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Transcript

A Nightmare on Elm Street (1984) · Verbal Diorama

• 0:49
  Should
• 0:50
  go.
• 1:06
  Hi,
• 1:07
  everyone.
• 1:07
  I'm
• 1:07
  Em.
• 1:08
  Welcome
• 1:08
  to
• 1:08
  Verbal
• 1:08
  Diorama,
• 1:09
  episode
• 1:09
  275
• 1:12
  a
• 1:12
  Nightmare
• 1:12
  on
• 1:12
  Elm
• 1:12
  street.
• 1:13
  This
• 1:13
  is
• 1:14
  the
• 1:14
  podcast
• 1:14
  that's
• 1:14
  all
• 1:14
  about
• 1:14
  the
• 1:15
  history
• 1:15
  and
• 1:15
  legacy
• 1:15
  of
• 1:16
  movies
• 1:16
  you
• 1:16
  know,
• 1:17
  and
• 1:17
  movies
• 1:17
  you
• 1:17
  don't.
• 1:18
  And
• 1:18
  as
• 1:19
  always,
• 1:19
  welcome
• 1:19
  to
• 1:19
  Verbal
• 1:20
  Diorama.
• 1:20
  Whether
• 1:20
  you
• 1:21
  are
• 1:21
  a
• 1:21
  brand
• 1:21
  new
• 1:21
  listener,
• 1:22
  whether
• 1:22
  you
• 1:22
  are
• 1:22
  a
• 1:23
  regular
• 1:23
  returning
• 1:23
  listener,
• 1:24
  thank
• 1:24
  you
• 1:24
  for
• 1:25
  being
• 1:25
  here.
• 1:25
  Thank
• 1:25
  you
• 1:25
  for
• 1:26
  choosing
• 1:26
  to
• 1:26
  listen
• 1:26
  to
• 1:27
  this
• 1:27
  podcast,
• 1:28
  and
• 1:29
  I'm
• 1:29
  so
• 1:29
  happy
• 1:29
  to
• 1:29
  have
• 1:29
  you
• 1:29
  here
• 1:30
  for
• 1:30
  the
• 1:30
  history
• 1:30
  and
• 1:30
  legacy
• 1:31
  of
• 1:31
  Nightmare
• 1:31
  on
• 1:31
  Elm
• 1:32
  street.
• 1:32
  And
• 1:33
  just
• 1:34
  so
• 1:34
  you
• 1:34
  know,
• 1:34
  I
• 1:35
  have
• 1:35
  a
• 1:35
  cold.
• 1:36
  My
• 1:36
  voice
• 1:37
  is
• 1:37
  not
• 1:37
  100%,
• 1:38
  so
• 1:39
  apologies
• 1:40
  if
• 1:40
  it
• 1:40
  doesn't
• 1:40
  sound
• 1:41
  quite
• 1:41
  right,
• 1:42
  but
• 1:42
  I
• 1:42
  am
• 1:42
  completely
• 1:43
  bunged
• 1:43
  up
• 1:43
  at
• 1:44
  the
• 1:44
  moment.
• 1:44
  And
• 1:45
  unfortunately,
• 1:46
  it
• 1:47
  is
• 1:47
  spooky
• 1:47
  season.
• 1:48
  But
• 1:48
  it's
• 1:48
  also
• 1:48
  the
• 1:48
  season
• 1:49
  where
• 1:49
  literally
• 1:50
  everything
• 1:51
  spreads
• 1:51
  around,
• 1:51
  and
• 1:52
  I've
• 1:52
  managed
• 1:52
  to
• 1:53
  catch
• 1:53
  something
• 1:53
  off
• 1:54
  someone.
• 1:54
  And
• 1:55
  so
• 1:55
  I've
• 1:55
  dosed
• 1:55
  myself
• 1:56
  up
• 1:56
  on
• 1:56
  Lem
• 1:56
  sips.
• 1:57
  I'm
• 1:57
  not
• 1:57
  sure
• 1:58
  what
• 1:58
  they're
• 1:58
  called
• 1:58
  around
• 1:58
  the
• 1:59
  world,
• 1:59
  but
• 1:59
  it's
• 1:59
  basically
• 2:00
  just
• 2:00
  like
• 2:00
  a
• 2:00
  paracetamol
• 2:01
  drink
• 2:01
  with,
• 2:01
  like,
• 2:02
  honey
• 2:02
  and
• 2:02
  lemon.
• 2:03
  I've
• 2:03
  dosed
• 2:04
  myself
• 2:04
  up
• 2:05
  just
• 2:05
  to
• 2:05
  record
• 2:05
  this
• 2:05
  episode,
• 2:07
  and
• 2:07
  hopefully
• 2:07
  I
• 2:08
  could
• 2:08
  get
• 2:08
  through
• 2:08
  it
• 2:08
  without
• 2:09
  coughing,
• 2:09
  spluttering,
• 2:10
  saying
• 2:11
  something
• 2:11
  weird.
• 2:12
  Oh,
• 2:12
  actually,
• 2:13
  I
• 2:13
  say
• 2:13
  something
• 2:13
  weird
• 2:14
  all
• 2:14
  the
• 2:14
  time,
• 2:14
  so
• 2:15
  scrap
• 2:15
  that
• 2:15
  one.
• 2:16
  But
• 2:17
  I
• 2:17
  just
• 2:17
  wanted
• 2:17
  to
• 2:17
  let
• 2:18
  you
• 2:18
  know
• 2:18
  up
• 2:18
  front,
• 2:18
  if
• 2:18
  I
• 2:19
  sound
• 2:19
  a
• 2:19
  bit
• 2:19
  weird,
• 2:20
  it's
• 2:20
  because
• 2:21
  I've
• 2:22
  got
• 2:22
  this
• 2:22
  thing
• 2:22
  going
• 2:22
  on
• 2:23
  with
• 2:23
  my
• 2:23
  nose
• 2:24
  and
• 2:24
  my
• 2:24
  throat
• 2:24
  and
• 2:24
  all
• 2:25
  of
• 2:25
  that
• 2:25
  sort
• 2:25
  of
• 2:25
  stuff.
• 2:26
  But
• 2:27
  huge
• 2:27
  thank
• 2:27
  you
• 2:28
  to
• 2:28
  everyone
• 2:29
  who
• 2:29
  is
• 2:29
  listening
• 2:29
  to
• 2:29
  this
• 2:30
  podcast,
• 2:30
  who
• 2:30
  has
• 2:31
  listened
• 2:31
  to
• 2:31
  this
• 2:31
  podcast,
• 2:32
  and
• 2:32
  who
• 2:32
  continues
• 2:33
  to
• 2:33
  listen
• 2:34
  to
• 2:34
  and
• 2:34
  support
• 2:34
  this
• 2:35
  podcast.
• 2:35
  And
• 2:36
  over
• 2:36
  the
• 2:36
  time
• 2:36
  period
• 2:37
  that
• 2:37
  I've
• 2:37
  been
• 2:37
  doing
• 2:37
  this
• 2:37
  podcast,
• 2:38
  which
• 2:38
  is
• 2:38
  coming
• 2:38
  up
• 2:39
  to
• 2:39
  six
• 2:39
  years,
• 2:39
  would
• 2:40
  you
• 2:40
  believe
• 2:40
  in
• 2:41
  February
• 2:41
  next
• 2:42
  year
• 2:42
  it's
• 2:42
  going
• 2:42
  to
• 2:42
  be
• 2:42
  six
• 2:43
  years.
