30 sept. 2010

Wes Craven in Nightline (Un buen susto/A good scare)

El progama de televisión Nightline, del canal Abc, ofreció anoche un reportaje sobre Wes Craven. El equipo del pograma informativo estuvo en Michigan, donde grabó una entrevista con el director. El video ofrece nuevas imágenes de Hayden Panetiere y Neve Campbell.




 

TV´s program Nightline, from ABC channel, last night offered a story on Wes Craven. The program team was in Michigan, where recorded an interview with the director. The video offers new images of Hayden Panetiere and Neve Campbell.

Ni rastro de Scream 4/No sign of Scream 4


Kevin Williamson no solo ha borrado Scream 4 de su cuenta de twitter, también todas las fotos que él fue publicado durante el periodo de escritura del guión de Scream 4. Todas han desaparecido. Solo quedan 26 y todas hacen referencia a The Vampire Diaries. Parece que estamos ante un asunto bastante serio.


Kevin Williamson no just has erased Scream 4 from his twitter account, also all the pictures he was released during the period of writing for Scream 4 script. All gone. There are only 26 and all refer to The Vampire Diaries. It seems that this is a rather serious matter.



Algunos tweets de Kevin Williamson/Some tweets from Kevin Williamson:

@WilliamUnhock I'm writing it. S4 draft is due January 2. Tick. Tock. That's all I got.


Sorry Elena, gotta cancel our plans. Sidney and Gale have something to say. Gonna spend the evening with them. 2:47 AM Oct 14th, 2009 vía web


Gonna miss #vampirediaries tonight. Having dinner with WC. 10:40 PM Oct 15th, 2009 vía web


So great to see @wescraven and catch up. Fun and fun. And I'm writing away. viernes, 16 de octubre de 2009 22:18:58 vía web


What is this Scream 4 in 3D? First I heard of it. 3:56 AM Oct 24th, 2009 vía web


Lying in bed with my Sidney and Gale. It's getting heated. 6:24 AM Nov 7th, 2009 vía web


Sorry Mystic Falls, spending the night in Woodsboro. 7:57 AM Nov 8th, 2009 vía web


Planning my Thanksgiving S4 Vegas writing weekend. Where should I stay? Any suggestions? 4:56 PM Nov 12th, 2009 vía web


No Vampires in Vegas. It's all about S4 this weekend. 4:05 AM Nov 24th, 2009 vía web


Scream 4 all day. No distractions. Heaven. 6:37 PM Dec 5th, 2009 vía web


Scream Sunday. 6:33 PM Dec 6th, 2009 vía web


Boss man called today. Wanted to know exactly when he was getting S4. I said March. He said JAN 4. Oh the pressure! 12:39 AM Dec 17th, 2009 vía web


In hotel, got my coffee, come on Scream 4 -- let's do this thing. 1:15 AM Dec 26th, 2009 vía web


In Vegas writing about Woodsboro. 12:44 AM Dec 27th, 2009 vía web


I love my new droid. It does everything. It walked my dog, did a load of laundry -- it's now writing Scream 4. 3:47 AM Jan 14th vía web


The death scene that never ends. I've killed the same character three times this week. Writing is rewriting. 11:11 PM Jan 22nd vía web


I'm at dinner with an old friend from Woodsboro, 3:53 AM Jan 28th vía twidroid


Writing S4 while Dracula 2000 is on mute. If you pause it just right you can see Gerard Butler's_____? 4:47 AM Jan 31st vía web


Deadline looms. Not really. Deadline is behind me. Sneaking up. With a butcher knife. Screaming "You're late." 2:06 AM Feb 2nd vía web


@julieplec And how's Scream 4 coming? Are you almost done? 7:54 AM Feb 7th vía web en respuesta a julieplec


It's Saturday. I'm thinking a little Scream 4 is in order. 6:08 PM Apr 10th vía twidroid


I don't know where the Randy/S4 news came from. He's kinda dead. 9:01 AM Apr 18th vía web


After watching H2, I'm thinking Randy should show up on a white horse. 6:44 PM Apr 18th vía web


I'm working on #scream4 but I'm gonna take a break at 8 to watch #vampirediaries Two plugs, one tweet. 10:40 PM Apr 22nd vía web


