Kevin Bernhardt | J.P Monroe / Pistonhead

How did you first get involved with the Hellraiser franchise and what was your audition process like?

Pretty standard stuff. I had auditioned for the casting director before, the very respected Geno Havens. The producer Larry Mortoff had seen my work on Dynasty. Anthony Hickox was there, but didn’t say too much. But I remember it was the same day that they called my then-agent and offered the role. I remember it didn’t pay much but it was a Hellraiser, and that was my favorite horror film.

How did you first react to the role of J.P. Monroe when you read the script? What about the character intrigued you as an actor?

I liked his absolute lack of accountability. A perfectly hedonistic mindset. Here’s a guy who killed his own parents for the joys their money could bring. Then spent a lot of it on a club, then spent it creating a club where he could indulge every whim. I liked that he was already well on the road to being a perfect recruit for Pinhead.

Were there specific acting challenges in playing a character who’s both seductive and ultimately monstrous and deplorable?

No. I leaned into arrogance, and that’s always monstrous and deplorable. The special challenges come when the shooting’s done, when people assumed I was as despicable as JP.

Did you create any personal backstory or psychology for J.P. beyond what was in the script? Namely surrounding his general demeanour and the story around why he shot and murdered his parents?

Yes, in my mind JP had the most loving parents on earth. They spoiled him endlessly — every whim granted, every mistake excused. They raised a boy without consequences. His parents built him this way. So when he killed them, it wasn’t out of hate — it was entitlement. He believed he deserved what they had, and that the world should keep treating him the same way. Baby spider eating mama spider.

Do you believe that J.P had any genuine love or care for Terri, or was it ultimately all just a ploy to satiate his own desires and become obedient for Pinhead?

There was a sense of right and hint of love deep in JP. It’s a big part of the reason he collapses into tears when Pinhead mentions the murder of his parents. I think Terri might have touched that. At least until the statue showed up, gobbled down his latest conquest, and showed JP what else was out there. A world which JP had been born and bred for. At that point poor – Terri was just his ticket to paradise.

As J.P is the secondary antagonist in the movie, what do you expect would have happened had he had been successful in ‘feeding’ Terri to Pinhead?

When I got to the page of the screenplay – I felt for sure I was going to see homage to Little Shop of Horrors. Poor Pinhead trapped in a statue, with his trusty red boots-on-the-ground JP bringing home dinner every night. Not just Terri, but an endless parade of sustenance. Dracula’s Renfield. That’s where it was going for me, but sometimes life throws you a mean right.

Do you have any fun stories or anecdotes around shooting Hellraiser III: Hell On Earth?

I’d wrapped my scenes, but Tony Hickox needed a simple shot of J.P. leaving the club. I got into full wardrobe and makeup, and the crew set everything up outside with the big 35mm cameras. I waited inside for Tony’s cue over the walkie. When he said “Action,” I strode out in full J.P. mode, all the way to the Porsche. It was only then I realized — the camera, the lights, the crew — every bit of it was GONE. For them to go to the trouble of that elaborate prank – I felt oddly LOVED.

Were you given any input, insight, or feedback regarding the design of your Pseudo-Cenobite form – J.P.’s transformation into the Pistonhead Cenobite?”

No, not really. It was left to me to interpret that transformation internally. It was J.P.’s evolution, and I was grateful to explore that without too many boundaries.

What was the makeup and prosthetics process like for you when becoming Pistonhead? How demanding was it physically?”

It was incredibly demanding — but mostly for the team applying and removing the prosthetics. They deserve ALL the credit. I’ve never understood actors who complain about sporting prosthetics. It’s a privilege to transform so completely, and helps – to lose yourself inside another being.

Do you recall filming any additional scenes or moments as the Pistonhead Cenobite that didn’t make it into the final cut?

When I went in for ADR, I discovered literal chunks had been removed from almost all my scenes. My looping sessions became an exercise in stitching together lines from separate pages. I understand the need to tighten, but I confirmed with a producer THAT this was not THAT. A sound engineer quietly who’d seen it happen explained that it had nothing to do with the film, but instead to take the attention off JP. I won’t go into detail WHY, but instead of feeling oddly loved, I felt oddly fucked. I will say – it is great solace, that even the scattered remnants that remain, found your appreciation!