• 2:43
  This
• 2:44
  is
• 2:44
  episode
• 2:44
  275,
• 2:45
  which
• 2:45
  also
• 2:46
  means,
• 2:46
  ernie,
• 2:47
  next
• 2:47
  year
• 2:47
  is
• 2:47
  going
• 2:47
  to
• 2:47
  be
• 2:47
  the
• 2:48
  300th
• 2:49
  episode
• 2:49
  of
• 2:49
  this
• 2:49
  podcast,
• 2:50
  and
• 2:50
  I
• 2:51
  have
• 2:51
  no
• 2:52
  idea
• 2:52
  what
• 2:53
  to
• 2:53
  do
• 2:53
  for
• 2:53
  the
• 2:53
  300th
• 2:54
  episode.
• 2:54
  So
• 2:55
  if
• 2:55
  you
• 2:55
  do
• 2:55
  want
• 2:56
  to
• 2:56
  get
• 2:56
  in
• 2:56
  touch
• 2:56
  and
• 2:56
  you
• 2:56
  want
• 2:57
  to
• 2:57
  suggest
• 2:57
  a
• 2:58
  300th
• 2:58
  episode,
• 2:59
  please
• 2:59
  feel
• 2:59
  free.
• 3:00
  Contact
• 3:00
  me
• 3:01
  on
• 3:01
  social
• 3:01
  media
• 3:02
  at
• 3:02
  verbaldiorama.
• 3:03
  Contact
• 3:04
  me
• 3:04
  on
• 3:04
  my
• 3:04
  email
• 3:04
  address,
• 3:05
  verbaldioramail.com.
• 3:07
  let
• 3:07
  me
• 3:07
  know
• 3:07
  what
• 3:08
  you
• 3:08
  think
• 3:08
  would
• 3:08
  be
• 3:08
  a
• 3:08
  good
• 3:09
  300th
• 3:09
  episode.
• 3:10
  That's
• 3:10
  not
• 3:10
  the
• 3:11
  movie
• 3:11
  300
• 3:12
  because
• 3:12
  I
• 3:12
  feel
• 3:13
  like
• 3:13
  that's
• 3:13
  a
• 3:13
  bit
• 3:14
  on
• 3:14
  the
• 3:14
  nose.
• 3:14
  But
• 3:15
  as
• 3:15
  I
• 3:15
  say,
• 3:16
  thank
• 3:16
  you
• 3:16
  so
• 3:16
  much
• 3:16
  for
• 3:16
  your
• 3:17
  continued
• 3:17
  support.
• 3:18
  It
• 3:18
  means
• 3:18
  so
• 3:18
  much
• 3:19
  to
• 3:19
  me
• 3:19
  as
• 3:20
  an
• 3:20
  indie
• 3:20
  podcaster
• 3:20
  who
• 3:21
  does
• 3:21
  everything
• 3:22
  for
• 3:22
  this
• 3:22
  podcast
• 3:22
  on
• 3:23
  her
• 3:23
  own
• 3:24
  every
• 3:24
  week
• 3:25
  without
• 3:25
  fail.
• 3:26
  Even
• 3:26
  when
• 3:26
  I'm
• 3:27
  sick,
• 3:27
  I
• 3:28
  still
• 3:28
  have
• 3:28
  to
• 3:28
  do
• 3:28
  this
• 3:28
  podcast
• 3:29
  and
• 3:29
  I
• 3:29
  still
• 3:29
  have
• 3:29
  to
• 3:30
  get
• 3:30
  this
• 3:30
  podcast
• 3:30
  out.
• 3:31
  But
• 3:31
  genuinely,
• 3:32
  to
• 3:32
  hear
• 3:32
  such
• 3:33
  of
• 3:33
  the
• 3:33
  messages
• 3:33
  that
• 3:34
  I
• 3:34
  get
• 3:34
  on
• 3:34
  email,
• 3:35
  on
• 3:35
  social
• 3:35
  media,
• 3:36
  it
• 3:36
  really
• 3:36
  pushes
• 3:37
  me
• 3:37
  to
• 3:37
  keep
• 3:37
  going,
• 3:38
  regardless
• 3:39
  of
• 3:39
  the
• 3:39
  fact
• 3:39
  of
• 3:39
  whether
• 3:39
  I'm
• 3:40
  sick
• 3:40
  or
• 3:40
  not,
• 3:40
  to
• 3:41
  keep
• 3:41
  going
• 3:41
  on
• 3:41
  this
• 3:41
  podcast.
• 3:42
  So
• 3:42
  thank
• 3:42
  you
• 3:42
  so
• 3:42
  much,
• 3:43
  and
• 3:43
  especially
• 3:44
  for
• 3:44
  the
• 3:45
  recent
• 3:45
  episodes.
• 3:45
  So
• 3:46
  Bill
• 3:46
  and
• 3:46
  Ted
• 3:46
  face
• 3:46
  the
• 3:47
  music
• 3:47
  came
• 3:47
  out
• 3:48
  recently,
• 3:48
  and
• 3:48
  also
• 3:49
  Child's
• 3:49
  play
• 3:50
  came
• 3:50
  out
• 3:50
  recently
• 3:50
  too.
• 3:51
  And
• 3:51
  obviously
• 3:51
  we're
• 3:52
  getting
• 3:52
  into
• 3:52
  spooky
• 3:52
  season,
• 3:53
  like
• 3:53
  I
• 3:53
  said,
• 3:53
  and
• 3:54
  I
• 3:54
  am
• 3:55
  always
• 3:55
  asked
• 3:55
  to
• 3:56
  cover
• 3:56
  more
• 3:56
  horror
• 3:57
  movies.
• 3:57
  So
• 3:58
  this
• 3:58
  month
• 3:58
  I
• 3:58
  am
• 3:59
  delivering,
• 3:59
  and
• 4:00
  I'm
• 4:00
  delivering
• 4:01
  literally
• 4:01
  the
• 4:01
  crem
• 4:01
  de
• 4:02
  na
• 4:02
  creme
• 4:02
  of
• 4:03
  such
• 4:03
  a
• 4:03
  horror
• 4:04
  because
• 4:04
  I
• 4:05
  wanted
• 4:05
  to
• 4:05
  do
• 4:05
  a
• 4:06
  complete
• 4:06
  slasher
• 4:06
  season
• 4:07
  going
• 4:08
  through
• 4:08
  the
• 4:08
  seventies
• 4:09
  and
• 4:09
  the
• 4:09
  eighties,
• 4:10
  and
• 4:11
  I
• 4:11
  wanted
• 4:11
  to
• 4:11
  continue
• 4:12
  after
• 4:12
  child's
• 4:13
  play,
• 4:13
  coming
• 4:14
  back
• 4:14
  in
• 4:14
  time
• 4:14
  a
• 4:15
  little
• 4:15
  bit
• 4:15
  with
• 4:16
  a
• 4:16
  genuinely
• 4:17
  terrifying
• 4:17
  presence
• 4:18
  that
• 4:18
  haunts
• 4:18
  your
• 4:19
  dreams
• 4:20
  because
• 4:20
  we
• 4:20
  all
• 4:21
  dream.