#scream4 all night long. 7:22 AM May 8th vía web


Enough with the talky-talk. Kill scene on the horizon. I'll be so glad when this character is dead. 6:10 AM May 9th vía web


Writing #scream4 all night long. Got some Marco Beltrami playing. All's good. 6:52 AM May 14th vía web

29 sept. 2010

Scream Awards 2010

El proximo sabado 16 de octubre se celebrará  la 5ª edición de los premios Spike Tv´s Scream en la ciudad de Los Ángeles. Wes Craven, Neve Campbell, Courteney Cox, David Arquette, Emma Roberts y Hayden Panettiere asistirán para presentar un adelanto de escenas de Scream 4 nunca vistas.

Hace dos años, en la edición de 2008, Neve Campbell entregó el Mastermind  Award a Wes Craven por toda su carrera.


The next Saturday October 16th will be held the 5th edition of Spike TV's Scream Awards in Los Angeles. Wes Craven, Neve Campbell, Courteney Cox, David Arquette, Emma Roberts and Hayden Panettiere attend to present a preview of scenes never seen from Scream 4.

Two years ago, in the 2008 edition, Neve Campbell presented an award (Mastermind Award) to Wes Craven for his entire career.




Real Maureen Prescott

¿Quieres conocer a la auténtica Maureen Prescott? Lynn McRee, que interpretó a Maureen en Scream (a través de fotografías) y en Scream 3. Precisamente, durante su juventud trabajó como modelo, y las fotos que el asesino dejaba en Scream 3 también eran de ella. En esta página ella misma cuenta a algunos detalles acerca de su vida.

Want to know the real Maureen Prescott? Lynn McRee, who played Maureen in Scream (through photographs) and Scream 3. Indeed, during his youth worked as a model, and the photos that the murderer left in Scream 3 also were hers. In this page she has some details about her life.



I'm in my 5th decade on the planet & I’ve enjoyed lots of different careers through the years.  Here’s a summary of the highlights (the ones I remember): After graduating from Lowell High, in S.F., I moved to NYC to pursue my “photographic modeling career”, signing with Wilhelmina Modeling Agency. At my height (5’7”) runway modeling was out; plus, I’ve always loved the camera. People tell me it loves me too….good thing!

After 2 years of some success (by my standards), I wanted to travel the world, so I was hired by the world’s largest airline (at the time) United, as a Flight Attendant. My first base was NYC for a year, then L.A. for another year.  Although I was being groomed to become an International In-flight Supervisor (flight attendant police), I chose a different path in life…

I have always been interested in what makes a person truly healthy (still am) in body/mind/soul wholeness, so I went to the L.A. College of Massage & Physical Therapy & became a licensed, certified Massage Therapist.  I worked for the swanky Aida Gray Salon, in Beverly Hills, while I was also in private, mobile practice around the greater L.A. area; while living in Malibu.

Next came the life style choice to move back home to where I lived during my teenage years, Sonoma.  It was here, in Wine Country, that I began another career that would last 12 years in the wine business, always employed at the supplier end, the winery itself.  I worked for Bealieu Vineyards, Sebastiani, Kenwood, Johnson’s Alexander Valley&, lastly, Fritz Cellars, in that chronological order.  I was employed as a Tour Guide, Tasting Room Manager, Marketing Director, Publicist, National Distribution Director & Legal Compliance Manager.  I truly loved this life-style career I lived/worked in.

The Best Western hotel, in Yountville, Napa Valley, hired me next to be their Corporate Business Manager, at theYountville Lodge.   I stayed there a year, while learning that I was never wired to be in a 9-5 corporate office environment. During this time, a friend took a new headshot of me, gave it to 1 of the only 2 Talent Agencies, in S.F. at the time, Grimme Agency, Jimmy Grimme signed me & my acting career was born. 

Meanwhile, 25+/- years later, I’m still acting, but nowadays as a member of the Screen Actors Guild!  My lastest work is MILK as Mayor Moscone’s Secretary! Somewhere in this mix, I wanted to get back to flying so I started working as a Flight Attendant for an airline, Reno Air, that was purchased by AA, 10 years ago! I’m still flying, out of SFO, while acting at every opportunity!