What ultimately happened to Pistonhead when he was summoned back in to the box? How do you interpret his final fate in the movie?

I was only disappointed that he was turned into a Cenobite on the level of the other new creations. JP already had his PhD in pleasure and pain. JP was part and parcel to the very theme there. He deserved A SPECIAL PLACE in Hell. But he’s had eight sequels to show up. So I think the only part of Pistonhead which survived is his piston. I like to think it is somewhere in a Harley Twin Cam 88. Pumping away in homage to JP.

Can you recall any interesting cut takes or deleted scenes featuring J.P in the movie?

The deleted portions of JP’s scenes were easily the most interesting. But – that’s why they were deleted 😉

{Kevin later clarified further in a later correspondence} *But there was quite a lot more conversation with Terri while JP paced behind the pillar. And talking Terri into coming over while JP was on the Harley. And charming the young lady at the bar. As I wrote, pretty much everything.

Do you have a favourite scene from the movie – something you especially loved shooting?

Convincing Terri to forgive me. There was an emotional honesty there — a rare moment where J.P. almost feels human.

Over the years, J.P. has developed a notable gay following, with some fans even describing him as part of their ‘gay awakening.’ What do you think contributes to that appeal? Is it the bad-boy charisma, or something else in how you approached the character?

I had no idea that JP had that effect on anyone. I’m incredibly flattered by that. Even more so because LGBTQ are always more discerning in their taste.

What is your favourite memory from working within the Hellraiser franchise?

Cameras rolling, standing in front of a wax statue with a Doug Bradley’s nail-filled face protruding, and him howling at me. Probably the hardest time and place for an actor to cry. But those tears rolled. That was a moment for me, as an actor. But overall, just the good feeling that I had been trusted with something that was already so beloved by so many.

All the Cenobites from across the franchise are in a boxing-ring, who comes out on top and why. How would J.P fare?

JP would of course win. Because he’d slip out and sell the tickets to this, while the rest got their pain. Then JP would pay somebody to beat the hell out of the winner. And that’s okay, too. Because the winner would probably like it.

Have you yourself seen all eleven Hellraiser movies – If not, which ones have you not seen or actively avoided?

I have not seen all 11, but I’ve seen the first one – 11 times.

Hellraiser has been experiencing a real renaissance, with the 2022 reboot and the upcoming Hellraiser: Revival video game introducing the franchise to whole new generations of fans. Does it bring you joy to see the series continue to thrive, and how does it feel to know you are part of such an enduring and fascinating legacy?

It is a little like being part of Dynasty that way. Or General Hospital. Actually, that’s the only similarity to them. But there must have been something in Hellraiser, to have really resonated this way, to give it legs. Especially now, in a world that is so full of media, that is so utterly ‘forgettable.’ The fact that it still resonates says a lot about Clive Barker’s vision.

Are you a gamer yourself? If not, will you experience Hellraiser: Revival hands-on yourself?

I like video games, but I’m too much of a workaholic to really dive in. I’ve worked as a writing consultant on both Kingdom Come games and a medieval spin-off, So I guess that’s the middle ground. I like WORKING on video games.

What are your thoughts on the upcoming video game? Anything in particular you’d like to see?

I never meant to leave acting. I’d wanted to write since I was a kid. When my screenplays started getting produced as films, I decided to focus on that for a while — to see how far it could go. I’m happy, and regretful, about that choice. But everything’s right, when you do it.

What can fans look forward to seeing from you next – any exciting upcoming projects either on-screen or on the page?

I am collaborating with a number of established producers and directors on various films. But until they’re shooting I try not to wave them around. But I will say that one of them is my first horror film, and a renowned Eastern European director is attached. The New York Times called his last film the greatest horror film ever made (that wasn’t a horror film). So that is one I’m very excited about. Because the film I wrote IS.

🌹 Thank you for the rose!

“Well that’s your prize. You won it!”