• 4:21
  And
• 4:22
  so
• 4:22
  how
• 4:22
  do
• 4:22
  you
• 4:22
  hide
• 4:23
  from
• 4:23
  someone
• 4:23
  who
• 4:24
  can
• 4:24
  not
• 4:24
  only
• 4:25
  find
• 4:25
  you
• 4:25
  in
• 4:25
  dreams,
• 4:26
  but
• 4:26
  murder
• 4:27
  you
• 4:27
  in
• 4:27
  dreams?
• 4:29
  And
• 4:29
  what
• 4:29
  if
• 4:30
  it
• 4:30
  was
• 4:30
  all
• 4:30
  because
• 4:30
  of
• 4:31
  the
• 4:31
  actions
• 4:31
  of
• 4:31
  your
• 4:32
  dear
• 4:32
  old
• 4:32
  mum
• 4:33
  and
• 4:33
  daddy?
• 4:34
  And
• 4:34
  this
• 4:34
  is,
• 4:34
  of
• 4:34
  course,
• 4:34
  the
• 4:34
  only
• 4:35
  horror
• 4:35
  icon
• 4:36
  that
• 4:36
  I'm
• 4:36
  going
• 4:36
  to
• 4:36
  be
• 4:36
  talking
• 4:37
  about
• 4:37
  in
• 4:37
  this
• 4:37
  particular
• 4:38
  month
• 4:38
  to
• 4:39
  have
• 4:39
  been
• 4:39
  played
• 4:39
  consistently
• 4:41
  by
• 4:41
  the
• 4:41
  same
• 4:41
  actor
• 4:42
  across
• 4:43
  all
• 4:43
  of
• 4:43
  the
• 4:43
  franchise
• 4:44
  except
• 4:45
  for
• 4:45
  the
• 4:45
  2010
• 4:45
  remake.
• 4:46
  We
• 4:46
  are
• 4:46
  going
• 4:47
  to
• 4:47
  have
• 4:47
  to
• 4:47
  talk
• 4:47
  about
• 4:47
  the
• 4:47
  2010
• 4:48
  remake,
• 4:48
  but
• 4:48
  apart
• 4:49
  from
• 4:49
  that
• 4:49
  one,
• 4:50
  consistently
• 4:51
  by
• 4:51
  the
• 4:51
  same
• 4:52
  actor,
• 4:52
  which
• 4:52
  is
• 4:53
  quite
• 4:53
  incredible,
• 4:53
  really,
• 4:54
  when
• 4:54
  you
• 4:54
  think
• 4:55
  about
• 4:55
  such
• 4:55
  a
• 4:55
  horror.
• 4:56
  Generally
• 4:56
  they're
• 4:57
  behind
• 4:57
  a
• 4:57
  mask,
• 4:58
  but
• 4:58
  this
• 4:58
  guy,
• 4:59
  his
• 5:00
  face
• 5:00
  is
• 5:00
  the
• 5:01
  mask.
• 5:02
  Here's
• 5:02
  the
• 5:02
  trailer
• 5:03
  for
• 5:03
  a
• 5:03
  nightmare
• 5:04
  on
• 5:04
  Elm
• 5:05
  street.
• 6:40
  The
• 6:41
  teens
• 6:41
  in
• 6:41
  Elm
• 6:41
  street
• 6:41
  have
• 6:42
  started
• 6:42
  to
• 6:42
  have
• 6:42
  nightmares
• 6:43
  about
• 6:43
  a
• 6:43
  creepy
• 6:44
  man
• 6:44
  with
• 6:44
  a
• 6:44
  striped
• 6:45
  sweater
• 6:46
  and
• 6:46
  a
• 6:46
  fedora
• 6:47
  with
• 6:47
  a
• 6:47
  knifed
• 6:47
  glove
• 6:48
  who
• 6:48
  haunts
• 6:48
  their
• 6:49
  dreams.
• 6:49
  Slowly
• 6:50
  but
• 6:50
  surely,
• 6:50
  they
• 6:50
  realize
• 6:51
  that
• 6:51
  if
• 6:51
  he
• 6:52
  kills
• 6:52
  their
• 6:52
  friends
• 6:52
  in
• 6:53
  their
• 6:53
  dreams,
• 6:54
  they
• 6:54
  are
• 6:54
  killed
• 6:54
  in
• 6:55
  real
• 6:55
  life,
• 6:56
  Nancy
• 6:56
  Thompson
• 6:57
  witnesses
• 6:57
  the
• 6:57
  brutal
• 6:58
  deaths
• 6:58
  of
• 6:58
  her
• 6:58
  friends
• 6:59
  and
• 6:59
  boyfriend
• 7:00
  before
• 7:00
  discovering
• 7:01
  that
• 7:01
  the
• 7:01
  parents
• 7:01
  of
• 7:02
  Elm
• 7:02
  street
• 7:03
  murdered
• 7:03
  Fred
• 7:03
  Krueger
• 7:04
  in
• 7:04
  vigilante
• 7:05
  justice
• 7:06
  after
• 7:06
  he
• 7:06
  got
• 7:06
  off
• 7:07
  being
• 7:07
  jailed
• 7:08
  for
• 7:08
  child
• 7:08
  murders.
• 7:09
  Through
• 7:09
  a
• 7:09
  technicality,
• 7:10
  Kruger
• 7:11
  is
• 7:11
  now
• 7:11
  haunting
• 7:12
  the
• 7:12
  dreams
• 7:12
  of
• 7:13
  their
• 7:13
  children.
• 7:14
  Let's
• 7:14
  read
• 7:14
  through
• 7:15
  the
• 7:15
  cast.
• 7:15
  We
• 7:15
  have
• 7:16
  Heather
• 7:16
  Langincamp
• 7:17
  as
• 7:17
  Nancy
• 7:17
  Thompson,
• 7:18
  Robert
• 7:19
  Englund
• 7:19
  as
• 7:20
  Fred
• 7:20
  Krugere,
• 7:21
  Johnny
• 7:21
  Depp
• 7:22
  as
• 7:22
  Glenn
• 7:22
  Lance,
• 7:23
  Ronnie
• 7:24
  Bakeley
• 7:24
  as
• 7:25
  Marge
• 7:25
  Thompson,
• 7:26
  John
• 7:26
  Saxon
• 7:27
  as
• 7:27
  Lieutenant
• 7:28
  Donald
• 7:28
  Thompson,
• 7:29
  Amanda
• 7:30
  Wiss
• 7:30
  as
• 7:30
  Tina
• 7:31
  Gray
• 7:31
  and
• 7:32
  Nick
• 7:32
  Corey
• 7:32
  as
• 7:33
  Rod
• 7:33
  Lane.
• 7:34
  A
• 7:35
  nightmare
• 7:35
  on
• 7:35
  Elm
• 7:35
  street
• 7:35
  was
• 7:36
  written
• 7:36
  and
• 7:36
  directed
• 7:37
  by
• 7:37
  Wes
• 7:37
  Craven.
