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STORY IN PICTURES: Scene-by-scene shocks HEATHER LAN6ENKAMP freddy fishier BEHIND THE SCENES d FX secrets revealed VYES CRAVEN Xrueser’s creator


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Fresidcnt/Publisber

NORMAN JACOBS Executive Vice President

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MICHAEL GINGOLD Art Director

YVONNE JANG Principal Writer

MARC SHAPIRO Editorial Assistants

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»

Laufer,

WESCRAVEN'S

Ttavis Tbpa. Judith Verno and Wes Craven's New Nightmare's cost crew,

To

New Nightmare

fold-outs: Turn to the magazine's center. Carefully unbend staples so

remove

the fold-out section without ripping Rebend staples to preserve this collector's edition magazine. that

slides out or tearing.

4

The Official WES CRAVEN'S NEW NIGHTMARE Magazine is pub-

magazine

Productions,

Inc.

18

is

published by

NATIONAL, torial

first

to

South.

New

and 473 Park

York.

edi-

NY

10016. Reproduction in whole or in

24

is

is

strictly for-

bidden. Additional copies of this

magazine are available from the publisher at the address above for

$4.95 plus $2 per issue to cover postage and handling. Printed in

U.SA-

54

—then

FREDDY

dream.

.

crew cooks up' a hew look

46

OLD FRIENDS AND

The

The dream stalker's our world.

aiming

ELM STREET”

REINVENTIN^ for Krueger, his glove

first

his

58

visit to

and

mayhem.

NIGHTMARES PAST: “NIGHTMARE 4” Freddy goes mainstream.

NIGHTMARES PAST: “A NIGHTMARE ON

FIENDS

a “New Nightmare" hut a most familiar cast.

The

start of a recurring from the publishers

Four giant

and now.

NIGHTMARES PAST: “NIGHTMARE 2”

right the

it

time and

POSTERS

pinujis of Freddy

44

do so again.

STAR-

INC., business

offices located at

Avenue

WES CRAVEN director got

All Rights Reserved. 'This

LOG COMMUNICATIONS INTER-

27

Nightmare, ” scene by chilling .scene.

Freddy, Freddy Krueger and A Nightmare on Elm Street are registered trademarks of New Line Cinema and are used only by permission.

'

New

iished by STARLOC COMMUNICATIONS INTERNATIONAL, INC., under exclusive license from New Line Cinema. Copyright 1994 New

Line Cinema

STOAY IN P1C> TURES “Wes Craven's

It's

62

NIGHTMARES PAST: “NIGHTMARE 5” The birth of new. serious

bad

terror.

52

NIGHTMARES PAST: “NIGHTMARE 3”

64

This time, Freddy's targets get organized.

'

NIGHTMARES PAST: “FREDDY’S DEAD" Not

yet.

he

ain't.

^


The

Terrifying Story in Pictures 1 . Things are hopping on the set

of the newest

Nijijtinare on

Elm Street film. FX man Chase Porter, along with assistants

Chuck and is

Terry,

overseeing the

creation of a new,

improved Freddy glove, but Chase’s wife, actress Heather

Langenkamp, disapproves of letting their

young son Dylan witness the violence, even behind the

Z. But then the bloodshed becomes very real as the glove springs to life, slashing one of Chase’s hands and then turning fatally on Chuck and Terry. Heather screams in terror...


NIGHTMARE him down than the phone rings, and when she answers, a deep, mocking

voice greets lier one that sounds suspiciously like.t. Freddy Krueger. It's only the latest in a scries of harassing phone calls Heather has been receiving, and her nerves aren’t

helped when another

sntall

quake

rocks the house.

4< As it turns out, the morning's strange events h.ive just begun. After Chase leaves for a two-day commercial shoot. Heather discovers Dylan watching the original Nightmare on Elm Street on TV. Shocked, she snaps the TV off, and is startled when the boy reacts witli a scream of rage.

7. On the show, the questions

enough, but

toward the Nifjbtmarc on Ehu Street films,

and what effect they

might have on chilDylan, in particular.

Then the show’s host that he has

NEW NIGHTMARE

5


9

>

Sure enough, Heather

is

soon

called to New Line Cinemaâ&#x20AC;&#x2122;s offices for a meeting with chairman Robert Shaye. He reveals that Nij}htmare creator Wes Craven has come up with a new idea for the series, and implores Heather to sign onto the project. To her astonishment, Shaye reveals that heâ&#x20AC;&#x2122;s had Chase working on a prototype for an updated

iT

.

Freddy glove.


10 . Upon arriving home, Heather hears Dylan screaming in his room, and runs upstairs to find Julie trying to console the hysterical child. Wlien he calms Bown, Dylan says, “Rex saved me,” and shows her a toy dinosaur that “protects” a toy now scarred Iw four long slashes. Concerned for the

him

boy. Heather calls Chase on location and convinces him to

come home.

11 .. Later that evening, as Heather tudtfaPylan in, he telis her that Rex guards him from “the ola*Rfen with the daws” who emerges from beneath the end of his bed. His mother attempts to show him that there's nothing down there, but he responds, "It's different when you’re gone.”

IZ. At the same time, Chase is speeding home notice a very recognizable glove slicing its way into his bodv as he screams in terror... Later, at the morgue. Heather is shocked to !

'

;

his pickup. Fighting off sleep, he doesn’t from the seat between his legs, finally ripping

the four telltale slashes in Chase's body.


15. Heather wake.s up to Fuid Helping her

coffin intact.

who

tells her that she fell struck. As the service approaches and offers to help

quake

and sound, and the co-star John Saxon,

her head

when

Englund

the

also

anything.

16. That Heather

light,

di.scovei's

he has heard the recognizable childrenâ&#x20AC;&#x2122;s

song of â&#x20AC;&#x153;One,

beneath the covers,

and

claims the

lurking tlicrc, trying to claw his way into our world.

NEW NIGHTMARE

9


17> Heather meets with

John Saxon

at

a playground, looking for

advice and reassurance. John assures Heather that the recent

traumas life

in

her

are respon-

sible for

Dylan’s strange behavior.. .and then she looks over

standing at the pinnacle of a

playground Horrified, she

runs over as he reaches to the sky and falls, managing to catch him before he hits the ground.

“God wouldn’t take me,’’

he says from her arms.

21.

19. Unnerved, she

who

calls

reveals that

Robert,

Wes

is still

working on the new Nightmare script, and that he’s gotten as far as the scene with “Dylan trying to reach God.” Heather maltes a date to see

10

him the next

day.

NEW NIGHTMARE

...where she finds Dylan doing a frightening imitation of the man from under his bed. He repeats the Freddy rhyme as he attacks his mother, strildng at her with the blades and Heather wakes up from her nightmare. But she finds that Dylan really is also awake, and has arranged the letters she has received on

the floor, spelling out

“ANSWER THE

PHONE.” Sure enough, the phone rings, and when she picks up, a demonic voice on the other end claims, ‘T touched him.”


22. After taking Dylan to a hospital, Heather calls Robert about their meeting, but his wife informs her that they are both leaving town for a little while; what Heather doesn’t know is that Robert has impulsively painted a giant, malevolent portrait of Freddy. Heather instead goes to visit Wes, who reveals that he has been writing his script based on his dreams, and that Freddy represents an ageless evil spirit that can be captured by writing about it. But, he says, “When the story dies, the evil is set free.” Now the deadly presence is trying to claw his way from the film into reality, and the oiuy way to stop him is to make another movie and, Wes informs Heather, she’s going to have to decide if she’s willing to play Nancy one last time.

NEW NIGHTMARE

11


Z3Âť Upon returning home, Heather

learns from the news that Chuck and Terry have been sliced to death for real, before coming face to face with Freddy in her bedroom. She struggles with him, and her arm is slashed before she hits the floor and is faiocked out. Upon awakening, she finds no evidence of Freddy aside from the deep cuts on her arm.

â&#x20AC;&#x201D;

been taken over by more than bad dreams. She struggles to reach the boy...

12

NEW NIGHTMARE


26

. ...as Dr. Heffner takes a medical cue from the dream stalker and prepares to

strike.

But when Heather

reaches Dylan’s bed, it proves to be empty. It appears to have been just another delusion. Told that Dylan has been taken to another room, insists on seeing him. Against tlie protestations oF Dr. Heffner, she finds her son, who’s in

Heather

Julie’s

company. Dylan,

who

tells her that “the bad man’s getting awful close,” wants to go get Rex to protect him, and Heatlicr heads out to find tlic toy, telling Julie to be sure he stays awake.

