Bill Moseley is a horror icon known for his roles in such films as House of 1000 Corpses, The Devil’s Rejects, The Texas Chainsaw Massacre 2, and Repo! The Genetic Opera. As much as I love those movies, I’ve heard Moseley speak about them a lot - so when I was given the opportunity to interview him, we chatted about some of his smaller films instead: his latest effort, The Possession Experiment, the upcoming Death House, and some of his favorite lesser-known roles. He also reflects on his experiences making Silent Night, Deadly Night 3.

The Possession Experiment comes out on December 6. Can you begin by telling us about the film and how you got involved?

It came in the form of an offer. My manager, Judy Fox, let me know that Scott Hansen, the director, and Mary Dixon, the writer-producer, wanted me for the part of Father Mark Campbell in a very harrowing exorcism scene in their movie, The Possession Experiment. I asked to read the script first. That’s what I always do. I thought the script was fantastic. I loved it. That’s a big part of it. If you start with a bad script, there’s very little you can do to make it a good movie. I thought Mary’s script was excellent. I think I played a priest once or twice, but certainly not an exorcising priest. The scene itself, the way it played out was pretty crazy. Obviously, there was a big turn at the end. All of that sounded good to me, so I said, “Amen!” [laughs]

Are you religious? If so, did that impact how you approached playing a priest?

I was raised a Christian Scientist; as Wikipedia would describe it, a primitive Christian heeling religion. We don’t hold up snakes or anything. I went to Sunday school until I was 11 or 12, then I finally talked my way out of it. So I grew up with a Christian background. Of course, I’m a big fan of The Exorcist. Playing Father Campbell, I channeled my inner Max von Sydow. What I got from him was very interesting. Obviously, in the movies you want something that’s splashy and exciting, because you only have so many minutes to put it up on screen, but in fact, most exorcisms take weeks if not months.

What I liked was that this was another day at the office. Father Mark and his assistant, we roll up our sleeves, we say the same prayers, we throw the same holy water. Here’s the girl, she’s tied down. It’s business as usual. I liked the idea that it’s a competition. It’s not the Bears vs. the Packers, it’s God vs. the Devil, good vs. evil. I’ve given my life to the church, so I know we’re going to win; it’s just a matter of time. To have my entire faith wrapped up in that and to be surprised, to have the Devil turn the tables - not just a matter of being frightened for my own safety and the safety of others, but also that my faith is shattered. Like, “Wait a minute. This isn’t supposed to be happening.” That was also a very interesting sequence.

You’re known for several big roles, but you also do a lot of independent films like The Possession Experiment. From you perspective, how do these fly-by-night productions compare to Hollywood sets?

The fly-by-night productions really are a lot of fun. They require a lot more presence. You can’t just say, “I’ll be in my trailer.” There might not be a trailer. [laughs] I find that on a lot of independent sets the crew eats before the cast, and usually the food is made by the director or the producer or the cinematographer’s mom or aunt. It can be cold. The sets can be difficult. But when it comes right down to it, all of that is just trappings. Whether it’s a $10 million movie or a $10,000 movie, what it comes down to is getting the work done; making it real when the camera finally rolls, and not worrying about who’s shooting what at what angle or what kind of equipment. For me, I don’t really worry about that other stuff - and maybe I should. I just try to get into the moment and act and make it real. Whether it’s a big paycheck or a small paycheck, or I’m in Australia or Pacoima, I don’t care. [laughs]

What are some other smaller movies you’ve done that you’d like more people to discover?

Exit Humanity, a civil war zombie movie that I shot a few years ago outside of Montreal. It’s a really, really cool movie. I play a southern general fighting zombies, so that’s kind of cool. Another movie I did - directed by Corbin Bernsen, who used to be on L.A. Law - is called Dead Air. I play a shock jock, and I happen to on the air the night of a zombie outbreak. Zombies seem to be playing a part in this. [laughs] Also a movie I did a couple of years ago down in Australia with a great, young director named Christopher Sun called Charlie’s Farm. There’s an urban legend, and kids go out to Charlie’s Farm and discover that it’s not such a legend after all. I just did another movie with Chris Sun last year, Boar, which is a creature feature about a giant pig in the Outback. It’s kind of a Jaws on land. So movies like that, I would recommend Dead Air, Exit Humanity, and Charlie’s Farm. I’m sure there’s another ten I could rattle off.

You have a role in the upcoming film Death House, which is billed as “The Expendables of horror.” What was it like working on that one?

That was a lot of fun. I liked working with Harrison [Smith, director]. I had seen the script many years ago when Gunnar Hansen had first penned it, so it’s been gratifying to watch the script morph into something that finally got produced. I’m sorry Gunnar isn’t around to see it come to fruition. I played one of the five evils, so another evil, Nazi character. You know, I’m a soccer dad. I don’t know why they keep giving me these horrible, evil guys to play, but I enjoy it. I had a good time with it.

With Christmas just around the corner, do you ever revisit Silent Night, Deadly Night 3?

Yeah, actually! [laughs] I tweeted about that the other day. My Twitter is @choptopmoseley. I really enjoyed working with Monte Hellman. Who knew that Monte would ever do a horror movie? I enjoyed the part. I didn’t get hurt, so that was good. That checks did clear.

I remember that was the first movie I ever cried in. I could slice and dice people, but when I was asked if, need be, would I ever be able to cry on screen, I was afraid that I couldn’t. I was the son of marine, a tough kid growing up in the country in Illinois, not a very emotional person. But in Silent Night, Deadly Night 3, I actually cried. There’s a moment where I was getting fed by a very wonderful grandmother character, who gives me soup even though I have this brain cap with my exposed brain and a bunch of orange juice. Everything says, “Don’t let this guy in your house.” But I ate a spoonful of her turkey soup, and I started crying. Monte Hellman was deeply touched. [laughs] That was my happy reminiscence.

Although you’d never know it by looking at you, you celebrated your 65th birthday a few weeks ago. You show know signs of slowing down. What’s the secret to your longevity?

Well, I don’t make show business by higher power. I think that’s a big part of it. If I never worked again, it would be sad, but it wouldn’t be devastating. I’m happy to do the work that I get. I just find that I’m enthusiastic about it. It helps that I have a relish for all the roles that I’m offered - or most all of them, I should say. I go to the gym three times a week, so I stay physically fit. I eat okay. I don’t smoke, and that probably helps a lot. I have a stable home life too, which is very helpful. I have a wife-like girlfriend of 20 years. We have an 18-year-old daughter, who’s a freshman at UCLA. I have an older daughter who’s in the December issue of Vanity Fair on page 161. My daughter Jane is this month’s “It Girl” for Vanity Fair. Her modeling career has taken off, and she’s an artist. I have great relationships with my family members. And I love horror! When it comes right down to it, I love what I do. I love the movies, I love freaking people out.

I also have an EP coming out January 20 from Housecore Records. It’s a musical collaboration I did with Phil Anselmo of the band Pantera and Down. We have an album coming out called Bill & Phil: Songs of Darkness and Despair. I sing on that. I try to just keep busy. Right now, I’m about to go to a restaurant here in Los Angeles called Musso and Frank’s, an old movie star hangout, and have lunch with James Karen - of course, from Return of the Living Dead, et cetera, et cetera - who has just celebrated his 92nd birthday. If he can do 92 and still eat lamb chops at Musso and Frank’s, by golly, I’ve got a bright future.