Just look at where I live, in Upcountry Maui, and imagine what type of girl would live here!  You got it...one who loves Mother Maui and all of the creatures in her natural environment!  I prefer outside, instead of inside...all natural, instead of clothed...my skin in the sun & wind, not protected by anything!  I'm a World Traveler and I love the first visit to any place!  The best way for me to learn about my planet and myself is to travel in the world, to very different cultures than the ones I grew up in (Oahu & N. California) and use all of my senses to "know" the culture.

I love islands & scuba diving in warm waters!  I grew up with horses and love the way animals live only in the present moment & are total optimists...people have a lot to learn from them!  My goal: to live each moment as if it were my last!

Jill Roberts

Antes no sabíamos si la madre de Jill (Emma Roberts) era hermana de Neil Prescott o de Maureen. Algunas personas habían comentado que su apellido era Keesler, pero podía ser perfectamente el apellido del marido del personaje de Mary McDonnell. Ahora, hemos podido escuchar, en la entrevista de Neve Campbell de ET Canadá, que "Emma interpreta a Jill ROBERTS, la prima de Sidney".

Bien, existen dos opciones, o Neve Campbell ha confundido el apellido de la actriz con el del personaje o bien Jill conserva el apellido de su madre, que también era el de soltera de Maureen: Roberts.


Before we did not know if the mother of Jill (Emma Roberts) was the sister of Neil or Maureen Prescott. Some people had commented that his name was Keesler, but could well be the name of her husband's character Mary McDonnell. Now, we have heard in the Neve Campbell interview ET Canada that "Emma Roberts plays Jill, Sidney´s  cousin."

Well, there are two options, either Neve Campbell has confused the name of the actress with the character or Jill kept the surname of his mother, who was also the single surname of Maureen: Roberts.



E.T Canada & Neve Campbell

El portal msn ofrece un nuevo video de Entertainment Tonight Canadá (el país de origen de la actriz) con Neve Campbell en el rodaje de Scream 4. Esperamos que lo disfruteis. Haz click sobre el enlace.

The MSN portal offers a new video from Entertainment Tonight Canada (the country of origin of the actress) with Neve Campbell in Scream 4 shooting. We hope you enjoy it. Click the link.





28 sept. 2010

New Twitter!

Hemos cambiado nuestra dirección de twitter. Ahora www.twitter.com/TrilogiaScream es www.twitter.com/ScreamAnthology. Los que nos seguis no teneis que cambiar nada, el cambio es automático, solo cambia nuestro nombre, no la cuenta.

Muchas gracias por seguirnos.




We have changed our twitter account. Now www.twitter.com/TrilogiaScream is www.twitter.com/ScreamAnthology. Those who follow us do not have to change anything, change is automatic, just change our name, not the account.

Thank you very much for following.

Four years ago...

Desde 1996, teniamos claro que Maureen Prescott habia sido asesinada en 1995. Los asesinatos de Woodsboro habían ocurrido en 1996. En 1998 la Sra. Loomis había llevado a cabo su venganza en Windsor College y en un año después, en 1999, el reparto de Stab 3 era asesinado por Roman Bridger. Debido a esto, entre el asesinato de Maureen y el enfrentamiento entre Roman y Sidney habia pasado 4 años. Roman decía:

“Yo también buscaba a mi madre. Una actriz llamada Rina Reynolds. He pasado la vida buscandola. Y hace cuatro años averigüé su paradero. Llamé a su puerta pensando que me recibiría con los brazos abiertos..."

Asesinato de Maureen: 1995
Asesinatos de Woodsboro: 1996
Crímenes de Windsor: 1998
Asesinatos de Stab 3: 1999 (el año del estreno inicial de Scream 3)

Ahora tenemos algunas dudas:

-Al principio de Scream 2, el indicador electrónico del cine Rialto marca la fecha: 12 de abril de 1997.

-En Scream 2, Gale intenta entrevistar a Sidney y le pregunta: “Dinos, ¿cómo ha sido tu vida durante estos dos últimos años?