27

. Unfortunately for her, Julie is unable to .stop the attending nurses from giving Dylan a shot to make him .sleep. It’s not long before a horrible unseen force is attacking her, clawing at her,..

28

. ...and dragging her bloodily up the wail and across the ceiling. Heather, who has been detained by Dr. Heffner, arrives just in time to see the bloody mess that Julie has become but there’s no sign of Dylan. Realizing that the boy thinks she has gone home. Heather bolts from the hospital, calling John to meet her at her house.


29. She

finds Dylan on a nearby freeway, attempting to cross to get

home. As she looks on, dark storm fill the sky and a giant, familappears within them, reachdown with a huge claw to swing in and out of traffic. Heather screams to Freddy to take her clouds

iar figure

ing

Dylan

and Dylan manages to escape and reach the other side of the roacl. instead,

30. As the boy turns and looks toward his motlier, a bank of scarred faces glares back at him. He runs to the house, followed soon after by Heather, who is greeted by John. But somehow, Heather and Jolin are transformed into their movie characters of Nancy and Lt. Thompson, and Heather’s house becomes the

Springwood home from the Nightmare.

31. Ruiuiing inside anyway,

Heather

dis-

covers that her

house has remained the same within.

Arming

herself

with a knife, she races to

Dylan’s bed-

room and crawls under his sheets.

The

space between

them becomes a slope

down

which Heather falls...

dreamworld, the old boiler room become house of horrors. There she finds Dylan and a copy of Wes’ script, completed up to the point they’re at now.

a

14

NEW NIGHTMARE

first


33 Then .

Freddy appears and kill her, but is inter-

prepares to

rupted when Dylan stabs him leg with her knife.

in the

34 Hurling Heather into a wall and knocking her cold, Freddy takes off after the boy, pursuing him through the hellish rooms. The boy .

tries

desperately to escape...

35

.

...and

when Freddy

attack Heather. Dylan Heatherâ&#x20AC;&#x2122;s knife.

elongates his tongue to the appendage with

st.tb.s


I.

But soon the dream

stalker catches

up

him, and makes to consume the boy Heather has recovered, though, and

lole.

th Dylanâ&#x20AC;&#x2122;s help, she

manages to trap

:ddy inside the furnace.

Freddy roars in agony as flames conne him, and he transforms into a hideous sariddn the ultimate embodiment of his 1. Their he is gone forever.

â&#x20AC;&#x201D;


WES eilAVEN'S PARENTAL GUIDANCE “I’ve always been comfortable with creating Freddy, and that has grown with the years and the films. ” es so

Craven has heard

many

Yes, he

is

it

times before.

the “Father

of Freddy Krueger,”

Is

he tired of the tag? Perhaps but he’s not above having a joke at the expense of his own notoriety as the creative force behind the Nightmare on Elm Street mythos. “Yes, I'm Freddy’s father,” chuckles

mother about all this. hear what she has to don’t see each other

I’d

be curious to

say, because we much anymore.”

For Craven, 1994 is turning out to be a (blood) red-letter year. He. along with legions of horror fans, is celebrating the 10-year anniversary of the release of his original A Nightmare on Elm Street, and his gift to Freddy’s fans is

his

return to bad-dreamland as

the 55-year-old director in his trade-

writer/director of the latest entry,

mark understated tones, "But boy, I wish they would speak to Freddy’s

gone into

18

NEW NIGHTMARE

Craven's

New

Wes

Nightmare. Craven has

detail

on the

particulars of

his re-entry into the fold in

FANGORIA

#137 and 138; now, with New Nightmare in the can and awaiting its October release, he is taking an occasionally tongue-in-cheek and particularly reflective look back on a decade of Nightmares. '‘I’ve always been comfortable with creating Freddy,” says Craven, “and

grown with the years and the films. I’m also comfortable with the fact that Freddy has come to epitomize that has

a certain section of

our

reality.

He’s


much

very

here in our

lives

and ap-

pears to thrive in everything that goes

on

in

our world today. He’s there

in the

drive-by shootings in the United States

and the horrible things that are going on in Bosnia and the rest of the world. There’s a lot of Freddy out there in our lives, whether we like it or not.” t

I

was with

in

mind

this real-world attitude

that Craven agreed in

principle to

Nightmare something

come up with another knew it had to be

entry. "I

he

different,”

says.

“It

wouldn't have worked for me to have Freddy's Dead simply be a dream and go on into another adventure. “I’ve always liked the characters, and I’ve always liked the concept,” he continues, adding that an actual stalking incident in Nancy actress Heather Langenkamp’s own life inspired much of the sequel’s storyline. “I thought real hard about exactly what it would take to make a new and original Nightmare on Elm Street vision. Finally, I was reunited with Heather and heard about what had been going on in her life. Those real-life terrors

struck

me

point for a really

as the perfect jumping-off

new look

means.

at

Happily,

what Freddy

New

Line

Cinema and [chairman] Bob Shaye

were real excited about this direction." Craven recalls that New Nightmare, from its dream-inspired writing process to what he describes as “a fast-paced, documentary style of filmmaking," was a project that really got his juices flowing. “In many ways, I was feeling more free and creative than I did on the Tmi Nightmare,” he says. “1 saw some real challenges in reprising themes and dealing with these same personalities 10 years later. It was quite a unique experience to work with the same actors and approach the story

Craven and young actor Miko Hughes indulge in a hide-and'go*shriek on the 74etv Atightmare set. from an entirely new direction. I knew from the outset that the approach would be risky, but I also knew that making this film would be intriguing and creatively very fruitful.” Not to mention the fact that he was able to make a movie

game

more consistent with ing earlier

hit.

of

his groundbreak-

“This film

is

much

clos-

er in tone to the first Nightmare than anything that has come since,” he says, “Obviously the reason is, to a large

Craven applauds Heather Langenkamp's bravery in taking Che true'tO'life

lead of J^ew J^izhtmare.

gotten any better over the years.

NEW NIGHTMARE

19


Another example of

why you

shouldn't smoke in bed from the

original film. extent, that

it

was made by the same

person. But this can only be considered a sequel in the sense that

who made

people

the

it

looks at the

first film.

It

is

totally new because it takes a very serious, multilayered look at the violence in our films and our culture

something

and how it affects not only the audience but also the people who make the movies." In

storytellers.

I

gave that

spirit the

name

of Freddy Krueger, but this spirit has

probably been around since mankind has been on this planet.

“What

he Freddy Krueger making There are This is scary.” In this context, actor Robert Knglund plays both himself and his fictional alter ego in the new thrill ride, while Craven, Langenkamp and John Saxon portray themselves in the film. “Everybody came hack because it's pretty much about our lives and our reactions to what is and has gone on in this llatest] film is about,"

continues, his

way

no jokes

“I was feeling, creatively, very awake. I had just relocated to make The Hills Have Eyes and completed the television movie of Fear la.k.a. Stranger in Our House] with Linda Blair, and

California to

appeared to have ly

“is

into the real world. in this one.

Heather’s

life." the director says. Craven’s thoughts turn to the days before Freddy, when he was first begin-

ning to flex his creative muscles a few years after his disturbing cull classic Last House on the Left in the mid-’70s. “It was a very exciting time in my life,"

finally

made

the leap

16mm to 35mm films. was realmy oats as an independent

from

1

feeling

filmmaker and

Craven's realistic approach, his

monstrous creation is a genuine, anand unfathomably evil entity captured and then unleashed by the filmmaking process. “What we’re finding out is that beyond the Freddy Krueger of the imaginary story, there is a spirit that has been around a long time," Craven says, “a spirit that has been given many different names down through the years by many different cient

he remembers.

Summer

step for

me was

that the next big

felt

to

come up with some-

thing original."

According to the

director, inspira-

tion struck in 1978 at Lucky’s Restau-

rant in Santa Monica. California. “I had been reading these articles about three people who had died separately in their

dreams," he recalls. “Those articles were fascinating to me and, one day, 1

was talking to a friend of mine about them. Suddenly I just stopped and said, ‘Jesus! A movie about somebody who attacks you in your dreams could be wrote the

initial

A Nightmare on Elm

Street

really frightening.'

outline of that

same

.script

1

year, and the soon followed."

first

draft of the

Craven's idea was rejected by every

studio twice

What

in

town

—some

rejected

—before New Line took the

it

bait.

followed was a pleasant filmmak-

ing experience for the director.

