Back when this particular horror sequel was released, Freddy Krueger was still a very frightening character. The burnt serial killer had yet to devolve into a stand-up comic, and just the thought of him hiding in the shadows of your dreams waiting to strike was enough to leave you unnerved. It’s a shame we have not yet seen a scene in any of the “Nightmare on Elm Street” movies where a teenager goes up to someone suffering from insomnia and tells them, “I envy you.”
Following this sequel, he ceased to be scary and became more of a cut-up than anything else, and we had to wait for “Wes Craven’s New Nightmare” to see him as a truly threatening presence once again. But I never forgot what a haunting character Freddy was back in the 1980’s, and what I love about this teaser trailer for “A Nightmare on Elm Street 3: Dream Warriors” is it seizes on how fearful we were of him to where we didn’t even need to see his face to know he was just around the corner. Just hearing that little girl singing “1, 2, Freddy’s coming for you” was enough to make your hairs stand on end. And once we got a look at the model of Nancy Thompson’s old house which resides on Genesee Avenue on Los Angeles, my eyes went wide upon the realization this was indeed a trailer for another “Nightmare on Elm Street” movie. And then the hand with the claws burst out of the model, and I wanted to hide my eyes from the screen…
This teaser trailer for “Dream Warriors” remains one of my favorite trailers as it proved to be one of the scariest ever, and it piqued my interest in a character I would become more intrigued with as I got older.
On Monday, August 13, 2012, the Chinese Theatres in Hollywood presented a screening of “A Nightmare on Elm Street 3: Dream Warriors” in honor of its 25th anniversary. This event was put together by Mad Monster, a monthly genre print magazine made by and for the modern monster fan, and they ended up giving us quite a show. They had several giveaways of signed posters and tickets to horror conventions, a costume contest which had the audience cheering loudly for those best dressed, a musician doing an acoustic version of the Dokken theme song “Dream Warriors” and the evening culminated with the appearance of the sequel’s co-stars Rodney Eastman and Jennifer Rubin.
Eastman played Joey Peterson, the mute patient who refuses to speak or sleep after experiencing horrific nightmares. Rubin portrayed Taryn White, a former drug addict who also suffers from nightmares and is harassed by male orderlies at the hospital she is at. Both actors were asked if they were aware of the other “Nightmare” movies before they were cast in this one.
“I was 19 and I came of age during the era of the original slasher movies,” Eastman said. “I had almost given up on acting and this audition came to me out of the blue. I was excited to be a part of it, but it still felt like just another low-budget horror movie. It was not an iconic movie then like it is now.”
As for Rubin, she said, “I knew of the other two ‘Nightmare’ movies, but I did not see either of them before I auditioned for this one.”
Eastman and Rubin were then asked if anything happened during filming; like if any actors fell in love with one another or some other gossipy stuff. Both Eastman and Rubin had the same answer to that question, “No.”
When this sequel was released, it lifted the “Nightmare on Elm Street” franchise out of cult film status and into mainstream commercial success. Eastman and Rubin were asked if they were surprised by this sequel’s success.
“I had done the ‘Never Sleep Again’ documentary, and after that people were jumping out at me from the bushes,” Rubin said. “I had no idea it was for this film.”
“I was blissfully unaware of the world around me back then,” Eastman said. “It’s only in retrospect that I see the impact it has had. I wasn’t stopped in the streets and no one jumped out at me back then.”
Eastman got to reprise his role of Joey in “A Nightmare on Elm Street 4: The Dream Master,” and he was asked by an audience member which he preferred more; being in “Part 3,” or getting killed in his water bed in “Part 4.” Eastman made his answer crystal clear, “I prefer ‘Nightmare 3’ over the water bed death scene. Plus, Patricia Arquette was the hottest girl in that movie.” Then he remembered that Rubin was standing right next to him and quickly added, “I mean Arquette was the sexiest actress on set next to Jennifer here.” Of course, by then, the audience agreed it was a little late for Eastman to find forgiveness.