-La sinopsis sobre Scream 2 de imdb.com dice claramente: It has been TWO years since the tragic events at Woodsboro. Sidney Prescott and Randy Meeks are trying to get on with their lives, and are currently both students at Windsor College. Cotton Weary is out of prison, and is trying to cash in on his unfortunate incarceration. Gale Weathers has written a bestseller...

-En Scream 3, Stab 2 acaba de estrenarse en cines. Podemos verlo en el anuncio en el autobús. Un año es suficiente para rodar  una película sobre los crímenes de Windsor, pero algunas personas creen que no.

Muchas personas siguen pensado que Scream 3 sucede 3 años después de la muerte de Randy. Roman nos deja claro que no, que ha pasado solo un año, y 4 desde la muerte de Maureen.



Since 1996, we knew that Maureen Prescott had been killed in 1995. The Woodsboro murders had occurred in 1996. In 1998, Mrs. Loomis had carried out his revenge in Windsor College and a year later, in 1999, the cast of Stab 3 was killed by Roman Bridger. Because of this, betwenn he murder of Maureen and the confrontation Roman-Sidney had spent 4 years. Roman said:

“I searched for a mother too. An actres named Rina Reynolds.  I tride to find her my whole life. And 4 years ago, I actually tracked her down. Knocked at her door thinking she´d welcome me with open arms...”

Maureen´s murder: 1995
Woodsboro Murders: 1996
Windsor Murders: 1998
Stab 3 Murders: 1999 (start date of the release of Scream 3)

Now we have some doubts:

-At the beginning of Scream 2, the electronic indicator of Rialto cinema marks the date: April 12, 1997.

-In Scream 2, Gale asks Sid: "Tell us what´s happened these PAST TWO years".

-The Scream 2 synopsis on imdb.com clearly states: It Has Been Two Years Since the tragic events at Woodsboro. Sidney Prescott and Randy Meeks Are Trying to get on with Their Lives, and Both Are Currently students at Windsor College. Cotton Weary is out of prison, and is Trying to cash in on historical unfortunate incarceration. Gale Weathers has Written a bestseller ...

-In Scream 3, Stab 2 just released in theaters. We can see the ad on the bus. One year is enough to make a film about the crimes of Windsor, but some people believe that is soon.

Many people still think that Scream 3 happens 3 years after the death of Randy. Roman makes it clear that no, he has spent only one year, and 4 since the death of Maureen.

It was a simple game, Cotton

Nosotros creemos que hay dos motivos por los que Cotton Weary es asesinado. El primero, el que todo el mundo conoce: Cotton es la primera víctima en Stab 3 y él no revela al asesino donde está escondida Sidney. El segundo... estamos seguros de que es: Que Cotton se acostaba con Maureen, la madre de Sidney y de Roman.

We believe that there are two reasons for Cotton Weary was killed. The first, which everyone knows: Cotton is the first victim in Stab 3 and he does not reveal to the killer where is Sidney hidding. The second ... we are sure it is: That Cotton slept with Maureen, the mother of Sidney and Roman.


Prescott´s House

La agente inmobiliaria Mary Anne Veldkamp nos da la posibilidad de visitar el 1820 Calistoga Road, CA, 95404, la casa de Sidney Prescott en Scream. Como podeis ver sigue exactamente igual.

The real estate agent Mary Anne Veldkamp gives us the opportunity to visit the 1820 Road Calistoga, CA, 95404, the home of Sidney Prescott in Scream. As you can see the exactly same.







26 sept. 2010

Ehren Kruger vs Kevin Williamson

Ayer supimos que Kevin Williamson ha borrado de cuenta twitter su implicación como guionista y productor de Scream 4. Wes Craven sigue afirmando que la historia es de Kevin Williamson. ¿Será para no perjudicar la promoción de la película o es que realmente las reescrituras de Ehren Kruger son mínimas?

No es la primera vez que los hermanos Weinstein traicionan a Kevin Williamson. En 1999, cuando por fin se sentó a escribir el guión de Scream 3, ya con la confirmación de Neve Campbell, él se encontraba filmando Secuestrando a la señorita Tingle y no pudo completar el borrador a tiempo. Los Weinstein no pudieron esperar un año mas como él les pidió.