“It

was

think people who make movies can recognize the excitement different,

and

I

and creative flow that we had on the set of that film," he says. “We had Heather Langenkamp and Johnny Depp, who were young and untried, veterans like Robert Engiund, who had been acting awhile but was still relatively unknown, and people like John Sa-von. who had been around but were willing to try .something different

Nightmare on Elm

Street.

by doing

Even lO years ago, A Hitfhtmare on Elm Street’s makeup FX were head and shoulders above the rest.


reddyâ&#x20AC;&#x2122;s very

much lives

here in our

and appears

to thrive in everything

that goes on in world today.â&#x20AC;?

our


In Craven’s dreamworld, the telephones have a nasty habit of talking back.

O

ne

potential

film

would

certainly

Craven’s

name

that

bring

mind

to

is

the oft-speculated and, apparent-

now

ly,

Freddy

actively being developed vs.

Jason film. Craven has

FANGO-

previously reported (in

RIA #138) what he knew of that team-up film and disclosed how a story idea changed hands between Jason creator Sean Cunningham and himself over dinner. He’s still not sure, however,

be

he'll

if

involved.

“I'm not looking forward to doing anything with that film in the near future out,”

it

will

“We were working on a small budget and challenges popped up in almost every scene,” he continues. “But everybody was very supportive and full of ideas on how to get the most out of the shoestring budget we were on.”

talk

much, when he

does, he speaks right to the core of our fears.

I've

always

felt

that Freddy

is taking advanthe opportunity to make

much more

of a per-

sonification of evil than he’s been in most of the sequels. And despite the

neverending debate on who's truly the greatest horror hero, the director says that there really

"Freddy

is

resent evil,”

very

22

much

is

no

contest.

the ideal character to repCraven maintains. “He's

an articulate, sympathetic

NEW NIGHTMARE

is

bling out of somebody’s subconscious

Jason movie would have to represent something meaningful in a much sense.

larger

That’s

how

the

latest

more frightening than somebody in a hockey mask coming at you with a

Nightmare movie came about. It was a terrific idea and a concept that

knife or a hatchet.”

just worked.

Craven’s horror filmography has been all over the map, and despite the occasional disappointment of a Swamp Thing or Hills Have Eyes Part 2, the director has more often than not succeeded in delivering the horror goods. And he happily reports that he’s recognized for more than just his for-

Who

first

say

that

Nightmare

really scared

is

it

be an idea that comes tum-

that will be made. For me, a Freddy

usually

One thing Craven

happens,

vs.

the

Freddy Krueger

don’t rule

I

it

though he doesn’t

on Elm Street. “When my n^e comes up, people

tage of

—but

says. “If

personification of horror. He’s intellihe’s able to speak and, even

gent,

ays

Wes Craven, nightmare man.

he

them,”

he

says.

then

they'll usual-

“But

t

I

But Freddy knows?” What Craven is certain

when the Los Angeles riots started, turned out to be very true. So I guess, in a way, you’d have to include those two films too."

that,

ticular has

Street

experience to

The People Under the Stairs and Shocker, because they were done very independently. People Under the Stairs proved to be prophetic: it had a very political message that, a year later

is

and the film industry in parchanged regarding Freddy Krueger and the whole Nightmare on at large

phenomenon. “There’s

work

with the same actors and approach the story from a new direction.”

Left scared the shit out of them when they were growing up. Usually, those four films are the ones that always seem to nail people. I also love

of

Jason?

over the years, the opinion of the world

Elm

was quite a unique

ly mention The Serpent and the Rainbow and The Hills Have Eyes. Then there’s the older audience who says Last House on the

vs.

cer-

decent

tainly

a

amount

of respect,

or grudging respect,

directed

Nightmare

the films,"

director film

has

$200

toward says of

the the

series that grossed over

million.

“When the

first

nobody knew what the hell it was. Once the film was out there, people began to realize that it was film opened,

scary,

but

stood

how

don’t think they underpowerful the film and the

I still

message actually was. It wasn’t until years later that people realized that maybe the whole Freddy thing ought to be taken a bit more seriously and that the films represented a feeling

was actually out there. It was something that just built up over the began to understand that that

years. People

what was going on with Freddy and the Nightmare films was, in a way, very real.”

^


PAST

O

victim (Amanda Wyss) meets

nce upon a time, Wes Craven had a

dream

a

her end by being bounced off the wails and ceiling of her room as gory slashes appear in her skin and clothing.

fantasy

about a monster who could kill you in your

Jim Doyle, the

sleep. Craven’s dream became a nightmare A Nightmare on Elm Street.

The

supervisor five

units

who

special

FX

coordinated

on the

film,

re-

Nightmare,

called during shooting that

released in 1984, introduced the world to dream kilter

Craven’s vision was a cre-

original

Fred Krueger, a dead, horribly scarred psychopathic

giving you an indication of

what is real and what is not and then twists those around on you and makes you very

Krueger appears unstoppable until one particularly spunky teen named Nancy (Heather Langenkamp) finds a way to send sleep.

uncertain.”

“The question throughout the movie is: What is nightmare and what is reality at any given moment?”

per-

The trendsetting film was mounted by New Line Cinema as a $1.7million wonder intended to

Englund added. “Nobody

sonal hell.

a horrific niche in the

fill

distributor’s schedule.

But director Craven, who penned the script, felt from the beginning that his would transcend the

ever really sure.” that

genre. “This isn’t really horror,”

he maintained during which began in July

filming,

1984.

more

“It’s

of a fantasy,

an impressionistic really

feel

this

thriller.

will

be

I

a

landmark film for me, my watershed film. It’s not an ordinary, run-of-the-mili

lit-

something quite extraordinary about it.”

tle

film. There's

A Nightmare on Elm Street featured an

is

One thing

was certain on the

set of

first Nightmare was that enthusiasm was running rampant. The director

the

Tina (Amanda Wyss) bears the distinction of being the first hormonally driven teenager ever killed

by Freddy.

also

vision

interpret

way Wes has written the story,” he raved. “He starts

who turns up in the dreams of teenagers in the town of Springwood and murders them while they

own

to

ative gift. “It’s brilliant the

child stalker

Freddy back to his

chance

the

The actor, awaiting his turn to terrorize in full Krueger makeup during a

the movie also surrounded

particularly grueling shoot-

terrifying

ing day, reflected on what

was proving

to be a different kind of role for him. “You’re looking at essential evil here,” he explained. “I’m the

The actor in me wants more intellectupart, but what it comes down to is that I wanted to be a monster.”

Frightening as he was,

him with some

ing his film debut, reflected

FX. One Depp swal-

the consensus joy on the set. “1 love this stuff,” he said. "Kids fall asleep and it’s

special

highlight saw

lowed up by his bed and then spat out in a bloody geyser.

And few can forget the moment when Freddy’s clawed

killer.

glove slips out of the bath-

to talk a lot

water

ally

about the

Nancy fallen

jokingly remembered the day everybody showed up wearing pajamas. Depp, then a struggling musician mak-‘

and

striking

the tub where (Langenkamp) has asleep, and she is in

pulled under. Freddy’s

first

ail

over!”

At the time, Craven did not contemplate Nightmare as being more than a one-shot movie. “But left the door open," he admitted. “We’d be foolish not to.”

on Elm Street we’ve

^

eclectic

cast; relative unknowns Langenkamp and Johnny

Depp rubbed elbows with veteran

character

actors

John Saxon and Ronee Blakley. But the key to whether the film would sink or swim rested on the slight but athletic frame of Robert Englund, a familiar television

bad guy {famous at the time for the role of the good alien on the television series 'V”) who was taking what many considered a risk by assuming the role of Fred Willie

Krueger.

NEW NIGHTMARE 25


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Print

llgures stand approximately 12” tall, except the Staithls Figure, which Is 14”, All

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CINQU. HERON COMRMldATIONS.