One audience member asked the two actors if they ever got to meet the members of Dokken. Eastman replied he, unfortunately, didn’t have the pleasure of meeting them, but Rubin ended up telling a funny story regarding the 80’s heavy metal band. “Their mail ended up coming to a house that I was house sitting at the time,” Rubin said. “So, I took the mail to their house, and it turns out there was nobody home.”
When asked what it was like working with Robert Englund, the actor who gave life to Freddy Krueger, Eastman said it was pretty incredible and went on to describe him as one of the smartest, most entertaining and brilliant conversationalists he has ever met. He also added that Englund was a wild man back in the 80’s. Rubin agreed with what Eastman on that, and she also had this to say about another important person in the “Nightmare on Elm Street” franchise, “Wes (Craven) was weird!”
All in all, this was an endlessly entertaining evening for fans of “A Nightmare on Elm Street 3: Dream Warriors.” Granted, the screening of the movie elicited many laughs which were not present when it came out in 1987, and it’s safe to say that certain parts of it have not aged very well. But none of that mattered because everyone came to have a great time at the movies, and that’s what they got.
As soon as you see the above quote which opens “A Nightmare on Elm Street 3: Dream Warriors,” you know Wes Craven is back on board in some capacity. After directing the original, one of the all-time great horror classics, he bailed out of the first sequel which he felt betrayed the logic of Freddy Krueger’s character and how he existed in the realm of dreams. This third entry ended up defining the look of the rest of the series until “Wes Craven’s New Nightmare” came along. This one brought forth a Freddy who, while still scary, was more of a stand-up comic with one-liners flying out from his charred face in rapid succession.
“A Nightmare on Elm Street 3” starts off with the character of Kristen Parker (Patricia Arquette, in her film debut) having the first of many nightmares. Freddy’s attack on her is made to look like she tried to commit suicide, and it gets her thrown into a psychiatric hospital with others suffering from serious mental health issues. Of course, when doctors try to give her a sedative to help her sleep, she naturally freaks out and grabs a knife to fight off those who don’t have a clue as to what she’s really up against. This is where she meets up with Nancy Thompson, played once again by Heather Langenkamp.
We learn Nancy has since gone to graduate school where she studied extensively about the nature of dreams. Here she gets assigned to this psychiatric ward where young teenagers are being stalked by the man with razors for fingers. They are being cared for by Dr. Neil Gordon (Craig Wasson) who has long since gained their trust, but he has yet to realize how he can really help them. Nancy sees right away it has everything to do with Freddy, and when she shares this information with the kids they stand at attention and are shocked to realize they have all been dreaming about the same person.
With a budget of around $5 million dollars, the special effects are more impressive than you would expect them to be. It’s always a gas to see what people can do with very little money. There’s one great effect where Freddy comes to life as a marionette, and he immediately returns the favor to its creator by pulling out the veins in his arms to use as strings. Ouch! The sets never reek of cheapness, and the imagination put into this movie is always on display as we see the dreams of the different characters and the forms they each take.
Bringing Craven back to help write the screenplay was a smart move, and he changes the formula to keep it from being just another single kid being chased by Freddy. Also, these kids fight back to stay alive and prepare themselves a lot quicker than the others did in the previous films. One of the screenwriters on “Dream Warriors” is Frank Darabont who later made one of the greatest movies ever, “The Shawshank Redemption.” There is a good amount of work done with the characters here to where they are not your usual one-dimensional horny teenagers which make up the average “Friday the 13th” movie.
The movie also digs deeper into Freddy’s past to make us see how he came to be. Before this film, we knew he was a child murderer who was brought to court but got off on a technicality, and he was later burned by the parents of the town. Dr. Neil Gordon is visited by a mysterious nun who informs him Freddy’s mother, Amanda, was accidentally locked in an insane asylum with the most mentally unstable people one could ever find, or hope to avoid, on the face of the earth. Amanda was raped over and over, and this led to the conception of Freddy who, as the nun puts it, is “the bastard son of a hundred maniacs!” This would make a great title for a movie.