Yesterday we learned that Kevin Williamson Scream 4 involvement, as a writer and producer, has been cleared from his twitter account. Wes Craven continues saying that the story is by Kevin Williamson. Is it to avoid prejudicing the promotion of the film or is it really Ehren Kruger´s rewritting are minimal?

It is not the first time that the Weinstein brothers betray Kevin Williamson. In 1999, when he finally sat down to write the screenplay for Scream 3, and with the confirmation of Neve Campbell, he was filming Teaching Miss Tingle and he could not complete the draft on time. The Weinstein could not wait one more year as he asked.


24 sept. 2010

Scream Trilogy Video

Buscando por la red hemos encontrado un video que repasa las vivencias de Sidney Prescott, Gale Weathers y Dewey Riley en la trilogia Scream.

Searching the net we found a video that reviews the experiences of Sidney Prescott, Gale Weathers and Dewey Riley in Scream trilogy.


Imagen Oficial de Scream 4/ Scream 4 Official Still

"Listen, I read my Entertainment Weekly, I know my shit".- Maureen Evans (Scream 2)

Ya tenemos la primera imagen oficial de Scream 4. Gale Weathers en la granja donde se celebra la fiesta StabAThon. Podría ser un buen preludio para una escena de persecución. La imagen ha sido presentada por Entertainment Weekly, que ya estuvo muy  presente en la promoción de Scream 2 y Scream 3.

Courteney Cox vuelve a gritar

Cuando Scream 4 se estrene el 15 de abril, 10 años habrán pasado. El personaje de Cox, Gale Weathers, está ahora casado con Dewey (David Arquette, esposo de Courteney en la vida real). ''Renuncié a mi trabajo como periodista de entretenimiento'', dice Cox. ''Estoy aburrida con mi vida y mi matrimonio''. Quien lleva un poco de emoción a la ciudad es Sidney Prescott (Neve Campbell). Su regreso provoca más asesinatos de Ghostface, que "recargan" a  Gale. Dice Cox,''Las cosas comienzan a suceder, y yo no podría estar más emocionada.''-Tim Stack


Imagen: Gemma Lamana

We have the first official image of Scream 4. Gale Weathers on the farm where the festival StabAThon is celebrated. Could be a good prelude to a chase scene. The image has been presented by Entertainment Weekly, which was very much on the promotion of Scream 2 and Scream 3.

Courteney Cox Screams Again

When Scream 4 opens April 15, 10 years have passed. Cox's character, Gale Weathers, is now married to Dewey (Cox's real-life husband, David Arquette). ''I kind of gave up my job as the entertainment journalist,'' says Cox. ''I'm bored with my life and my marriage.'' Bringing a little excitement to town is Sidney Prescott (Neve Campbell). Her return leads to more Ghostface murders, which reenergize Gale. Says Cox, ''Things start happening, and I couldn't be more thrilled.'' —Tim Stack



La primera imagen oficial de Scream 3 se presentó durante el rodaje, en 1999:
The first official image of Scream 3 was presented during the filming, in 1999:


23 sept. 2010

StabAThon

Si te fijas bien, podras observar que uno de los cuadros de la exposición está colgado al fondo, en la granja donde se celebra la fiesta Stab.

If you look closely, you can see that one of the paintings in the exhibition is hung in the background, on the farm where the Stab festival is celebrated.



Ahora si! / Now yes! ET Scream 4 Complete Video (HQ)

Aqui teneis el reportaje completo de Entertainment Tonight dedicado a Scream 4. Podeis ver a Sidney y a Jill perseguidas por Ghostface, a Gale Weathers en la granja... Disfrutadlo!

Here is the full article at Entertainment Tonight devoted to Scream 4. You can see Sidney and Jill pursued by Ghostface, Gale Weathers in the farm ... Enjoy it!



Making Scream 4

Hemos encontrado este artículo en el portal de Entertainment Tonight. Disfrutadlo.
We have found this article on the website of Entertainment Tonight. Enjoy it.