INC.

and

SMUT EOfi PICIORES PrasNt

FREDDY^ REVENGE

<

AMBEIffSH*YEPr(iAHawn‘^HIGHTMAK0HElMSTRmiW2;HIBMr

^

ROBERT ROSIER • Special Appearances by GUI 6UIA6ER and HOPE Music by CHRISTOPHER YWNG • Director

of

Ptwtoff^ JACQUES HAITKM •Eucuthi PradKan STEPfCN

Une Producers MKHAaMURPHEY and JOaSOISSON* Co-Producer SARA RISHER<WHtten by DAVID CHASID Produced 19 ROBERT SHAVE -Directed by JACK SHOLDER

-"'—

-I

FROM ylf NEW

LINE CINEMA


The dream stalker

original,” said the director in

was

given more to szy in the second Nightmare, and took full advantage

of

it.

between filming a vicious Freddy attack. “We tried not to do the obvious ‘boo’ kind of scares,

the

one-dimen-

sional blood-and-guts things that,

by now, are totally exby audiences and

pected

don’t have the impact of re-

mixture of oldtimers such as Clu Culager and

ally

Hope Lange, newcomers like Patton and Kim Myers and, of

you know are coming but don’t come off quite the way you expect them to.” These often surreal scenes, which encompassed

Robert Englund, doncourse,

ning the razorfingered glove

JU yU

Nightmare on Elm opened Street

in

October 1984, immediately fulfilling

»

Wes Craven's

second go-round. Freddy is a pleasure for me,” said Englund during a Nightmare 2 for a

“'Playing

sequel but opted out of the

makeup stint. “I get to scream, run around and torture nubile teenage girls. Hell! Who could ask for more than that?’ Going in, Sholder knew he’d have the specter of Craven’s preceding Nightmare to contend with and so had specific plans in mind for the follow-up. "I went

Nightmare

into this film

critical aspira-

tions for the film

and also

proving to be a box-office

smash. And so it came as no surprise when, in 1985, New Line Cinema rushed Nightmare on Elm Street 2: Freddy's Revenge into production. Craven was offered the opportunity to helm the rat race to pur-

sue different projects.

knowing that

had no choice but

I

to top the

scaring people that they did. What we’ve done is

once

use a lot of scare effects that

was

a simple scene in which a bus wheel was supposed to drop off. The scene went fine until

it

came time

for the

wheel to fall. The wheel would not come off and Jack had a fit; he said, ‘If this doesn’t work, what kind of problems am I going to have with the other 195

effects?’

But from that point on, we batted 1.000.”

Although the Nightmare did go back at one point to add some blood and guts, Englund found the change in tone from Crav-

2 team

a total of 196 special FX elements, included bus driver

sometimes

Freddy taking his kids on a

sequel to be quite enticing.

ride over the dreamscape of hell, a pool party sequence with flames and boiling water and Freddy tearing his way out of the dream world

through

the

possessed Jesse’schest.DirectorShold-

(who went on

to pilot

New

Line’s cult hit The Hidden) admitted to being worried, but FX supervisor Dick Albain assured him there would be few problems, “It was a very busy, loaded kind of picture, but it wasn’t really rough.” Albain said, “The first effect of the shoot

en’s straight outing to the

black-humored

“Most of the fun element was cut out of the

first film,

be-

cause the people involved wanted to emphasize the absolute evil," noted Englund as then-FX rookie Kevin

Yagher was plastering his face with Freddy appliances. "But the writer of

this film

has instinctively picked up on the humorous side structure that first

was cut out

of the

film and has put in a-

certain sense of intimacy sly perversion. It is

ments that

I

and

those ele-

found the most

attractive.”

Enter director Jack Sholder, who had helmed the wellregarded slasher film Alone in the Dark for New Line and was given the reins of a

script

by

David

written Chaskin.

Nightmare 2 picks up five years after the conclusion of the

new moves into Springwood

earlier film, as a

family the

house formerly occupied

by

the

Thompsons. Freddy Krueger’s spirit returns and begins a calculated campaign

take possession the household’s teenage son Jesse to of

(Mark Patton). The once again was a

cast

you scratch

his back, FreddyTl scratch yours.

NEW NIGHTMARE 45


W

mare paces

atching

the

cast

of

Nightmare on Elm Street

veterans

through Craven's

their

New

go Wes

Night-

as both themselves

and

their cinematic characters may well prove to be something of a bewildering experience. And according to star Heather Langenkamp, the perplexity won’t end once the film fades to black. “Can you just imagine what the credits on this film are going to look like?” chuckles the actress, making her third Nightmare appearance with this film. “Heather Langenkamp as Heather and Nancy. Robert Englund as Freddy Krueger and Robert Englund. John Saxon as John Saxon. Wes Craven directing and playing Wes Craven. It’s going to be pretty confusing,” Yes, Freddy fans, you’re going to need a road map to navigate New

I i

Wait a second— Heather and Freddy’s reunion in w Nightmare wasn't supposed to be a happy one.

46

NEW NIGHTMARE


r time we’ve worked together since 1986. John represents a lot of acting history, and I get chills just being around him." His working relationship with Langenkamp, on the other hand, has changed somewhat, as the film has him relating to her as himself in addition to

terrorizing her as Freddy. “It's been a feeling-out process between Heather

and

Englund

I,”

explains. “We've

been

finding the chemistry between ourselves as people and, by association, as

actors. This script dictates that

must

we

deal with each other as real indi-

viduals and, because everything

is

be-

ing stripped away as the story proit's occasionally been kind of

gresses,

awkward on the

set.

We

recently had a

scene between Heather and myself in which, after a take, she turned to Wes if she was supposed to like

and asked me now.

A funeral

scene from J^eiv T^i^htmare or the cast and crew mourning the end of the series? It's hard to tell... surprises.

many consider the

sentimental.

best of the series),

"This story

The three actors have maintained minimal contact over the ensuing years, and Englund and

Nightmare, thanks to Craven’s documentary-style approach that entails most of the lead cast playing themselves. And not only are England, Langenkamp and Saxon, the stars of the first and third Nightmares (which

Langenkamp agree

that a certain level

of friendship has developed, but

film, but a whole slew of other people turn up in their

closest.

including several behind-the scenes players from producer/distributor New Line Cinema. It’s an approach that has even the normally impervious Englund scratching his head from time to time. "I knew the concept of putting real

passed since Nightmare 3. Robert and

roles,

dream world was going to

“John hasn’t changed

she says.

“It’s like

a slightly mutated ver-

but it has also been real tough. How tough? You’ll have to ask Heather.”

none

seems anxious to wax Langenkamp comes the

of the trio

reteaming for this real-life

is

sion of her real life, so she’s playing it very close to the bone,” he continues. “In a sense, that makes it easy for her,

at all,”

hardly a day has 1

I

t was indeed difficult for Langenkamp, who recently portrayed Olympic skater Nancy Kerrigan in TV movie and is still more

a quickie

than a tad uneasy

at the

uncomfortable

have become good friends, even though we haven’t been around each other too much. It’s nice being back

true-life stalking incident (following,

together, but

was shocking and a bit unsettling,” she says. “I mean, I played a very

it’s

Throw Craven

also kind of strange.” into the mix,

and the

her role on the series Just the Ten of Nightmare. Us) that inspired

New

“It

actress finds that familiarity has fos-

on Nightmare. “When you know somebody really well, you instinctively know what you can and can’t say on [New Line chairman] Bob Shaye was the set, and that tends to make the playing Bob Shaye. Then there was the work go a lot quicker and smoother,” scene where Wes was directing Heather she reasons. “At times Wes has been and himself in a scene where Wes is blunt and cruel to me, because he talking to Heather. Some days, this knows me so well that he can get away film has been downright surreal!" with telling me what he really feels. Only Saxon, who holds the original Nobody is beating around the bush in high regard and sees the new film as with anybody on this film, and that people in the

be strange," he says. “But you had to be here that first day on the set. Here was Wes Craven directing a scene in which

tered a solid working environment

New

a return to form, appears

really helps.”

the prospect of playing himself.

Saxon seconds the opinion. “It’s fresh again the rhythms and all the things that worked between us on the previous Nightmare films, and especially the first one. The atmosphere on

unfazed at “What attempting here is subtle and and personally 1 prefer he says. “Having us play ourselves and bringing us back from the previous films is extending the Nightmare series in a way that I believe it was originally designed.”

Wes

is

sophisticated, that,"

this

movie

we had on

definitely similar to

is

what

the original.”

Englund

is

particularly

happy about

his reunion with Saxon, despite the

R

euniting the core acting team for the first time since the

filming cti Nightmare 3 in 1986 would seem certain to involve a few

was only on a couple of days. “John and I

fact that the veteran actor

the set for

have seen each other socially over the years,” he says, “but this is the first

Reunited and

it feels

so good!