Unlike other horror movies, you care about the characters and what happens to them. Most of these slasher movies have stock characters you hate and root for to die. In all fairness, it makes watching them more fun to watch in a theater, but here the characters, while dealing with obvious stereotypes, are interesting in their own way. Some are geekier than others (don’t get me started on the “Wizard Master”), but they are more real than your average teenagers dealing with ballistic hormones.
“Dream Warriors” is also proof of how wet dreams never end the way we want them to. One of the characters has an understandable crush on a nurse, and he ends up getting seduced by her. Some people get so lucky, but not this kid. What happens to him gives new meaning to the term “tongue-tied.”
Also in the cast is Laurence Fishburne who did this movie before “Boyz N the Hood.” He plays male nurse Max who is one of the more down to earth characters you could ever hope to find in a horror movie. The great John Saxon also returns as Nancy’s father, Lt. Donald Thompson. His character figures prominently in the film’s climax as they find that the only way to defeat Freddy is by burying his remains in consecrated grounds.
It’s hard to believe this was Patricia Arquette’s first film. She has since gone on to a successful career and appeared in great movies like “True Romance,” David Lynch’s “Lost Highway” and “Boyhood” which won her the Oscar for Best Supporting Actress. She creates one of the more sympathetic heroines in a horror movie who has a mother that, of course, does not understand what her daughter is actually going through. No one does initially, but if they did, there wouldn’t be a movie.
And, of course, we have Robert Englund returning as Freddy. In many ways, this was the last “Nightmare” movie where Freddy felt like a truly threatening presence. Just the thought of him was scary, and you didn’t need to show much of him to prove that. After this movie, he became more of a standup comedian than anything else. We had to wait until “Wes Craven’s New Nightmare” for him to come across as a viciously scary presence again. Still, Englund embodies this character in a way no one else could.
While Freddy ended up having an artistic downslide from here, “A Nightmare on Elm Street 3: Dream Warriors” is still one of the best movies in this long-running franchise, and it’s always fun to revisit this entry whenever it is showing on cable.
So, this past Friday in February 2017 saw Los Angeles get pummeled by the biggest rainstorm it has seen in years. Streets and sidewalks were flooded over, old trees were battered, branches were torn off and left on the road for cars to run over or hopefully swerve around, and hydroplaning was not what it used to be. Turning on the radio, it was no surprise to hear the local station playing “Have You Ever Seen the Rain?” by Creedence Clearwater Revival, but I kept praying for someone to play the Beatles’ “Good Day Sunshine” for the sake of some much-needed irony.
Yes, this was the exact same weather I and so many others endured while running the 2011 Los Angeles Marathon. It rained hard and the wind blew at us from the side to where hypothermia became a larger threat than heatstroke. The joke was we never ran the 2011 LA Marathon, we swam it. Heck, I joked I was somehow tricked into doing a triathlon instead of a marathon. Sometimes it is fun to run in the rain, but this was a huge exception.
The rainstorm which came down on us Angelinos happened the day before we Team to End AIDS runners were scheduled to run our longest run of the training season: 23 miles. As a result, I got more prepared for this run than usual. I got a new pair of Brooks running shoes, my red poncho which keeps me warm as well as dry, a new water belt which has two water bottles instead of four, and I had my Monsters University hat on as usual. The only thing I was missing was a new pair of compression tights which I really need to get before March.
Some people also took the time to put duct tape on their shoes to ensure their feet wouldn’t get wet. I should have thought of that, but anyway…
Well, the good news was the worst of the storm had pretty much passed us by when we arrived at Griffith Park at 6 a.m., one hour earlier than we usually show up because of this run’s epic length. There was a bit of drizzle, but nothing which we could possibly drown in. Regardless, the most dedicated T2EA runners could be counted on to show up as they are determined to participate come rain or come shine.
I’ve been through this training program several years now, but the 23-mile run always gets me especially anxious. I know I can do it, but I also know the agony I will be forced to endure once I am finished. Coach James reminded us this is our “celebration run,” and we should not treat this as a race in any way, shape, or form. Still, I knew it was going to be hard to celebrate once this run was concluded. Not impossible, but hard.