Artículo ET sobre Scream 4



Only ET is with Courteney Cox, David Arquette, Emma Roberts and Neve Campbell on the set of Wes Craven's highly anticipated sequel 'Scream 4,' 10 years after the last box office smash!
"It's like going back to summer camp," Neve tells ET. "The first film was such a blast for all us. At the time we had no idea how successful the film would be. … Coming back to it now after years of people enjoying them and seeing each other again, it's nice."

"You see some of the old, and some of the new, and something borrowed and something blue," says Wes of the fourth installment, which reunites Courteney, David and Neve onscreen and also introduces a younger generation of up-and-coming actors.


"A lot of the audience that will see this film were infants when we made the others," explains Wes. "I think the older actors are well-known, but they're a little bit at the parental layer of consciousness for a lot of the audience, so it'll be kind of fun to see where their stories are going, but it's also great to introduce new characters and see how they're going to factor in with things."

"We all reunite at the beginning of the movie," says Courteney, explaining that her character, Gale Weathers, has given up her job as a reporter to marry Deputy Dewey (played by David) and write books. "She's written six Stab books and she has writer's block, and she's pretty bored, pretty miserable, pretty desperate, and all of a sudden some murders start happening and her life starts to look up. She likes a good murder."




In addition to its huge success, the 'Scream' franchise also carries a lot of weight with Courteney and David because they first met and fell in love on the project.

"I can remember the day I met him like it was yesterday," says Courteney, who credits Wes as "really instrumental" in bringing them together. "'Scream' 1 was really an intense crush and all that stuff, and 'Scream 2' we didn't get along so well, and then 'Scream 3' we had just gotten married, and then 'Scream 4' we have [our six-year-old daughter] Coco, so it's just been an evolution of things that have happened to us."

"It's been good having the whole family here," says David, who reports that Coco is really into "Little House on the Prairie" right now. "That's been the biggest change I would say."

"It's really doubly lovely," adds Wes, "because I had a little bit to do with them getting together, and they got married, and they've had a good marriage and they have a wonderful little child, and it's great icing on the cake."

22 sept. 2010

Sidney´s Scream!

Es Neve Campbell! No hay ninguna duda. Es su perfil y también puede reconocerse su grito.

It's Neve Campbell! There is no doubt. It is her profile and you may also recognize her cry.




Scream 4 ET Avance/Preview

Ya tenemos un avance del reportaje sobre Scream 4 de Entertainment Tonight. En el video aparece Courteney Cox y Sidney subiendo las escaleras con una chaqueta azul mientras Ghostface va tras ella. Esta noche se emitirá el reportaje completo. Mientras os ofrecemos, otra vez,  los dos reportajes que Entertainment Tonight preparó para Scream 3.

We already have a preview of Scream 4 story on Entertainment Tonight. In the video appears Courteney Cox and Sidney up the stairs with a blue jacket while Ghostface goes after her. Tonight full report will be issued. While we offer, again, the two reports that Entertainment Tonight prepared for Scream 3.








21 sept. 2010

(Actualizado-Updated) Courteney habla de Scream 4 / Courteney talks about Scream 4

Anoche, Courteney Cox asistió al programa de Ellen DeGeneres para presentar la segunda temporada de su serie de television Cougar Town. Alli le preguntaron también sobre Scream 4.

Last night, Courteney Cox attended the Ellen DeGeneres program to present the second season of her television series Cougar Town. There she was asked about Scream 4.






Thanks to www.courteney-online.com

10 sept. 2010

Hello... ¿Kristen? ¿Anna?

¿Kristen Bell o Anna Paquin? Wes Craven no ha tenido reparos en publicar ésta fotografía en su twitter. Pertenece al rodaje de éstos días y en ella puede verse a una chica joven de espaldas con una larga melena rubia. Volvemos a lanzar la pregunta ¿Se trata de Anna Paquin o de Kristen Bell? Nosotros... apostamos por Kristen, quizá por su figura.


Kristen Bell or Anna Paquin? Wes Craven has had no qualms in publishing this photo on his twitter. It belongs to the set of these days and it can be seen a young girl with long blond hair. We relaunch the question : Is  she Anna Paquin or Kristen Bell? We think ... she is Kristen, perhaps because of her shape.