NEW NIGHTMARE 47


“Don’c be sad; we’ll meet again four installments from now," consoles Krueger.


i

When

he’s under the makeup, Englund shouldn’t have vehement in reminding Langenkamp to dislike him.

wholesome, religious character on a television sitcom.

from people

when

The

initial

reaction

the letters and stuff

started happening was that it had to have something to do with my being in the Nightmare on Elm Street films.

People automatically assumed that it was a Freddy fan who was after me. In never had a fan problem with the Nightmare films. The fans and the films have been very good to me,” Nevertheless, she concedes. “It’s very hard to get used to the idea that Heather Langenkamp is going to be up there on the screen forever. It’s like I've given up my name and personality to this film and, by association, to this series. I’m still working my way around that. It was hard to convince my husband it would be all right, especially when he found out that he was in the script, being played by another actor, "The story is about Heather, but the fact, I’ve

to

be so

concerned about protecting my child. Everything else I normally do in my life would be too distracting for the role. We have to get this story across, so I’ve stripped away the things about myself that would get in the way." The actress' memories of her two previous Nightmare on

Elm

T

definitely similar to what we had the original.” oV

^

—John Saxon people in the industry reacted to them and to her. “When I did the original Nightmare on Elm Street, my agent at

me, so they tend to overlap at moments in the film in a scary kind of “Nancy does make

the time didn’t think too much of it,” she reveals. “It was just a low-budget horror film, a job to them. But it defi-

made my

was shocked at how many producers and casting people had seen the movie. By the time 1 did the third one, everybody in the industry was getting a little older, but I was hearing now that the kids of the producers and casting directors were seeing the movies and telling their

Nancy

is

way," she continues.

a sort of appearance.

character a lot

Nancy was

It's

more complicated than

in the

two previous

Langenkamp claims

films.”

that people

looking for the true Heather in this film will have to look closely. “The only connection between my real life and my film life is that I’m a mother and

nitely affected

my career.

I

great they were.

You could

become more mainstream,"

Saxon, for his part, felt from the. beginning that Freddy Krueger was destined for something big. “What Wes was attempting in the first Nightmare was an art-house film without the pretentious qualities," he says. "It had that notion of truth being inside dreams, and it had a wonderful mixture of bizarre plot and a lot of special effects.

Street ap-

he atmosphere on this movie is

how

that point that the Nightmare

films had

pearances inevitably involve the way

a very big part of

character of

parents tell at

.

I

remember

and

telling

talking to

him

Wes

at

the time

was a sense It was a would be some-

that there

of substance and atmosphere.

given that the

first

film

thing special.

“The third film worked as well because it didn’t stray too far from the tone of the first one," he continues. “Unfortunately, it seems that the initial psychological approach has been lost on the rest of the films. They became, to a large extent, just an excuse to do a lot of technical

effects

without any

kind of meaning, rhyme or reason.” Saxon is aware that the first and third Nightmares, are considered, in

most

be the best of the series. “And I’d like to think that my being in them has a lot to do with that,” he laughs. He also admits that appearing in those movies opened yet another door critical quarters, to

for the 59-year-old actor,

whose career

NEW NIGHTMARE

49


has spanned many decades. He made his directorial debut on the low-budget horror film Death House and also recently starred in the indie shocker Hellmaster (a.k.a. Soulstealer). "I had done a number of genre films [including Black Christmas, Planet of Blood and Beach] doing

Blood prior to Nightmare on Elm Street films

the

but, as a result of Nightmare, I have been asked to do a lot more science fiction and horror films. “But 1 don't necessarily think that I’m known for any one thing,” he says. “Some people know me from my char-

acter roles. Many people know me for doing Enter the Dragon and many know me from the Nightmare films. The main thing is that new audiences seem to be finding me, and I've got no

problems with

O

that.”

bviously,

of

Englund

is

well aware

what the Nightmare series was working

did for him. “I

pretty regularly before I became Freddy, but you can't imagine what those films did for my career,” he says.

New Nigihtmare, John Saxon proves to be understanding... In

world and have the people from come back to play

real

the previous films themselves.”

The actor is

ajjsat

the

attributes a

new movie’s success

O-verlan^^ Heather

much more

he points out. “Wes

how

really

under-

to get the best out of her,

emphasize how she good deal of has been a major factor in the success chem- of the Nightmare films she has been in. Heather’s more mature now. She’s not a kid anymore now she’s an object of beauty to lust after,” he smiles. this film will

to the

between Craven and Langenkamp. “This is really Heather’s story, and she’s in just about every minute of this istry

I^ncy ij/a vet^^part

film,”

stands

and

' I

Lai^enk^p

“I went from being a character actor to a star of sorts. I’m certainly grateful.” And while Englund, who will soon

appear in the

film

adaptation of

Stephen King’s The Mangier and as Quasimodo in a TV miniseries of The Hunchback ofNotre Dame, is enthusiastic

about reteaming with his old he recognizes that another re-

co-stars,

turning member of the team holds the most importance for the movie. “Having John and Heather back was great but, ultimately.

Wes

the real

is

necessary element,” he says. "We needed him to come back and put a shape to it. Wes began the Nightmare and it seems appropriate that now he’s back to end it. This is about the Freddy myth and answers the question of whether Freddy was someseries,

how

real before

Wes

decided to

the character to film.

was necessary

SO

Which

commit why it

is

to set this film in the

NEW NIGHTMARE

...than

he was as

Lt.

Thompson

in

A Nightmare on Elm

Street 3.


SPECML OHEOAYHALmEEIIlBfEm ADAM MAUN, C3ARY BERMAN, NORMAN JACOBS & TONY TIMPONE proudly present

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IF

YOU THINK YOUâ&#x20AC;&#x2122;RE READY FOR FREDDY, THINK AGAIN.


i

l/kfy^res the

humor,

It

has

gotten to the point

where I instinctively know where Freddy should be cracking wise and where he should be scary. I

had

some

ideas

about playing Freddy this time out. I

wanted a

little

a

dirty

to play

him

more

like

old

man.

And then we have

You

know what

they say about two heads... Penelope Sudrow poses with her Mark Shostrom prosthetic double.

VB

Nightmare on Elm

into

Street 2: Freddy’s

“dream warriors.” The brave team faces down Freddy in a battle that races back and forth between the dream world and the real world.

Revenge was near-

s

ly as critically

suc-

predecessor upon its release in 1985 and attracted even more moviegoers, The writing was on the wall: A franchise had definitely been born. Hoping to recapture some as

cessful

its

the

first

magic,

New

Line called on

Wes Craven

to script 1987’s

of

follow-up

film's

horrific

A Nightmare on

Dream WarCraven accepted and, with writing partner Bruce Wagner, began to develop the script. Ultimately, nov-

Elm

Street 3:

riors.

ice

director

Chuck

Russell

(who had produced such

Back to School) and his scripting partner Frank Darabont completed the writing as Craven moved on to other projects. films as

a

fighting

Several

force

questions

sur-

rounded Nightmare 3 as

Would

lensing began.

neo-

phyte director Russell be able to keep the fran-

inextric-

to chafe at play-

ing

the

big

K

“I

we go

deeper into Freddy’s terriThe characters are

dream world, them to

lured into the

where Freddy

forces

confront their deepest fears.”

Nightmare 3 completed production without major complications, but Englund, proclaiming long and loud that he envisioned the

of any further adventures.

the set of Nightmare 3,

Line chairman Robert Shaye remained hope-

to

to be great for the

Elm Street movie, I would

hope Robert V 0 u

Once

though,

balance

a

mare on

well-paced; there’s a

delicate

“If is

fourth Night-

I

is

stay.

there

knew we would have no trouble topping the first two films, the story

script,

thespian

would decide

glory of the series.

saw the

that the ter-

ror

I

who

asleep

appear. In this picture,

tory.

knew the

had

Nancy forges

mechanical

Peter Chesney,

actual

People would fall and Freddy would

importance of good script,

worker who is a mental instituThere she is introduced group of kids who, she discovers, are being tormented by Freddy. As the

psychic powers.

as well as

showstopping visual became the emerging

world.

a

to a disturbed

unfolds,

are deal-

ing

nightmares from Freddy's point of view,” he said. “With the first two films, the nightmares were based in the real

great.”

And plentiful. In the hands of makeup masters Kevin Yagher, Mark Shostrom and Greg Can-

attuned to the

called to

attain

“We

more with the

the special effects,

ful

and was more

tion.

the beleaguered teens,

nervous" in his direc-

series’ world.