One thing I definitely kept in mind was to start off slow and not overdo it. It was in our best interest to save energy throughout this run as it is too frackin’ easy to burn out before we got to the halfway point. Also, it was highly likely we would hit “the wall” on this run more than ever before. “The wall” refers to the mental wall we eventually hit during the run where it feels like we can’t possibly run anymore. It doesn’t matter how big of a carbo load dinner or how many pounds of pasta we ate beforehand because we will hit the wall when we least expect it. The trick is to keep going because these 23 miles won’t run themselves, dammit.
For this run, we actually started out on Forest Lawn Drive. This surprised me as I felt the coaches had long since deemed this part off limits. It’s a dangerous stretch of road to run on, especially when it’s early in the morning, because of the blind corners we are forced to go around. There were points where we had to run single file because we have little warning of what could be coming around the curb. We were also running past a cemetery, and this threatens to serve as an omen of the most unwelcome kind.
But we did survive Forest Lawn Drive, otherwise I would not be here writing about this. The run took us through Burbank and Glendale where passed by such sights as Warner Brothers Studio, Disney Studios, and fast food joints with their burgers which are never as appealing as they look on those posters. When we passed mile signs indicating where we were at distance wise, I found myself saying the same thing, “That’s it?” For some bizarre reason, I thought I was going to complete this 23-mile run sooner than later. What the hell is wrong with me anyway?
We had a wealth of volunteers this time out, and they had plenty of water, Gatorade and other assorted goodies for us to fuel up on. I was keen on staying on top of my salt intake because last year, when I did this same run, I came out of it seriously dehydrated to where I was walking like a zombie out of a George Romero movie. Actually, it also didn’t help that I partied hard with a few Jack and Cokes afterwards. I eventually had to go to urgent care and get hooked up to an IV with fluids. Lesson learned.
I did end up eating a handful of Tostitos lime tortilla chips which had more salt in them than any chip I ever had in my life. My mouth was in shock for a few seconds to where I had to drink almost a whole bottle of water. Talk about an assault of the senses! I have never crammed that much salt into my mouth before. I’m not in a hurry to do it again.
During the last half of the run, I ended up falling behind everyone else which was a bummer. It wasn’t the first time it happened, but before I was able to catch up with my fellow runners. This time I was on my own, clinging onto an almost empty bag of Ruffles potato chips I got from the volunteers. It got to where I started to feel like Chevy Chase when he was running around in the desert and getting all delirious in “National Lampoon’s Vacation.” Granted, I wasn’t actually in the desert, and I wasn’t wearing my jacket as a hat and singing “100 Bottles of Beer on the Wall,” but I had definitely hit that wall I was talking about earlier.
I wasn’t in immense pain, by my muscles were already very sore to where I wasn’t screaming out in agony, but instead just getting irritated over the fact I couldn’t run any faster. It started to feel like a dream where I was stuck in one place and couldn’t move any further. Whether it was Heather Langenkamp getting stuck on those stairs in “A Nightmare on Elm Street” or Patricia Arquette caught in some jelly-like substance in “A Nightmare on Elm Street 3: Dream Warriors,” I was desperate to increase my velocity before some crazed psycho with knives for fingers started coming after me for not running at my assigned pace.
I did have a map of the course with me and kept looking at it every five seconds. Of course, I lost it as it slipped out of my pocket without me even realizing it until much later. But by then, I knew where I was going, and this is even though I felt like Bugs Bunny and kept wondering if I should have taken that left turn at Albuquerque.
This training season has seen me become the slowest runner on the team. It’s almost embarrassing as I used to be faster than this, but in the end I did cross the finish line. I increased my pace as fast as I could as I came up to the finish line, and there were still many people there to cheer me on as I completed my 23 miles. After I was done, all I wanted to do was sit down forever. The first thing I should have done was stretch out my legs, but I didn’t have the patience to bother.
