This past week ARTISTdirect.com and IAMROGUE.com introduced Slipknot/Stone Sour singer Corey Taylor to legendary horror director Wes Craven (My Soul to Take, Scream, A Nightmare on Elm Street) for an exclusive interview in honor of Rogue Pictures' My Soul to Take—in theaters this Friday October 8, 2010.

This conversation found Wes and Corey opening up about everything from when they discovered horror and classic screen characters to music's role in filmmaking and their common aims. Plus, Corey talks about the first Wes flick that freaked him out!


Check out an excerpt of the interview below, and go here to see the full feature.

This interview marks the second in the "Rogue on Rogue" series  that pairs two distinctive and influential artists from diverse mediums in a unique, ‘first meeting’ setting that leaves the chaos and comedy un-cut and unedited. The first included Korn guitarist James "Munky" Shaffer -- go here to read all about it.

When did you both discover horror?

Wes Craven: I discovered it very late. My upbringing was in a subculture that did not allow movie going, believe it or not. I have no history of having watched movies as a kid, pretty much at all. It was when I was in New York after quitting teaching that I was taken to see Night of the Living Dead by a friend. Before that, I had no concept that there were such kinds of films. I was amazed by how it could be funny and scary. The audience was just going nuts, and I had never seen that kind of energy in a theater before [Laughs]. That was my introduction to it.

Corey Taylor: My mom had taken me to see the Buck Rogers movie with Gil Gerard when I was about five-years-old. The trailer for the original Halloween came on and, for a five-year-old, you'd think I would've ran screaming, but I was mesmerized by it. I didn't even want to see the Buck Rogers movie after that [Laughs]. I was like, "I want to see Halloween!" That's when I really got turned on to the horror genre. Growing up, I got to see so many of those movies that I became an addict from there, especially your movies, Wes. Being raised on them, I loved the fact that you weave your stories into so many different types of horror, from The Last House on the Left to the Nightmare on Elm Street movies. It's been one my favorite genres since I was very young.

Corey, what was the first Wes Craven movie that you saw?

Corey Taylor: The first Wes Craven film that I actually saw wasThe Hills Have Eyes, but the first one I saw in theaters was obviously A Nightmare on Elm Street. The Hills Have Eyes was so cool, not only because of how bizarre the characters are, but because of how crazy it was. I was hooked! [Laughs] I was really intrigued by how far out it was. I got into Nightmare. Being a kid from the suburbs, you had to be into A Nightmare on Elm Street. Then, I saw The Last House on the Left which, to me, is still one of the most disturbing flicks I've ever seen [Laughs].

Wes Craven: Even to me it is [Laughs].

Corey Taylor: That's what makes it work! It's so intense.

Wes Craven: It's extremely intense. I think that's the most real and intense I've been in a horror film.

That intensity is as crucial in Slipknot and Stone Sour as it is in My Soul to Take and The Last House on the Left. How important is exorcising demons and creating a catharsis in both of your respective art forms?

Wes Craven: I have a Master's Degree in Philosophy, and it's interesting that this stuff goes back so far. You can actually trace it back to the earliest stories of this sort. Because the culture can be so over-civilized, the image of America becomes sort of Ozzie and Harriet, and the concept of "Mainstream America" is so out of touch with reality. These kinds of films go into those areas of uncontrolled, uncivilized behavior and potential that has to be recognized somehow. I think horror and rock 'n' roll are very similar in that sense. They've gone into the areas that were not considered polite and were initially banned. I've been doing this for 40 years, and I think it's taken almost that long for them to become legitimate at all, in a sense. Still, the goal is not to be outrageous for the sake of being outrageous but just to get the energy released from the civilization part. That's how I feel at least.

Corey Taylor: I definitely agree. There's almost a renaissance of that. You see people pining for the Eisenhower days where everything was hunky-dory. Well, it really wasn't. Like you said, the great thing about horror is it lances all of that. Horror pulls it back and shows the underbelly. It puts people in that uncomfortable position. Whether the good guy wins or not, you have to show that juxtaposition because nothing is as peachy-keen as it seems.