New

starting

time that part 3

all

little

On

was

this

plot

ly directed The Blob and The Mask, admitted to being “a

torial debut, but liked the opportunities that Night'mare 3 was adding to the

which are

creator

the tricks

series,

veins

Nightmare films as a trilogy, indicated he might bow out

role,

scene of the crime as a psychiatric social

FX

own

and the faces of tortured souls writhing on Freddy’s chest. Russell, who subsequented by his

going strong? Robert Englund, who by this time had chise

ably linked to the

The Nightmare 3 scewhich brought back cast members Heather Langenkamp and John Saxon, returns Nancy to the nario,

nom,

PAST

Nightmare

with such gags as a Freddy snake, a teen patient puppet-

become

series was a hit, and I would be a fool not to go where I'm wanted,” he said early in Nightmare 5's filming. “But I had the feeling

'84

of

star of iht

be-

tween the terror and

1

d

consider doing it,” he “But if not, go on

d.

actors have to

and so do filmmakers.’’^

He may be wearing a tux, but Freddy's not getting ready for the prom.

NIGHTMARE 53


is supposed to he a new look for Freddy, Wes and everybody involved decided that the glove should

“Since this

be

different.

F

rom a special FX point of view, the challenge of giving life to the bizarre visions of a Nightmare ori Street film is an at-

Elm

traction in and of

itself. But according David Miller, signing on for Wes New Nightmare had addiall its own. ''What appealed to me was that Wes was going to be directing," says Miller, who created Freddy Krueger's makeup for the original Nightmare and encored on Nightmare 5 and Freddy’s Dead. “I respect him as a director, and he's a lot

to

Craven's

tional perks

of fun to

work with,” some

Miller had

initial

conversa-

tions with Craven regarding Freddy’s

revamped appearance, but what sold the director’s notion of an improved Krueger was a series of sketches drawn by the, Nightmare on Elm Street comic-book artists. “The drawings were real dynamic, muscular poses,” he explains. “They were really cool. This was how Freddy should be; instead of wimpy, he was kind of mean and mus-

him on

The drawings were like going back to the original Nightmare, where he was a little scarier.” cular.

Miller took those ideas

rated ic

them

and incorpo-

into a three-piece prosthet-

Freddy mask that featured

menacing

visage,

a

more

highlighted by a

and a thicker neck designed match the body suit actor Robert Englund would wear. “The makeup larger jaw to

TMs was not what Englund was expecting when he was M^htmare would stretch his acting opportunities.

54

NEW NIGHTMARE

told Tiew

this time has less of a burned took to it and more of a torn-open skin appearance where you can see the muscles underneath,” he explains. “It’s like the skin has been sliced open and stretched. There is still the essence of the old Freddy, but it has its own, dif-


some elements of the commercial Freddy look that I did in fifth and sixth films, but there’s more menacing look to the makeup now." Miller supplemented the prosthetics with white contact lenses with tiny black dots for the eyes and a skintight glove, rather than the previous film’s makeup, for the non-razor-gloved hand. “The contact lenses really make Robert’s eyes stand out,” he says, “and ferent feel. It has

the

definitely a

add to his

evil,

Englund’s

dark appearance." In all, just 90

makeup took

minutes to apply.

The special makeup

artists at

KNB

EFX Group also made their presence in a number of New Nightmare sefelt

quences. First up, the shop redesigned Freddy’s glove for the movie’s opening

moments. “Our version is for the filmwithin-a-film segment,” says KNB’s Greg Nicotero. “It is sort of a TerminaFreddy glove. It’s not so much glove as it is a mechanically chromed, machined hand with these

That’s one way to keep Heather Langenkamp from complaining while Greg Nicotero Axes her makeup.

tor-style

a

big blades sticking out.”

In addition, the

KNB

prosthetic prop for the

boys devised a

dream

villain's

slimy, literal tongue-lashing of Heather

Langenkamp. which was added during the film’s postproduction. “We needed

another scene to kick up the ending, so decided to do something with Freddy’s tongue,” Nicotero reveals. “Wes wanted to have a 6-foot Freddy tongue shoot out and wrap around Heather, so we made a 6-foot mechanical one. We did some reverse

we

shots where

we

stuck

it

out and then

pulled

it

into the head.

foam version

We

also

had

a

of the tongue for the

nasty inserts.”

For the scenes in which Freddy attempts to devour Heather's child Dylan (Miko Hughes), the company built a series of prosthetic heads with stretching mouths. "Originally, we had done two gags for the end sequence," Nicotero explains. “We sculpted a head that would begin the stretch that would be followed by a computer gag that

would

distort

it

further.

When

they cut [the film] together, they decided to beef up the ending a bit. They wanted to shoot a second stage of the Freddy head stretched open a foot and a half, so we sculpted it wider and in another position.” Some of KNB’s movie magic, how-

make the final print the powers that be ruled that a few of their scary illusions didn't fit the context of the story. The abandoned ever, failed to

when

sequence featured a demonic manifestation of Freddy Krueger. “We created this horned demon with fangs and pointed ears that looked really nasty,” Nicotero reveals of the

Robert Englund’s so happy to be pla3ing Freddy again, even artist David Miller can’t wipe the smile off his face.

makeup

excised creation. “It was just a static head that they were going to morph Freddy into. Then they said, ‘Well, Freddy dies too easily, so we want to beef that up.’ So we sat down with Wes and brainstormed a new ending. We looked at where Freddy’s from, and since he’s supposed to be the incarnation of all evil that has been with us through time, we designed a 24-panel transformation through such images as a snake-haired Medusa, a horned goat/satanic thing, etc. It was going to

NEW NIGHTMARE 55


dy’s world,” Mesa explains. “Then we shot a bluescreen of Heather doing a somersault into the scene and composited all these elements together over a layer of smoke. We also created a 3-D pterodactyl on the computer that comes in contact with Heather as she’s

through space.” Mesa and KNB teamed up for the sequence in which Freddy attempts to gobble up Dylan, with KNB’s puppet heads combined with Mesa and company’s transitional morphs. As the final dreamworld battle continues, Freddy is knocked back into the furnace and changes into a monstrous demon. This was accomplished by shooting bluescreen shots of Englund both as Freddy and the demon. “We then set a dummy on fire and layered a shot of that and a background plate of the furnace over Freddy, then did a morph of Freddy into the demon,” explains Mesa. “We continued falling

morphing into the demon head, which then flies out at the camera, its the

eyes pop out and a blast of light covers

him.” Finally, as Heather and Dylan flee Freddy’s dying world, Mesa added crumbling miniatures and high-speed explosions to the destruction.

Weacher

(his

evening will be partly cloudy and Freddy.

“We

be a combination of change-o heads

the weird shapes,"

and morphing. and cool.”

added some smoke to the sequence and then morphed the elements into Freddy. We did the scenes where the boy runs onto the freeway two different ways after we shot the original location plates. We shot some of them with bluescreens and some by way of front projection. The scenes with Heather on the freeway were shot the same way.” As the sequence continues, Freddy's

F

It

was

real elaborate

or William Mesa, New Nightmare’s visual FX supervisor, the film offered an opportunity to

employ a multitude of new and emerging technologies as well as put a novel twist on some tried and true tricks. One of New Nightmare's early visual challenges centered around a sequence in which a Freddy-clawed hand runs around by itself and kills people. Rather than go for the kind of bluescreen work used for Thing in the Addams Family films, Mesa took the gag

in a different direction.

“We

created a live-action, motion-

control

hand and did multiple passes

through the scene without the actors,” he describes, “Then we went back to the computer and layered different images over that footage."

Another sequence that involved multiple techniques and technologies involves Freddy appearing in the clouds over a crowded freeway and attacking Heather and Dylan as traffic roars by.

“We

started out with

some

time-lapse footage of a cloud formation in the night sky

and then morphed

additional clouds in between to create

56

NEW NIGHTMARE

Mesa

details.

Mesa claims that Wes Craven's New Nightmare offered its fair share of unusual challenges. “We ended up doing a lot of 712-style morphs on two-dimensional objects, which is much more difficult than doing them on 3-D objects,”

he says. "Some of the techniques

we used art,

are pretty

much

state-of-the-

and people have seen them

before.

hand reaches down from the clouds, grabs up the child and swings him in and around the oncoming cars. This

scene was shot by Mesa and company in two parts. “First, we programmed a motion-control bluescreen of the boy that lifted him and swung him around. Then we went back and motion-control programmed the hand to lock onto wherever the boy was. Both of these

elements were composited over motion-control plates of the cars driving on the freeway."