• 7:38
  And
• 7:39
  Wes
• 7:39
  Craven
• 7:40
  has
• 7:40
  the
• 7:40
  distinction,
• 7:41
  nay,
• 7:42
  the
• 7:42
  honour,
• 7:42
  of
• 7:43
  being
• 7:43
  responsible
• 7:44
  for
• 7:44
  not
• 7:44
  just
• 7:44
  the
• 7:45
  slasher
• 7:45
  renaissance
• 7:46
  of
• 7:46
  the
• 7:46
  mid
• 7:46
  eighties,
• 7:47
  but
• 7:47
  also
• 7:48
  the
• 7:48
  slasher
• 7:48
  renaissance
• 7:49
  of
• 7:49
  the
• 7:49
  mid
• 7:49
  nineties
• 7:50
  too.
• 7:51
  And
• 7:51
  I
• 7:51
  have
• 7:52
  done
• 7:52
  an
• 7:52
  episode
• 7:52
  on
• 7:52
  screen.
• 7:53
  That
• 7:53
  one
• 7:53
  is
• 7:53
  episode
• 7:54
  64.
• 7:55
  But
• 7:55
  this
• 7:56
  was
• 7:56
  a
• 7:56
  guy
• 7:56
  who
• 7:56
  had
• 7:57
  horror
• 7:57
  at
• 7:57
  the
• 7:57
  forefront
• 7:58
  of
• 7:58
  his
• 7:58
  mind
• 7:59
  and
• 7:59
  consistently
• 8:00
  reinvented
• 8:01
  the
• 8:01
  slasher
• 8:01
  genre.
• 8:02
  But
• 8:02
  our
• 8:03
  story
• 8:03
  starts
• 8:04
  with
• 8:04
  new
• 8:04
  line
• 8:04
  cinema,
• 8:05
  and
• 8:06
  when
• 8:06
  New
• 8:06
  Line
• 8:06
  cinema
• 8:07
  first
• 8:07
  opened
• 8:07
  its
• 8:08
  doors
• 8:08
  in
• 8:08
  1967,
• 8:09
  Hollywood
• 8:10
  was
• 8:10
  coming
• 8:10
  to
• 8:11
  the
• 8:11
  end
• 8:11
  of
• 8:11
  a
• 8:11
  turbulent
• 8:12
  decade.
• 8:13
  New
• 8:13
  artists
• 8:14
  were
• 8:14
  challenging
• 8:15
  american
• 8:15
  cinema
• 8:16
  entertainment.
• 8:17
  The
• 8:17
  collapse
• 8:17
  of
• 8:17
  the
• 8:17
  Hays
• 8:18
  combed,
• 8:18
  which
• 8:18
  since
• 8:19
  the
• 8:19
  1930s
• 8:20
  had
• 8:20
  severely
• 8:21
  limited
• 8:21
  what
• 8:21
  could
• 8:22
  and
• 8:22
  could
• 8:22
  not
• 8:22
  be
• 8:22
  shown
• 8:23
  in
• 8:23
  films,
• 8:24
  was
• 8:24
  only
• 8:24
  a
• 8:25
  year
• 8:25
  away.
• 8:26
  A
• 8:26
  new
• 8:26
  era
• 8:26
  was
• 8:27
  beginning
• 8:27
  for
• 8:27
  Hollywood
• 8:28
  cinema,
• 8:29
  and
• 8:29
  Robert
• 8:29
  Shea,
• 8:30
  the
• 8:30
  creator
• 8:30
  of
• 8:30
  New
• 8:31
  Line
• 8:31
  cinema,
• 8:32
  aims
• 8:32
  to
• 8:32
  take
• 8:32
  advantage
• 8:33
  of
• 8:33
  those
• 8:33
  opportunities
• 8:34
  by
• 8:35
  creating
• 8:35
  a
• 8:36
  new
• 8:36
  kind
• 8:36
  of
• 8:36
  film.
• 8:37
  Distributor
• 8:38
  New
• 8:39
  LAmericaninedistributedcontroversialamericanfilmslikeReeferMadness,as
• 8:43
  well
• 8:43
  as
• 8:43
  foreign
• 8:43
  films
• 8:44
  like
• 8:44
  get
• 8:44
  out
• 8:45
  your
• 8:45
  handkerchiefs
• 8:45
  and
• 8:46
  the
• 8:46
  Street
• 8:46
  Fighter,
• 8:47
  all
• 8:47
  primarily
• 8:48
  acquired
• 8:48
  in
• 8:48
  the
• 8:48
  1970s.
• 8:49
  But
• 8:50
  the
• 8:50
  studio
• 8:50
  also
• 8:51
  started
• 8:51
  its
• 8:51
  horror
• 8:52
  film
• 8:52
  venture
• 8:52
  during
• 8:53
  this
• 8:53
  decade
• 8:54
  with
• 8:54
  John
• 8:54
  Waters
• 8:55
  multiple
• 8:55
  maniacs
• 8:56
  distributed
• 8:57
  by
• 8:57
  New
• 8:57
  Line
• 8:57
  in
• 8:57
  1970,
• 8:58
  and
• 8:59
  the
• 8:59
  cars
• 8:59
  that
• 8:59
  ate
• 9:00
  Paris
• 9:00
  in
• 9:00
  1976.
• 9:02
  The
• 9:02
  distributor's
• 9:03
  affinity
• 9:03
  for
• 9:03
  the
• 9:04
  counterculture
• 9:04
  of
• 9:04
  the
• 9:05
  1970s
• 9:06
  was
• 9:06
  reflected
• 9:07
  in
• 9:07
  the
• 9:07
  transgressive
• 9:07
  nature
• 9:08
  of
• 9:08
  these
• 9:09
  and
• 9:09
  other
• 9:09
  new
• 9:09
  line
• 9:10
  cinema
• 9:10
  releases,
• 9:11
  such
• 9:11
  as
• 9:11
  immoral
• 9:12
  Tales.
• 9:13
  But
• 9:13
  by
• 9:13
  the
• 9:13
  1980s,
• 9:14
  one
• 9:15
  unexpected
• 9:16
  hit
• 9:16
  would
• 9:16
  give
• 9:16
  new
• 9:17
  Line
• 9:17
  cinema
• 9:18
  a
• 9:18
  brand
• 9:18
  new
• 9:19
  identity
• 9:19
  centredAmericanaroundthehorrorgenre
• 9:21
  anditwouldlinkto
• 9:22
  new
• 9:22
  lines
• 9:23
  rebranding
• 9:23
  as
• 9:24
  not
• 9:24
  just
• 9:24
  a
• 9:24
  distributor
• 9:25
  of
• 9:25
  film
• 9:26
  but
• 9:26
  a
• 9:26
  production
• 9:27
  company
• 9:27
  in
• 9:27
  its
• 9:28
  own
• 9:28
  right.
• 9:29
  New
• 9:29
  Line
• 9:30
  began
• 9:30
  in
• 9:30
  the
• 9:30
  1980s
• 9:31
  with
• 9:31
  a
• 9:31
  desire
• 9:32
  to
• 9:32
  expand
• 9:32
  into
• 9:33
  making
• 9:33
  movies
• 9:33
  in
• 9:34
  house
• 9:34
  and
• 9:35
  they
• 9:35
  wanted
• 9:35
  horror
• 9:36
  movies
• 9:36
  because
• 9:37
  horror
• 9:37
  was
• 9:37
  a
• 9:38
  relatively
• 9:38
  cheap
• 9:38
  genre
• 9:39
  with
• 9:39
  a
• 9:40
  lot
• 9:40
  of
• 9:40
  mainstream
• 9:41
  appeal
• 9:41
  and
• 9:41
  huge
• 9:42
  box
• 9:42
  office
• 9:42
  potential.