The coaches treated us with a feast of sandwiches which included roast beef, turkey with pesto dressing, veggie, and ham and cheese. I had one of each as those calories I had burned off needed to be welcomed back in one way or another. And yes, there was plenty of chocolate milk to go around. Us runners need chocolate milk to recover, almost a gallon it seems.
After all this running madness, I went home and crashed in bed for several hours. As I’ve gotten older, so to speak, naps have become more commonplace for me than ever before. It used to be impossible for me to nap during the day, now it’s far too easy for me to taking advantage of one. I’m starting to miss the days where I had boundless energy. Maybe I should start drinking coffee.
Do I feel good about this 23-mile run? You know what, I shouldn’t even be asking myself this question. I should feel good about it. I crossed the finish line to the delight of all the T2EA team who stayed to watch me do so. But I wonder if I can still cross the finish line with the same amount of gusto which I had in the past when it comes to marathon day. Here’s hoping I will when March comes around.
It has been a year since filmmaker Wes Craven passed away after a long fight with brain cancer. Despite the fact he was 76 years old, it still feels like he left this world far too soon. The following article is about a screening of perhaps his most famous film which I attended seven years ago, and it remains one of the most enjoyable, informative and entertaining screenings I have ever attended in Southern California.
Wes Craven made a special appearance on March 29, 2009 at the Aero Theatre in Santa Monica for a special screening of the original “A Nightmare on Elm Street.” This horror classic was released back in 1984 by the then fledging distributor New Line Cinema, and it remains one of the great horror classics of all time. This screening was sold out as Craven was there to do a live commentary of the film, and he was joined by director Mick Garris who started things off by saying, “I hate those people who talk through the movie!”
What shocked everyone the most was that the 35 mm print of “A Nightmare on Elm Street” was in pristine condition to where it looked like it had never even been run through a film projector before. Both Craven and Garris gave their compliments to the Aero Theater for getting their hands on such a beautiful print, and the audience applauded in agreement.
Garris started off with the question Craven must get every single day of his life: “Where did you get the idea for this movie?”
Laughingly, Craven said the idea for “A Nightmare on Elm Street” came when he was watching late night television, and a story came on regarding a young man who had died after having horrible nightmares. This case led to a series of articles in the Los Angeles Times about the boy and how he told everyone there was a man inside his dream trying to kill him. His father, a doctor, kept giving him sleeping pills to help him rest more easily. But when the police found the boy’s lifeless body, they also found all the sleeping pills his father gave to him underneath his bed. He never took a single one.
Craven also said the film was inspired by a dream sequence he did in “The Last House on the Left” where a character named Weasel has this nightmare where he is strapped down on an operating table with the parents of one of his victims hovering over him in and dressed in scrubs. The husband ends up taking a hammer and a chisel and places the chisel right on Weasel’s front teeth. The hammer comes down with a thrashing blow, and Weasel suddenly wakes up. Craven said when people talk about “Last House on the Left,” it is always this particular scene they bring up which astonishes him. Turns out it stayed with him to the point where someone suggested he make a movie out of a dream. Guess what happened next.
Craven also made it clear that “A Nightmare on Elm Street” was not inspired by any specific episode of “The Twilight Zone.” Instead he said he was trying to establish the world of dreams as he finds them, as we all do, endlessly fascinating. Throughout the movie, he discussed the subject of dreams at length and talked of how they have no rules to them. Dreams seem to revolve around the violence and darkness we experience in the world either through the news or firsthand, and Craven discussed how they seep into our subconscious all the time by saying, “If we were ever fully conscious of all the bad things that were happening to us, it would be too painful for us to handle.”
When Craven he took his script to every studio in Hollywood, he said the executives all rejected it because they found it to be ridiculous. But even as he got more and more broke, he kept shopping it around until he met Robert Shaye, the head of New Line Cinema, at a party in New York. Back then, New Line Cinema existed merely as a storefront in downtown New York, and it would have gone bankrupt had this movie not been successful. Indeed, New Line Cinema will forever be known as the house Freddy Krueger built.
