino is a fan of Haig and placed him in JACKIE BROWN as a judge and later as a bartender in KILL BILL: VOLUME 2. In JACKIE BROWN, Sid Haig’s name appears in a scene in the film. Pam Grier’s character looks for a name in a building directory and the name S. HAIG is listed.

Previously, Tarantino had another role planned for Haig.

SID HAIG: Quentin Tarantino wanted me for PULP FICTION, for the part of Marsellus [eventually played by Ving Rhames] and I wanted it, and there was this big screw-up between my agents and them and da,da,da it didn’t work out. I was really pissed off about that. And he told me he really wanted to work with me. So, it was agents and producers and whatever, just sometimes don’t speak the same language and things don’t work out.

Quentin Tarantino was well aware of Haig from his numerous appearances in the Jack Hill films PIT STOP, The BIG DOLL HOUSE, THE BIG BIRD CAGE, COFFY, and FOXY BROWN.

JACK HILL: My next outing – again, creating a role with Sid in mind – was my “stock-car racing art-film,” PIT STOP. And again, with Sid stealing the show as an ego-maniacal race driver whose character does a complete turn-around that not just any actor could bring off. The film was not widely seen at the time because we shot in black & white – it had a lot of night-time racing that we couldn’t shoot in color in those days – and drive-in theaters started advertising all-color bills. [It has since become another cult classic on internet downloads, of all venues.] My most delightful memory of the shoot on that picture was when we needed to have Sid actually drive a truck on camera, and learned that he didn’t know how to drive. With the result that he backed the truck into a parked car. Still, of all my films with Sid, this is the one that I’m most proud of, as a fine accomplishment against all odds.

But let me move on to COFFY and FOXY BROWN, the last two films that I made with Sid, and the titles most frequently associated with my name. In both cases, I created characters specifically for Sid. In COFFY, I had him play an Armenian hit-man, and in FOXY BROWN, a redneck aviator. He was equally convincing in both roles. Well, it may have been cheating a bit having him play an Armenian accent because Sid is of Armenian descent, and he brought a few shticks and bits of dialog to the role that I would never have thought of: an example of the thrill of working a genuinely creative player.

I was never able to work again with Sid after that time, partly because I had projects that just didn’t have roles for him, and partly because he was getting too expensive for my budgets. I did write another role for Sid in a sword & sorcery fantasy picture called SORCERESS that I eventually shot in Mexico – playing a satyr, actually, which in my mind would have been perfect for Sid, and in which he would surely have stolen the picture – but circumstances and delays made it impossible for him, and the film suffered fatally from his absence.

Still, I look forward to the day that Sid and I can collaborate once again, and every new script I write nowadays has a role for him. Hang in there, Sid, our biggest hits are yet to come!

Meanwhile, back at the convention in New Jersey:

Franco: Is being known in horror a hindrance? Are people on the street cool with you or do you find that horror actors aren’t given their due?

SID HAIG: No, people are really cool with me on the street. I appreciate that. People aren’t pushy or being assholes, which is really good. And because of the success of HOUSE OF 1000 CORPSES, THE DEVIL’S REJECTS and HALLOWEEN industry people are starting to recognize what it is that I do, so things are starting to broaden out.

Franco: What is your worst film experience?

SID HAIG: I don’t even want to talk about it.

Franco: And you obviously have good relations with Mr. Zombie. How is he as a director? What is his approach?

SID HAIG: Rob Zombie, Quentin Tarantino and Jack Hill all work basically under the same premise. They make their vision clear to you and then get the hell out of the way and let you do your job. Boom, done! Okay. And that’s the way to work. If a guy has enough faith to hire you, then he should have enough faith to know that you know what you’re doing and let you do your thing.

Franco: Are there any future Rob Zombie projects that you’re involved with that you can mention?

SID HAIG: I can’t say anything ’cause I don’t know anything.

Franco: Are you happy as an actor?

SID HAIG: I’m happy. I ‘m happy with where I’m at and I’m happy with where I’m going. Always reaching for the next level.

Franco: Is there anything you want to add? Something about yourself that you would like our reader’s to know?

SID HAIG: Nothing that they probably don’t already know. Except that my little public announcement is to just believe in yourself, believe in what you’re doing. Don’t quit until you get it.

Franco: When you were just becoming an actor, where you ever told that you wouldn’t succeed?

SID HAIG: Oh, yeah. My first day in school the Dean of the school did the Orientation speech. He said there are three things that you need to become a successful actor: wealthy parents, ha, that lets me out, and you have to be tenacious (I said I could do that), and then if you have a little talent, that would help.

As a metaphor for actors yearning to drink from the fountain of success, we leave our audience with the following line from the short film THIRSTY, directed by Andrew Kasch, where we are tuned to Radio Evangelist, Sid Haig. “You’re hot and you’re sufferin’ and you’d sell your soul to Satan himself for just one drop to drink. Can I get an Amen!”

(Thank you to the following who gave their time to make this article possible: Jack Hill, Bill Moseley, Jeff Broadstreet, Fred Andrews, Douglas Schulze, Judy Fox, Alan Shafer, Andrew Kasch, Joe Knetter, Saturday Nightmares and of course, Sid Haig.)

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3 Responses »

  1. Great article. Sid’s career in movies is quite expansive. A true cinematic legend.

  2. Mr. Haig deserves his cult status. He’s paid his dues and has only enhanced the movies he has had. I especially love his Jack Hill films. There are some guys who have power on screen and he is one of them.

  3. I think sid is one of the badest and coolest actors out there. My favs. Have to be the devils rejects and house of a thousand corpses. Hey Sid if you are ever in salisbury N. C . Stop in for a cold one. Just leave the ol lady alone

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