• 9:43
  Their
• 9:44
  first
• 9:44
  attempt
• 9:44
  was
• 9:45
  a
• 9:45
  1982
• 9:45
  Sasha
• 9:46
  called
• 9:46
  Unknown
• 9:47
  in
• 9:47
  the
• 9:47
  Dark,
• 9:47
  starring
• 9:48
  Jack
• 9:48
  Palance,
• 9:49
  Martin
• 9:49
  Landau
• 9:50
  and
• 9:50
  Donald
• 9:50
  Pleasant,
• 9:51
  which
• 9:51
  didn'tcentreddoparticularlywell.
• 9:53
  Butafootinthedoor.AfterthehugesuccessesofbothHalloweenandFridaythe13ththeslashergenrewasbecomingsaturatedwithcheap,clichedimitations.Butreally
• 10:06
  itsnowonderthatmany
• 10:07
  otherstudioswantedapiece
• 10:08
  ofthatpie.Andit
• 10:10
  wasn'tdidn'tjust
• 10:11
  astudioseither.FilmsliketheburningMyBloodyValentine
• 10:16
  Nightschool,theSlumberPartyMassacre,whichwasararityinthegenreforbeingwrittenanddirectedbyawoman,sleepawaycampaswell.Theywereamongthemanyslashersthatcameoutbetween1980and1983.Butaftera
• 10:31
  fewyearsofpopularityitseemed
• 10:33
  liketheslashererawasover.Butthatwasuntil
• 10:38
  WesCravenenteredthe
• 10:39
  pictureinthesixties.CravenwasahumanitiesteacheratacollegeinupstateNewYork,buthewasn'tChristianhappywithdirectionhiscareerwastaking.SohemovedtoNewYorkCityandgotajobatamoviestudioasamessenger.HisfriendSeanCunninghamsuggestedthatCravenwriteascarymovieandusehischristianfundamentalistusehisChristianwasn'tfundamentalistupbringingtotapintothehorror.ThatscriptLastHouseontheleft,whichendedupmakingthreetimesitsbudget.Cravenfolloweditupwiththehillshaveeyes,whichreceivedgoodreviews.AfterthecontractuallyobligatedsequeltothehillshaveeyesandSwampThing,theworkdriedup.Hisfirstmarriagefailedandhestartedtakingdrugstocope.Heeventuallystoppedwiththecocaineandonedayin1981hehadanidea.HecameacrossanarticleintheLATimesaboutafamilythathadmadeitoutofthekillingfieldsinCambodiaandimmigratedto
• 11:40
  theUnitedStates.Everythingwasgoingwelluntilthesonstartedexperiencingreallyunsettlingnightmares.Hetriedtostayawakefordaysatatime,tellinghisparentshewasafraidthethingchasinghimwouldgethimifhefellasleep.Whenhedideventuallynodoff,hisparentsthoughttheproblemwasover.Then,inthemiddleofthenighttheyheardscreams.Theboyhadpassedawaybythetimetheyreachedhim.Inthemiddleofanightmare,thisyoungmanhadjustdied.Itwasn'tanisolatedincidenteither.TherewerereportsofmenfleeingwarandgenocideinLaosandVietnam,sufferingterriblenightmaresandrefusingtosleepbecauseofthem.Andwhentheydidsleep,theywouldendupdyinginthenight.Itwassuspectedtobesudden,unexplaineddeathsyndrome,buttheideaofbeingnightmareledtodeathwasthecentralpremisethatawakenedsomethinginWescraven.Butheneededanideatoexplainthedeaths.Andhewouldrememberseeingadrunk,homelessmanwearingafedorawhenhewasachild.ThemanwalkedpasthishouseandglanceddirectlyattheyoungWescraven,staringhimhalftodeath.Themanwouldwalkoff,buttheimageofthemanandthefeelingofterrorthatWesCravenhadwouldserve
• 12:57
  asinspirationforthe
• 12:59
  characterofFredKrueger,notFreddy.Hewouldbecome
• 13:03
  Freddy.Insubsequentmovies,aspateofhighprofilenewsstoriesaboutchildmolestationmadeKrabandecideagainstexplicitlyconfirmingFreddywasapedophile,somethingthatthe2010remakewouldbeinstate.Andbecauseeveryhorrorvillain,MichaelMyersandJasonVoorheesandLeatherfaceworesomesortofmask,CravenwantedKrugertoalsohaveone,butalsowantedhisfacetobeseensohecouldtauntandthreatenhisvictims.Sohecameupwiththeideathatthismanwasburnedandscarred.Andasillcometo,hedidn'tdidn'tjustjustwanttostuntmanbehindhishorroricon.Hewantedarealactorandsomeonewhocouldplaythecharacteralmostcontinuously.Meanwhile,hisfriendSeanCunningham,whoalsoproducedtheLastHouseontheleft,wouldcometoprominenceasthedirectorofFridaythe13thin1980,anotherhugeslasherhitthatwouldalsospawnitsownfranchise.Withthisnewideaandascriptwritten,afriendintroducedCraventoproducerBobSheaandtoldhimtheidea.Shayloveditbecauseeveryonehasexperiencedanightmareandgotexcitedaboutseeingascript,butCravenrefusedtoshareit.ThiswasbecauseCravenhadalreadysentthescripttoallthebigstudiosandallofthemhadpassedonit.EvenSeanCunninghamhadtoldhimthescriptwouldn'tworkbecauseeveryonewillknowthatit'sreallyjustadreamandhedidn'tthinktheaudiencewouldbuyitasapremise.ThecurrentcropofSasha'swerefirmlybasedinreality,oratleastanightmareonElmstreet,withitspremiseofakillerwithinyourdreamswasfantasticalandsupernatural.Andasitwouldhappen,justthetonicforthecurrentgenerationofslashers,Cravenwouldendupframinguniversals1982rejectionletterfromBobRaimisayinghejustdidn'tcolouredfindanythingscaryinit.wouldpeddlethescriptaroundHollywoodforthreeyears.ParamountwouldrejectitduetosimilaritieswithDreamscape,alsopopularintheeightieswerefamilyfriendlyfantasymovieswithabitofanedge.ThinkreturnedtoOzorLabyrinth,andWesCravensscripthadthoseelementswithinit.Remarkably,DisneyalsoshowedaninterestinthescriptashewaspedallingitaroundHollywood,excepttheyobviouslywantedittobepg13andforCraventotonedownhismaterialtoupthefantasyandreducethehorror.Cravendeclined,butCravenknewBobSheawasinterestedandthefledglingindependentnewLineCinemawantedtoproducethefilm.Theproblemwastheydidntreallyhavethemoneytodoit.TheysignedacoproductiondealwithGeorgeZetzewicofSmartechproblemwastheydidn'twho'dreallyhavethemoneytodoit.TheysignedacoproductiondealwithGeorgeZetzewicofSmartechPictures,whichresultedintheproductionofANightmareonElmstreetandallofitssequels,andreliedonprivateinvestorstohelpraisethe$700,000initial
• 16:03