Craven also remarked about how he didn’t know much about signing contracts at the time when he signed with Shaye to “A Nightmare on Elm Street.” Since he was already so broke and filled with doubt of what he could do, he felt he had no choice but to sign the contracts given to him. But what he thought would be a 50-50 situation turned out not to be the case, and from that point on New Line Cinema owned the movie and Freddy Krueger. The realization of this brought forth many hisses from the audience.
But when he was asked to make another “Nightmare” movie, which became “Wes Craven’s New Nightmare,” Craven asked for profit participation in the franchise he did not previously have. Shaye later told Craven he agreed that he was not treated fairly, and the deal between him and New Line got restructured to where Craven got what he rightfully deserved.
Garris pointed out how “A Nightmare on Elm Street” had an amazing cast for a genre film and asked Craven about his casting process. Craven replied he looked for actors who didn’t have a lot of credits to their name in the hope of getting people who could act more naturally. This was actually Johnny Depp’s very first movie, and Craven recalled how incredibly nervous Depp was throughout the shoot. Depp did manage to get a friend of his to help him out, and that same friend got cast as a coroner.
Of all the young actors, the most experienced was Amanda Wyss who played Tina. Amanda also starred in “Better Off Dead” as the girlfriend who thoughtlessly breaks John Cusack’s heart.
In casting Heather Langenkamp as Nancy Thompson, Craven said he chose her because she was basically “solid peasant stock” (the audience was shocked at this description) and looked like an “every woman.” This was what he wanted for this part, and Langenkamp turned in an excellent performance playing a character everyone could relate to. Nancy was also the first of many strong female characters Craven would utilize in his movies.
Garris then asked Craven how he created Freddy Krueger. Craven replied the inspiration for Freddy arose when he came across a homeless guy with a bowler hat who was shuffling his way slowly down the sidewalk, his face a mask of nasty scars. He said the sight of this man creeped him out a lot, and the image of the man stayed with him long after he vanished. The name Freddy came from a kid who Craven said used to beat him up at school, and he was at one time going to be based on a janitor he remembered from school who frightened him and his classmates. He was also adamant that Freddy not have a mask since this had already been done to death in the “Halloween” and “Friday The 13th” movies.
Krueger was also originally envisioned as being older, but this changed when Robert Englund came in to read for the part. Unlike other actors who were reluctant to portray such a dark and evil character, Englund was not intimidated by it and was willing to be serious with the material. Craven said Englund took a great delight in playing Freddy, and his audition convinced him the character did not have to be an old man for it to work. When an audience member asked if there was some sort of sound device or technique used to make Freddy’s voice sound deeper, Craven answered by saying, “Robert’s voice was all Robert’s.”
The budget for “A Nightmare on Elm Street” was around $1.8 million, but a big chunk of financing fell through two weeks into the shoot, putting the cast and crew in a position where they would not get paid. But once Shaye explained the situation to them all, not one crew member left the set. When the movie opened, it earned back its $1.8 million budget in just one weekend.
Craven also described how the special effects were created and what inspired them:
During the scene where Nancy falls asleep in her high school English class and sees Tina being dragged away in a body bag, the trail Tina leaves behind her was inspired by the slime trails left by snails.
When Nancy gets stuck on the stairs while running away from Freddy, the goo she steps in was actually oatmeal.
When the centipede comes out of Tina’s mouth, it apparently got lost on the set and the bug wranglers couldn’t find it. When the crew broke for lunch, none of them came back.
When Nancy cornered Freddy in the downstairs basement and set him on fire, the man doing the stunt was Craven’s racquetball partner.
In regards to the montage of Nancy setting up the traps to take Freddy down, the book she uses as a manual was actually a World War II manual on booby trapping.
Craven didn’t hesitate to bring up the constant fights he had with the Motion Picture Association of America (MPAA). When Tina’s bloody body, after being dragged over the ceiling, is dropped on the bed, the splash of blood when she landed was quite enormous. The MPAA asked him to cut down the scene to avoid an X (now NC-17) rating. Craven recalled these experiences as both very painful and never ending for him as they occurred with just about every film he made (“Music of the Heart” might have been an exception).