The FX for the flies

artist pulled

sequence

in

out

all

the stops

which Langenkamp which

into Freddy's hellish world,

entailed more than 40 compositing and computer elements. “We started by shopting a plate of a giant Freddy head, added a waterfall, fire and smoke element to it and did a matte painting of a cliffside to illustrate the inside of Fred-

KNB EFX redesigned the Freddy glove with just the hint of a Wolverine influence.


But

this film did force us to dig a little

deeper and come up with some techniques and technologies."

new

I

F

I

'

I

<

.

or mechanical

Lou

FX

coordinator

Carlucci, reporting for duty

on

New Nightmare

was, emotionally, like old home week. “1 worked on the original Nightmare on Elm Street” he says. "1 knew Wes was coming back. It was like returning to an old friend. The approach on this film was very much like the original Nightmare-, a large amount of the stuff we did was created live on the set rather than in postproduction." Carlucci’s duties included staging

Freddy's trademark boiler room sequences. "There was a great deal of I

steam and

fire on those sets,” he says. was pretty straightforward stuff, but

I

'

"It

actually very effective." j

Some

I

;

i

I

j

:

1

of Carlucci’s less spectacular

work was involved in the earthquake scene, in which a crack opens down one wall like a Freddy-inflicted wound. “The earthquake elements were done in a pretty basic way by having things fall

off walls

and onto the

floor,”

he ex-

plains. "For the claw crack pattern,

we

rigged up a mechanical scissor that progressively opened up the cracks

came down

in a curve that indicates

and it’s

actually Freddy at work. Getting those

cracks to split at an angle was the toughest part of that gag."

One of Carlucci's duties on New Nightmare was to reprise the first Nightmare film’s classic sequence in which a girl (Tracy Middendorf) is dragged up a wall and across the

ceil-

“The big difference is that this time Freddy appears and disappears at while ing.

several points the girl is dragged," Carlucci reveals. "Here, the room is a medical room with lots of

heavy objects. Basically what we did was strap down everything in the room and welded everything to a rotating

steel structure.”

Another dizzying moment effected by Carlucci and his crew involved Dylan standing precariously at the top of a 35-foot metal sculpture. “The scene

was structured in such a way that the child had to be standing there, rather than a stunt double,” the artist explains. “So we built a body harness that fit over his body and underneath his clothes and then welded the harness into the steel structure."

A more visible example of Carlucci’s talents is the updated and improved Freddy glove, which he describes as FX

very organic.

on the

first

erately

made

"I

did the original glove

Nightmare, and we delibthat rough and primitive-

looking, like something that would be constructed in somebody’s home workshop,” Carlucci says. “Since this is supposed to be a new look for Freddy, Wes and everybody involved decided that the glove should be different. This hand has more muscle and bone texture to it. The blades are shinier and, in one case, are retractable. Everything about this glove has a much cleaner look to it. It’s more a natural part of his hand than a glove.” Carlucci acknowledges that, with rare exception, there is very little of his work in Wes Craven's New Nightmare that will jump out and jolt the audience. “I don’t see anything I’ve done on this film as being a spectacular special effect,” he says. “The things we did are very subtle. People will see this movie and not realize that they’re watching an effect. That’s the feeling I got from looking at the film and the work we did

On

his fourth Nightmare film, you’d Chink David Miller able to apply Freddy's makeup with his eyes closed.

would be

in

it.

And

of a real

for

good

my money,

that’s the sign

effect.”

NEW NIGHTMARE 57


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young named Alice who

fragile

thing

ported the film’s producer, Rachel Talalay. “Did we want

de-

to do a small, really scary

her

of

ers

ceased friends and

does heavy

final,

FX-

battle

with

Freddy.

played

4’s

much

fully

in

3:

plucky, vulnerable

except for heroic

and,

Wghtmare 4

one

lead,

bore witness to Freddy’s ability to push people to the breaking point. t

Robert

first,

Englund showed minima! enthu-

»

siasm once startup of the 1988 production

A Nightmare on Elm 4: The Dream Master He was

still

Street

begin, putting the

finishing touches on his directing debut 976-EVIL, and a change in the start

time ofMi7Afmcre-# had cost

him some promising

film

and television work. "I did not come into this picture real excited," he admitted as he was being outfitted for his big drag sequence in Nightmare 4. “1 was a little weary of the whole thing and I had a feeling, early on in the filming, that my timing as Freddy was not right. But now that I’ve seen some of those early scenes cut together, I know

a gem going here.” Englund. playing the evil a school nurse from hell, emerges to terror-

we have

slasher as

ize a sick

of the

inevitably

doomed. But

tak-

ing their cue from

)

yB

student; this

humorously

is

one

horrify-

ing sequences in the fourth Nightmare, which sought to capitalize on the Freddy phenomenon that had crossed over from the Fango crowd into mainstream American culture. Directed by European import Renny Harlin from a script by Brian Helgeland and Scott Pierce (a pseudonym for Jim and

Ken Wheat), the sequel opens with a hound from wandering into a junkyard and urinating fire on hell

the grave

where Freddy’s

re-

mains

lie. Quicker than you can say, “You’re all my children now,” the unstoppable villain is back to form,

slaughtering the surviving dream warriors in their sleep

and then setting his sights on a new crop of Springwood

But there is a fly in the ointment in the guise of victims.

Phoio: Gjr>' r^rr

the previous chapter, the creators stepped up to a

FX

new

The by now notorious major-league visuals on a minor-league budget came level.

across as even

to the orig-

inal’s roots, or did

we want

do a

roller-

comwe decided

more

edy? Originally, that to try

the was more en- 'ultimately,

by

trenched

the

and go back

film

to continue to

coaster ride laced with

Nightmare teens pretty rules

“We debated a long time on how to do part 4,” re-

pow-

(Lisa Wilcox),

inherits the

extrava-

gant and over the top. It didn’t get any more twisted than FX wiz Screaming Mad George’s teen-cockroach transformation sequence, funnier than the pizza with the lost-souls topping and more black-humored than Freddy in a dress.

and make

it

scary

important,

we

felt

but

that since

the audience was so familiar with Freddy and would be harder to scare, it would be better to go with the same

one had.” That approach, according Harlin, whose previous genre outing had been the low-budget Prison and who feel that the third

to

went on tioners

to the

megabuck

ac-

Hard 2 and

Die

Cliffhanger,

included

dream

look-

from "We've reached a point where audiences see Freddy as a hero,” he pointed out. "They come to these movies to hear his funny lines and to see him do ing at the

new

killer

perspectives.

these amazing things.

And

because of that popularity, I’m faced with showing Freddy in a more heroic light and giving him more screen time. People will still fear him, but they will also be cheering him on.”

As filming progressed, Englund waxed philosophical on the fact that, with Nightmare 4, the series, for better or worse, had reached

the point of no return. “The Nightmare on Elm Street

movies are not just Fango he said. “I’m proud of the fact that the Fango fans, the punks and the heavy metal kids, were the grassroots audience that films anymore,”

has

made

these films hits.

it would be unfair to claim them as the only fans

But

now. Nightmare 3 broke the through to a mainstream audience, and this series

film will enlarge that audi-

ence even more. Now, sense,

come

NE’W

they’ve

in a

almost be-

family films.”

4^

NIGHTMARE 59


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nav ni;- Ctt.TWv, Itm0» COMMUMICATIOSS, WC ond smart egg figures present <i^R0BERI SHAYE PtOT^,. . A STEPHETi JIOFIsIHS Film ROBERT ENGIUND In "A NIGHTMARE ON EUA STREET 5: THE DREAfA CHILD" fWLj Slorfinfl USA V.'IICOX OS Alice Costing by ANNETTE BENSON. e.s.o. Viiool fifects Supervisor AlAN MUHRO .

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Director of Pliotenropliy PETER

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CHUCK WEISS ofidttrtH SCHOENFEID

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'

''

(/i^ifcwres PAST she won’t eat it, maybe he can get Mikey... If

ing to Street's

Nightmare on Elm darker roots. En-

glund, a self-proclaimed slow starter

on these movies,

warmed

pecially line.

“Once

I

es-

to the story-

got into

film has really

it,

this

showed

me

something," he noted. "This film is the equivalent of walking down the street, looking at your feet, looking through your legs and seeing yourself following you. It contains nods to the whole Elm Street mythology, as well as asides to the previous

four films. There are a lot of real basic, primal things go-

ing on."