  budget,includingmediaHomeentertainment.Butthroughoutproduction,investorswouldbackoutandBobSheawouldhavetoscrambletotryandfindalternativeinvestment.MediaHomeEntertainmentwouldendupincreasingtheirinvestmentto60%.Afteranotherinvestor,who'dwasn'tinvested40%ofthebudgetbackedoutunexpectedly.BeforeRobertEnglundpersonifiedFreddyKrueger,directorWesCravenauditionedhundredsofmenforthepart,bothyoungandold,andoriginallychoseveteranactorDavidWarner.Warnerwaslineduptostarinthefilmandeventookpartinamakeuptestbeforeschedulingconflictsforcedhimtodropoutoftherole.Quitelateinthecastingprocess,CravenmetwithRobertEnglundontheadviceofcastingdirectorAnnekBenson.Englundwasacharacteractorwhodpreviouslyplayedalotofgoodguyroles.Hewasn'tthesortofbig,imposingguytheywerelookingfor.Hewasyounger,smallerandmoreagile.ButhewantedtoplaytheroleofsomeoneolderandevilandrelishthepossibilityofplayingacharacterlikeFreddy.CravensawtheferocityhewaslookingforforthecharacteraswellasEnglandbeingclassicallytrained,EnglandhadbeeninalotofbestfriendrolesandwasbestknownfortheVminiseriesandseries.ThatshowwasonhiatusandheneededsomethingmoredistinctiveandthoughtthislittleindiefilmcalledanightmareonElmstreet
• 17:46
  mightbeit.HisinterpretationofFreddywasinspiredbyKlausKinskislovesFerrartwo,butalsobythemonstersthatLonChaneycreated.ThewayFreddystandswithhislegsfarapartwassomethingheadmittedstealingfromJamesCagney.EnglundattendedtheauditionwithcigaretteAshunderhiseyestosallowthem.Cravenscreationwouldbesomewhatdilutedasthefranchisecontinuedintomoreofacomedycharacter,butheoriginallywantedsomeonewhocouldportraythatlackofcompassionandthedarknessassociatedwithachildmurderer.Andthecharacterneededaweapon.Therewerealreadyhorrorvillainswhousedknives.SoCraventhoughtofaglovewithsteakknivesasfingersandpassedtheideatomechanicalspecialeffectsdesignerJimDoyle,whofashionedaglovethatwasincrediblydangerous.Hebuiltaheroglove,theoneglovethatliterallyhadsharpknivesattachedtothefingers,andtherestwerestudgloves.girlnextdoorandsomeoneverynonHollywood.200actressesauditionedfortheroleofNancy,withthosebeingcalledbackforeitherNancyorthesecondfemalelead,Tina.HelenLangincampwas18yearsoldandwasalreadyknowntocastingdirectorAnnetteBenson,asshedpreviouslyauditionedhertwiceforothermovies.LacincampjusthadallofthequalitiestheywantedforNancy.AmandawhisshadalsoreadforNancy,butshewascalledbackforTinaandLankin.Campandwhisswerepairedtogether.CravenknewhehadasNancyandTinaandtheirboyfriendswerethencastonthebasisofthechemistrybetweenthemandthegirlswhohadalreadybeencast.ThiswashowtheyfoundNickCorrieforRodandayoungJohnnyDeppfortheroleofGlenn.CharlieSheenwasalmostcastasGlenn,butAnnetteBensonwouldclaimhewantedtoomuchmoney,whichSheenhimselfhasdenied.Glennwasoriginallywrittenasabigblonde,footballplayingjockuntilDeppwaschosen.WithhisheadshotcatchingtheeyeofCravensdaughter.NicolasCagehadintroducedDepptohisownagent,whothenintroducedhimtoBenson,resultinginanauditionforanightmareonElmstreet.Anddespitehavingnoactingexperience,hewonthepartofGlenn.VeteranactorsJohnSaxonandRoddyBlakeley'snamesalonealsohelpedgetsomeadditionalfinancing,whichwasvitalduringproduction.Therewereoftenoccasionswherepeoplejustcouldn'tgetpaid.Thismoviegotmadearealotofiousandgoodfaith.Principalphotographybeganonthe11June1984andlasted32daysinandaroundLosAngelesandnotinSpringwood,Ohio.ElmstreetisactuallyNorthGeneseeAvenueinLosAngeles,locatedjustoffSunsetBoulevard.AndbothNancyandGlennshomesareprivateresidenceswithjusttheexteriorsusedforfilming.Butdespitethefinancialissues,thismovieinvestedheavilyinitsvisualeffects,includingarotatingroomwhichwouldpulldoubledutyforboththedeathofTinaandthedeathofGlenn.Theroomcost$35,000torent,whichwasoverhalfofJimDoyle'svisualeffectsbudget.Cravenhadseentherevolvingroominroyalwedding,whereFredAstairedancesupthewallsandacrosstheceilingbearatnighttoo.Thiswasasmallspecialeffectsteam,onlyabouthalfadozenpeople,whoimprovisedalmosteverything.AndthiswasonaproductionwhereboththeactorsandcrewwereonlypaidscaleforTedasdeath.Theroomwasdressedwitheverythingglueddown,thecurtainsstarchedandthecameraman,JacquesHaitkinandNickCorey,whoplaysherboyfriendrod,strappedintochairs.TheroomwasmanuallyflippedbyseveralcrewmembersoneithersideandAmandaWisswouldhavetobarrelherselfroundastheroomspun.Theterrorisgenuine.Shewaspetrifiedofthesceneandoftheroom.Whisalsosufferedfromvertigobecauseofalloftheblood.Theyonlyhadonetaketodothissceneandshemanageditinjustonetake.OnceTinawasdead,sheshowedupinabodybagattheschool,butinarealbodybagwithsomepinholespokedinit.Oncein,whiscouldn'tactuallygetoutonherown.TwelveframesofbloodhadtobecutduringTina'sdeathscene.Allthefilmprobablywouldhavebeenaxedandtheywouldcomebacktothesameroomtofilmglensdeath,mostlybecausetheyhadtogettheirmoney'sworthoutofthisoneroom.Andagaintheyhadonetake.Theyredressedtheroomasglensbedroomandflippeditupsidedown.Asheetlyingchuteforthebloodwascarvedoutofthemiddleofthebedwithcrewmemberspositionedaboveontheoutsideoftheroompoisedtopouringallonsofbloodcolouredwater.Unfortunately,theywerepouringbloodcoloredwaterontoaliveelectricalceilinglampwhichimmediatelyelectrifiedthewaterandeveryonepouringgotelectrocuted.Thewaterthenstartedtosloshfromsidetoside,throwingtheweightofftheroom,andtheroomstartedtoflipascrewmemberslosttheirgrip.Cablesandropeswererippedoutofriggingandastheroomrocked,thewaterflewoutofthewindow,soakingeveryoneandeverything.Theelectricitywasstillsparkingtoo,sothelightswouldalsoeventuallygoout.Therooffinallystoppedrockingoncealltheliquidwasgone,leavingthecrewstillattachedtothestructure,suspendedupsidedownforaround20minutesinthedark,coveredinnotreallyblood,butbloodcolouredwater.Andthisiswhyattheendofthisonetakeinthemovie,youcanseethebloodappearingtobendtotheleft.Miraculously,noonewashurtwhentheoutofcontrol,electrified,rotatingdeathboxstartedtorock.Andtheygotthatonetaketheyneededanditstilllookedgreattoday.Over500gallonsofbloodcolouredwaterwasusedforthespecialeffects.InthescenewhereFreddywalkedthroughtheprisonbarstothreatenrod,thecamerawasplacedagainattheexactheightandwalkedRobertEnglundthroughthespace.Andthentheytooktriangulationsatthecamerasotheyknewexactlycolouredthey'rewaterontoaliveelectricalceilinglampwhichimmediatelyelectrifiedthewaterandeveryonepouringgotelectrocuted.Thewaterthenstartedtopassingthroughhischest.Aspeciallymodifiedbathtubwascreatedforheatherlangencantessittingonatwoxfourplankofwood,whichhadanextrasectionatthebackjustbigenoughforJimDoyleinascubasuittohideunderthewater.Whencravenbannedonthebathtub,DoylewastosticktheclawthroughLangenkampslegs.Ittookafewtakestogetright,asobviouslyDoylecouldntseewherethehandneededtobeallthetime.Langenkampgettingcolderinthewater,whichtheyhadtotrytokeepwarm.TherewasalsoabottomlesstubthatsatoveraswimmingpoolwhereastuntwomanwaspulleddownunderthewaterbyFreddie.AndJimDoylereallyisthevipofthisproductionbecausetheversionofFreddythat'stryingtogetNancythroughthewallwasn'tactuallyRobertEnglund,butJimDoylehimself.Hebuiltthiswalloutofspandexandit'shisfaceandhandsthatstretchthroughthewalltoreachoutforNancywhileshe'sdreaming.AndaccordingtovarioussourcesontheInternet,themeltingstairswereeitherpancakemix,porridgeormushroomsoup,dependingonwhoyouspeakto.ButIthinkthegeneralconsensusisthatitispancake.Nickscinematographer,JacquesHaitkin,wastaskedwithcreatinganeerielooktoboththerealityanddreamworld,tomakeitlooklikebothcouldbeinterspersedwitheachother.Andtheviewerisneversureiftheyreinthedreamworldorinreallife.Atfirst,WesCravenintendedforthemovietohaveamoreprofoundending,inwhichNancykillsKruegerbyusingbeliefinhim.Andwhenshewakesup,sherealisestheentiremoviewasanightmarethathadgoneonfortoolong.ButBobSheainsistedonatwistendingwherebyKrugervanishesandeverythingappearstohavebeenadreamuntiltheaudiencesrealizeitwasactuallyadreamwithinadreamwithinadream.Now,takeswereshotwithbothahappyendingandatwistending.Thetwistendingwasusedinwater.Whencravenbannedonthebathtub,DoylewastosticktheclawthroughLangenkampslegs.Ittookafewtakestogetright,asobviouslyDoylecouldn'tcouldn'tseewherethehandneededtobeallthetime.Langenkampgettingcolderinthewater,whichtheyhadtotrytokeepwarm.TherewasalsoabottomlesstubthatsatoveraswimmingpoolwhereastuntwomanwaspulleddownunderthewaterbyFreddie.AndJimDoylereallyisthevipofthisproductionbecausetheversionofFreddythat'stryingtogetNancythroughthewallwasn'tactuallyRobertEnglund,butJimDoylehimself.Hebuiltthiswalloutofspandexandit'shisfaceandhandsthatstretchthroughthewalltoreachoutforNancywhileshe'sdreaming.AndaccordingtovarioussourcesontheInternet,themeltingstairswereeitherpancakemix,porridgeormushroomsoup,dependingonwhoyouspeakto.ButIthinkthegeneralconsensusisthatitispancake.Nickscinematographer,JacquesHaitkin,wastaskedwithcreatinganeerielookrealityanddreamworld,tomakeitlooklikebothcouldbeinterspersedwitheachother.Andtheviewerisneversureifthey'recouldn'tinthedreamworldorinreallife.Atfirst,WesCravenintendedforthemovietohaveamoreprofoundending,inwhichNancyhaveamoreprofoundending,inwhichNancykillsKruegerbyusingbeliefinhim.Andwhenshewakesup,sherealisestheentiremoviewasanightmarethathadgoneonfortoolong.ButBobSheainsistedonatwistendingwherebyKrugervanishesandeverythingappearstohavebeenadreamuntiltheaudiencesrealizeitwasactuallyadreamwithinadreamwithinadream.Now,takeswereshotwithbothahappyendingandatwistending.ThetwistendingwasusedinthefinishedfilmwithNancydrivingupwithhernowalivefriendsinacardesignedtolooklikeFreddyandFreddiepullinghermotherthroughthedoorway.Thatparticularendingamusedeveryonesomuchthattheycouldn'tdidn'tnotuseit.Andthentheyhadabreakthroughonthismovie.ApotentialdealwithParamountfordistributionandmarketing.Andalltheyneededtodowasscreenthemthemovie.Butduringtheshowingtheyrealisedthatthefilmhadthewrongending.Ithadthehappyending.Theydidn'tdidn'twanthavethehappyending,theywantedtoshowthegenuinetwistending.SoeditorRichShanesassistanthadthecorrectendingandhad40minutestogetataxitothescreening.Shegotthere,butShaneneededafewminutesextratochangetothecorrectending.BobSheaannouncedtothecrowdtherewouldbeaslightpause,butitcompletelyruinedthemomentumofthescreeningandParamountwouldenduppassingonthemovie.Itmeantnewlinecommittingtoalsodistributingthemovieaswell.Andit'snotreallyanidealtimetosegueintotheobligatoryKeanureference,butI'mgonnagiveitagoanyway.ThisisapartofthepodcastwhereItrytolinkthemoviethatarefeaturingwithKeanuReeves.BecauseKeanuReeveswouldneverbeinanyone'snightmares.Heisliterallyeveryone'sdreamman.AndthatisthewaythatI'mgonnalinkthismoviewithKeanuReevesinthathewouldjustneverbeinanyone'snightmares.Idon'tthinkit'spossible.Andalso,heisthebestofmen.Andthat'swhyIliketodotheobligatoryKeanuRussians.ButI'mgoingtomoveontothemusicbecauseWesCravenwasintroducedtoCharlesBernsteinviaBernstein'sagent.AndwhenCravenelaboratedonthisideathathehadforahorrormoviewithaguywithKnivesforfingers,Bernsteinthoughtitwasalittlebittooouttheretobeareallybighit.ThescoreforanightmareonElmstreetwasrecordedinBernstein'shomestudioandHopestudiosarecommonplacenow,butnotreally.In1983,Bernsteintookmoreriskswiththisscorethanhenormallywould,mostlybecausehedidn'tthinkitwasgoingtobeabighit.Whenhestartedworkingonthesoundtrack,healreadyhadthelyricsforFreddy'sthemesong.Andthisisthesongthat'ssungbythechildrenthroughoutthemovieandisbasedonone,two,bucklemyShoeandhewrotethemdownandincludedtheminthescript.However,HeddenLangenkampsboyfriendAnneseemedtobehusband.MusicianAlanPasquawouldendupcomposingthemelodyandBernsteinwouldincludePasqualescontributiononthesoundtrack.SevenupMartElmstreetdidntendupwiththathugepotentialparamountdistributiondealanditwasreleasedlimitedin165ustheatresonthe9November1984.Itopenedat13thattheboxedofficeinitsfirstweek,whichdoesthesoundgreattillyoufactorinthatitmadeitsentirebudgetbackinitsfirstweek.Itwouldpeakas7thattheusboxofficeinitsfourthweekbutElmstreetdidn'tdidn'tendupwiththathugepotentialparamountdistributiondealanditwasreleasedlimitedin165ustheatresonbytheendofitslimitedtheatricalrunitmade$25millionintheUSdomesticallyandathirdof$32millioninternationally,makingatotalworldwidegrossof$57million,basicallymakingover50timesitsbudget.Thoseinvestorswhobackedoutmusthavebeenkickingthemselvesandthosethatstuckwiththeproductionendedupreapingthebenefits.Andnotonlywasitahugefinancialsuccessbutalsoacriticalsuccesstoo.RobinTomatoeshasthemeither95%ratingstatingWesCravensintelligentpremisecombinedwiththehorrificvisionappealofFreddyKruegerstillcausesnightmarestothisday.Themoviewaschosenasoneofthe30mostimportedindependentfilmsofthelast30yearsbytheIndependentFilmandTelevisionalliance.In2010,EmpireplacedNightmareonElmstreetat162ndonitslistofthe500bestfilmsevermade,andtheNewYorkTimeshasnameditoneofthetop1000filmsevermade.Kruegerhimselfwasrankedasthe40thvillainontheAmericanFilmInstitute's100Years100Heroesandvillainslist.ButofcourseweneedtotalkaboutthesequelsandWesCravendidn'twanttodirectasequelandhedidn'thaveanyongoingfinancialorcontractualparticipationinsequels.AndsoBobSheaandNewLinecinemawentaheadwithanightmareonElmstreettwo,Freddy'sRevengewithoutCravensparticipation.CravenwouldreturntothefranchisealongwithHeatherLancincampin1987foranightmareonElmStreet,Dreamwarriorswithacoscreenwritingandcostorycredit.ThemoviewouldbedirectedbyChuckRussell,butCravenhadsignedawayhisrights,andthereforehisrightstoanyfurthercompensationforsequelsormerchandising.Threefurthersequels,aNightmareonIllstreetfortheDreamMaster,ANightmareonElmstreetfive,theDreamChildandfreddys.Thefinalnightmarefollowedin1980,819,89and1991respectively.TenyearsafteranightmareonElmStreet,BobSheacalledWesCravenofferingtomakeonemoreFreddyfilm,eventhoughtheprevioussequelwasliterallycalledFreddystheFinalNightmare.ThatmeetingwastotalkaboutWesCravensnewNightmare,whichwasWesCraven'soriginalideaifhe'dactuallytakenpartinanightmareonElmstreettwo.ButwithWesCraven'snewNightmarein1994,hewasfinallyofferedacutofthemerchandisingandsequelsretroactively.From1988to1990,FreddysNightmaresairedontvasaspinoffanthologyserieshostedbyEnglundasKruger.DuetothefactthatFreddyKruegertendstomurderalotofpeople,newlinecinemaoptedtonotdevelopatelevisionserieswitharegularcastofcharactersinteractingwithhimbecausehewouldinevitablykillallofthem.Sotheyinsteadcreatedananthologyseriesfeaturinganewcastofactorsforeachepisode.ThepilotwasdirectedbyTobeHooperandchild'splaycowriterJohnLafayerdirectedacoupleofepisodesofseasonone,andin2010Freddiewouldreturn,butnotplayedbyRobertEnglund.Instead,JackieEarlHaleywouldplayFreddyKruegerinthe2010remake,whichwasalsocalledanightmareonElmStreet.WesleyStrickandEricHessererwrotethescreenplay,SamuelBayerdirectedandMichaelBayproducedthemovie.Despitebeingacommercialsuccess,themoviehadgenerallyunfavourablereviews,soplansforasequelnevermaterialised.Themoviewassupposedtobearelaunchofthefranchise,butmostreviewsfoundtheremaketolatfreddysdefulsadismanddidntlikethecharacterbecomingachildmolesterbecausethatwassomethingthatCravenhadoriginallyremoved.ButifanythinggoodcameoftheplatinumDunesremakeofaNightmareonElmstreet,itsthatmoreattentionshiftedtotheoriginalfilmanditssequels.NotonlydidfansgetanightmareonElmstreetonBluray,theyalsogotthedocumentaryNeverSleepAgain,theElmsfeetLegacy,whichhascomprehensiveinterviewswithcast,crew,fansandcreatorsofeachfilmintheseries.NarratedbyHeatherLangenkamp.Itwasannouncedonthe7August2015thatDavidLeslieJohnson,thereuterofOrphan,wasworkingwithNewLineCinemaonasecondremake.Englundindicatedhewouldbeinterestedinacameoappearance,butthathewouldnotreturntotheroleofFreddyKrueger.Asof2019,theusrightstobothanightmareonElmstreetandFreddieKruegerhavereturnedtotheestateofWesCravenafteruscopyrightlawallowstheoriginalcreatortoregaintherightsafter35years.Cravenpassedin2015,butatleastFreddieisfinallybackhomewiththeestate.NewLineCinemastillownedbutmostreviewsfoundtheremaketolackFreddy'sgleefulsadismanddidn'tlikethecharacterbecomingachildmolesterbecausethatwassomethingthatCravenhadoriginallyremoved.ButifanythinggoodcameoftheplatinumDunesremakeofaNightmareonElmstreet,itsthatmoreattentionshiftedtotheoriginalfilmanditssequels.NotonlydidfansgetanightmareonElmstreetonBluray,theyalsogotthedocumentaryNeverSleepAgain,theElmStreetLegacy,whichhascomprehensiveinterviewswithcast,crew,fansandcreatorsofeachfilmintheseries.NarratedbyHeatherLangenkamp.Itwasannouncedonthe7August2015thatDavidLeslieJohnson,thewriwouldn'tterofOrphan,wasworkingwithNewLineCinemaonasecondremake.Englundindicatedhewouldbeinterestedinacameoappearance,butthathewouldnotreturntotheroleofFreddyKrueger.Asof2019,theusrightstobothanightmareonElmstreetandFreddieKruegerhavereturnedtotheestateofWesCravenafteruscopyrightlawallowstheoriginalcreatortoregaintherightsafter35years.Cravenpassedin2015,butatleastFreddieisfinallybackhomewiththeestate.NewLineCinemastillownedtheinternationalrightstothefranchise.Therehavebeendiscussionsaboutreboots,remakesandlegacysequelsintheinterveningyears,butnothinghasmaterialisedyet.AnewlearnedcinemaisoftenreferredtoasthehousethatFreddybuiltanditshardtobelievewhatwewouldn'tcouldn'thavewithoutthisindiestudiotakingapuntonasupernaturalslushofhorrorthattheycouldn'twouldn'taffordtomake.Letsjustgothroughaquicklistofwhatwewouldnthavehad.Wewouldn'thavehadteenageMutantNinjaTurtles.OkayhalflyOkayhardlyanOscarwinnerbutformativeformanyamillennial.Wewouldn'tGoodnight,AustinPowersfinaldestination,elfweddingcrushers,theconjuringAnnabellerushhourstraightoutofComptonandwewouldn'thavetheLordoftheRings.NewLinecinemahascomealongwayfrombeingadistributortobecomiisn'tisn't@g