Those fights with the MPAA continued on with “Scream,” and Craven admitted he was baffled why none of the members realized that it was a satire. They even suggested the third act be completely cut, and this illustrates one of the many horrendous suggestions the MPAA comes up with when they judiciously give ratings.
One audience member asked Craven why he used teenagers instead of adults in the movie, and he replied very simply, “Adults would never have watched it.”
One of the funniest moments of the evening was during the scene where Freddy attacks Nancy’s mother, and how her burnt corpse descends into the mattress beneath her. Craven didn’t even try to hide the fact this was one of the least successful special effects in the movie. Regarding John Saxon, who played Nancy’s father, and his expression in the scene, Craven said, “John’s not upset that his wife just died. It was the special effects that tore him up!”
Charles Bernstein composed the movie’s unforgettable and unnerving score, and Craven praised his work as Bernstein had very little money to work with. Craven said he wrote the “1, 2, Freddy’s coming for you” poem, and Bernstein put music to it and took it from there.
As the evening continued on, we got to know more about Craven more as a person. In regards to his career as a horror filmmaker, he told Garris it was all a roll of the dice. When his good friend Sean S. Cunningham asked him to make “The Last House on the Left,” Craven remembered telling him, “I don’t know anything about making a scary movie.”
The audience was also surprised to learn Craven was not allowed to see movies as a kid, and it was not until much later that he finally got the nerve to sneak out of his parents’ home to see one. He credits “To Kill a Mockingbird” as the movie which changed his life and said the original “Texas Chainsaw Massacre” frightened him to death and left him in an unnerved state for months. But even after he had kids of his own, Craven said he never really changed as a director or in the kind of films he made.
When a movie of his opens in theaters, Craven said he always gets out of town as soon as possible. Life can get very miserable if your movie turns out to really suck. When Garris asked Craven if he got to see “A Nightmare on Elm Street” when it opened, Craven made it clear he hates watching his movies in a theater because he is usually driven mad by problems with the sound and projection.
There has never been any doubt Craven is an extremely intelligent filmmaker and human being. To hear him talk about the themes embedded in “A Nightmare on Elm Street” as well as the importance of horror movies made this live commentary all the more fascinating. Freddy Krueger became so popular with audiences because bad guys are far more interesting than the good guys. Another way of looking at this is of how the devil is more interesting than God because he is not bound by any moral obligations, and there is no rule he is not willing to break.
The way Craven sees it, horror is good for you as it forces you to deal with the chaotic. While other filmmakers are busy making “torture porn” movies, which Craven is not a fan of, he said he never tries to make horror look cool. Eventually, we all have to deal with the chaos of life, and we cannot spend the rest of our lives hiding from reality. If you watch the news, violence surrounds us in our everyday lives and gets deeply rooted in our subconscious mind. Horror films are affected by current events of the time they were filmed in
One of the best points that Craven made was that if you don’t know what darkness is inside of you and turn a blind eye to it, then you are in deep trouble. You cannot hide away from your dark side, and you need to be fully aware of what extremes people will go to in order to survive.
In the end, this is what makes Nancy so brave; she is the only one in “A Nightmare on Elm Street” capable of dealing with reality. This is in direct contrast to Nancy’s mother, Marge (Ronee Blakley), an alcoholic who hides vodka bottles in different parts of her house. She also becomes overly protective of her daughter by having metal bars put up on the doors and windows. Her way of dealing with reality is not healthy, and it is endemic of the other characters as they are handling it very well either. But in the end, kids need to know they have allies in their parents, and Nancy manages to find one in her father.
“A Nightmare on Elm Street” still holds up after all the years despite the dated styles and special effects. Garris said he loved how everything keeps building up and of how there is an increasing sense of dread throughout. This movie taps into those terrifying dreams we all had when we were young, and this is just one of the reasons why it remains so terrifying to this day; it deals with the never ending fascination we have with dreams, and it creates a world for them to exist where anything can happen.