Director

who

Hopkins,

would go on to helm PredaJudgment Night and most recently Blown Away, was determined to guide Freddy and the whole Nighttor 2,

Nightmare on Elm Street 4 wrapped

yH

AA

production in July 1988. Thanks to the fourth installment's record theatrical take for the series, Robert Englund was back in the saddle less than a year later, April 1989 to be exact, in

one of the quickest

turnarounds between films in

the history of the fran-

chise for

Elm

A Nightmare on

Street 5: The

Child.

And by

Dream

that point,

if it

was a Nightmare film, it was a given Englund would be back under the latex. “It seems like we never get to start fresh on these things,” said the actor dur-

ing a day chair as

makeup

the

in

on Nightmare

hacked together a script through the

combined

5.

talents

of

five

writers (including horror novelists John Skipp and

Craig Spector, though only Leslie

Bohem

received final

screenplay credit) and offered the director’s chair to

another import, Australian director Stephen {Dangerous Game) Hopkins. Nightmare 5 continued the direct sequel approach by bringing back Alice, who, after vanquishing the dream stalker in the previous flick,

now

for revenge by taking

up

resi-

dence in the dreams of her unborn child with the goal of

mare

being reborn into the world as Alice’s baby. As Freddy continues to gain strength, he begins a counterattack on her dreams. The result is one teen being gutted and fed her own innards: another immolated in a car crash; and a third turned into paper and sliced by Freddy. At one point, Alice

much a part of 4. Nightmare

Everyone connected with

Nightmare 5, when not com-

rendered almost completely powerless by his battle with Alice, but has hatched a plan

plaining about

it being a rush Job, gave the effort brownie points for return_

facemaker David Miller apthe scar tissue and burns. “There’s always a rush to get

them

out.

And

is

a

to accept this assignment," laughed Biggs, in need of coffee and sleep, “I thought the last one was insane, but this time we're really living the lifestyle of vampires. They're saying we should be finished with this sequence by 2 a.m. Hell, I’d

too

close to the others for

me.” One of the reasons for that was that Nightmare 4 was just as successful in Europe as in

dire

the States and

ushered in a new round of Freddy mania overseas. So in the

tradition

while the iron

Line

moved up

of is

striking hot.

for that. But check back at dawn,

settle

New

the start time

that in

life on the Freddy range had been like. "I was the only one crazy

to be

little

felt

joking about what

plied

honest, this one

1

Freddy should

army of special FX people assigned to Nightmare 5. sat on the steps of his FX trailer,

Nightmare

initial

5,

step back into the shadows and be the darker creature he was in the very first film." But with attempted change also comes increased tough times in the trenches. This was much in evidence one night during shooting when Chris Biggs, one of an

herself becomes, as returning actress Lisa Wilcox described it, “Freddyized.”

finds herself pregnant.

Freddy, meanwhile, has been

vision back to the dark

side and abandon the jokes. “What !'m attempting to do is shift this movie away from the element of straightforward humor that was so

Alice’s friends in

Baby Krueger

proteets a lack of clothes that

fit.

we

will

still

be here."

if I'll

you bet

if

NEW NIGHTMARE 63


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1

,

t

'

i

.

'

-

'

1

iJkfitmres past own

basically

/

so

character,

the I’m

going to miss playing him,” sighed Robert Englund. His more positive attitude

was the

result of the

following Night-

that,

fact

mare

5’s less successful re-

lease

and a two-year hiatus

New

Line rethought the next adventure, the powers that be had decided that I99rs Freddy’s Dead: The Final Nightmare should be just that: the dream monster’s as

direction of Freddy’s

last

resurrection and his ul-

timate demise.

Ensconced

in his

makeup

chair prior to filming of a

Dead

Freddy's

room

boiler

sequence and fielding ques-

Englund said he had thought long and tions yet again,

hard about the time Freddy Krueger would finally die. “When I’m in that makeup, I feel like I can say anything to anybody and get away with it.

Once Nightmare

over,

is

the things I could get away with as Freddy would proba-

me

bly get

arrested.

perfectly honest,

time

we

[for

felt

I

Freddy to

did 3.

I

To be it was

die] after

got energized

again with 4 and, after 5, I thought that was the time.

Right

now

I

definitely feel

ready to put Freddy to rest.” Freddy's Dead turned out

I

I

!

:

1

'

the

the

story

company De Luca’s

from

executive Michael

Kotto)

in

pivotal

roles

with the expected teens (Shon Creenblatt, Deane, Ricky Dean Logan and Breckin Meyer). The story follows Creenblatt, along

confront

dream and a finale shown in 3-D in theaters. The sixth effort, which features such high-profile cameos as Alice Cooper and the then-happily married Tom and Roseanne Arnold, had plenty of dream-related FX to go around (among

them that

kills

movie," Buechler said. “In terms of how we’re handling technically state-

of-the-art stuff. But, in a cre-

we’ve

turned

release

alike

peared

's

fied that

Wes

Craven's cre-

had

the Nightmare machine in various capacities from the

out his future can

a

Maggie mystery

sense,

ation

things up a notch."

very

how

inception.”

ap-

mapping

worker

on

was a great

satis-

who had been around

present

its

who went on to Ghost in the Machine and the upcoming Tank Girl. “You can’t get any better than a guy who is your greatest fear and who can kill you in your sleep.” direct

audiences

Creenblatt finds that

(Zane)

series

concept from

Dead, filmmakers and

ative

shelter

decade. “The Nightmare

said Talalay,

of

Fred d y

During a filming break on Freddy’s Dead, director 1^lalay,

finished a mighty successful

Elm Street

With the

Buechler.

the lone surviving teenager

Springwood, who escapes the town and ends up in a youth shelter where his nightmares and those of

felt,

thing fresh with it.”

Lezlie

in

“I

had pretty

seen it all, and that a more adult script that concentrated on characters was the next logical step," she said. "We’ve taken the effects to an almost Road Runner cartoon level and we’re staying away from the blood. This

darker film.

David

bring his glove

effects point of view,

much

We've really done some-

of

"My take on the film was to create exotic and very real nightmare visions that would reflect the darker nature and total insanity of this

it’s

from an

that the audience

earhugger

courtesy

and FX creator John

things,

to

casion for change.

deaf teen and

a parasitic

dooms a

the death of another by video

game)

the directorial reins, telling

to return to

and

in a series of

chases,

Miller

script. The film features that Nightmare rarity two adult actors (Lisa Zane and Yaphet

them

town

Freddy

to

I

1

that forces

ject,

be a kind of in-house prowith New Line producer Rachel Talalay picking up

saw Krueger attempt

Freddy's Dead

beginning, explained ringing up Freddy for

the last time was also an oc-

Shon

be

diffi-

with Freddy around.

cult

I

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Tuesday Knight Beans Morocco

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Tina Vail

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Wes Craven Marianne Maddaiena Robert Shaye

Wes Craven do fhi-ICseciilive

Produeer Jay Roewe Producer Sara Rishcr

Mark Irwin

Prodiicuoii l)csi|tuer

Production M»iui^er

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Prnducliciu dtiordiiuilor

Post pi'iidiiet ion Supervisin'

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I'roducer

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Producer

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Cre.ilor

I'reddy M-ikeup

Patrick Luasier J. Peter Robinson Cynthia Chareice

Barry Waldman Pearl Lucero

Sara King Mickey Gilbert William Mesa

Nick Davis Linda LandryNelson

Lou Carlucci David Miller Creations

Special

Makeup PX

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Gregory Nicotero Howard Berger Mary Jane Fort Tony Cececc

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Diane McKinnon Stephen Alesch Nick Mastandrea

Rosemary Cremona

C.

2nd Assistant Director Susan Pickett Stors'hoard Artist

2iid Assistant d.iniera Steailicaiii

Operators

Malt Golden Gary K. Ushino Jeffrey Civa

David L. Peck Kirk Gardner

Wardrohe Supervisor Jane Lanzner Kev Makeup Ashlee Petersen

IVedOy-s llaiul Doiihli;

Miko Hughes

Assistant Director

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Claudia Haro Sara Risher

Edward Abroms Peter Devaney

Flanagan

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Dodhi Elfman

Sound Mixer Jim Sicubc

Sam Rubin

Hull Pulilielsts

Yorkc

& Hill

Relations Still

I'liotonraplier

Joseph

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