El Sheriff te invita / Sheriff invites you

David Arquette celebró ayer su cumpleaños con  una cena entre amigos en el restaurante Chop House. No estuvieron Courteney ni Coco, pues ella ahora mismo se encuentra terminando el rodaje de la segunda temporada de la serie de televisión Cougar Town. Quien si asistió fue Neve Campbell.


David Arquette celebrated his birthday yesterday with a dinner with friends at the Chop House restaurant. Coco and Courteney were not, she is now finishing filming the second season of the television series Cougar Town. You can see Neve Campbell in the picture.



Hello Sidney!

No tenemos ni una duda. El portal HelloSidney es la mejor web dedicada a Scream en este momento. El creador está realizando una gran labor, cada día hay nuevos contenidos y un diseño excepcional que no puede verse en otras páginas web. Felicidades! No olvideis visitar su página, está llena de información muy interesante. Especialmente la sección "The Movies".

We have no doubt. HelloSidney portal is the best site devoted to Scream at the moment. The creator is doing a great job, every day there is new content and an outstanding design that can not be seen on other websites. Congratulations! Do not forget to visit the website, is full of interesting information. Especially "The Movies".






Adam Brody Screams!

Adam Brody, que interpreta en Scream 4 a un ayudante del sheriff Riley, está promocionando The Romantics y Movieline le ha entrevistado. Ha habido algunas preguntas acerca de Scream 4:

Adam Brody, who plays in Scream 4 a sheriff Riley´s deputy, is promoting The Romantics and Movieline interviewed him. There have been some questions about Scream 4:




So you’re playing a detective in Scream 4—
It’s a deputy, really. Deputy to now-Sheriff Dewey.

How did that go?
It was fun! It’s also a funny one where it’s all night shoots. It was cool and kind of surreal — not just to see Ghostface, but there was one night where Wes [Craven] was directing Ghostface in his mask. He’s like, “Ghostface, you’re over there…” It was just surreal: “God, I wish I had my camera.” But to do the scenes not only in “Woodsboro,” or do them with Ghostface, but to do them with David Arquette, Courteney Cox and Neve Campbell was weird. It’s cool, but it truly is a surreal experience, just because I remember walking into the movie theater when I was 16 and…

You were a Scream fan?
Yeah, absolutely. How could you not be? Totally enjoyed the movie.

There was a conversation recently about the levels of meta that Scream and other contemporary films draw from — that Scream 4 draws from Scream, and Scream itself called out the conventions of a whole genre — and how self-awareness just kind of trickles down. And—

Well, this one’s like meta on meta on meta. Self-referencing on self-referencing. But again, because the first one is about movies, and this one’s about movies and all the murders that have taken place onscreen over the years. This one’s all about commenting on itself. And I like that. It’s part of the fun. But that’s right: I think everything is more meta and self-referential now. I think people are more plugged-in, communication works faster, people are more educated about it — how it did or whatever. Even Apatow — there’s nothing “meta” about it, but it references events. People are doing more of that in movies and pop culture in the moment.

Wes Craven posa / Wes Craven poses

Nueva imagen de Wes Craven con una "curiosa" máscara de Ghostface.

New image of Wes Craven with a "curious" Ghostface mask.


9 sept. 2010

Clement Road

Nuevas imágenes del rodaje de anoche ofrecidas por Beforethetrailer. Northville, Clement Road.

New images of the last night shooting offered by Beforethetrailer last night. Northville, Clement Road.










Happy Birthday Mr Riley!

Ayer, 8 de septiembre, fue el cumpleaños de David Arquette. Él ha colgado en su twitter ésta foto de rodaje de una escena con un coche. No sabemos si le habrán sorprendido como en septiembre de 1999, cuando rodando una secuencia en los decorados de Stab todo el equipo comenzó a cantar "Cumpleaños feliz".

Felicidades sheriff!


Yesterday, September 8, it was the birthday of David Arquette. He has posted on his twitter this picture of shooting a scene with a car. We do not know if he would be surprised as in September 1999 when filming a sequence on the sets of Stab whole team began to sing "Happy Birthday".

Congratulations sheriff!


"Filming a car scene in Northville on my birthday"

                                        

8 sept. 2010

Ni una palabra / Not a word

Kevin Williamson continúa sin mencionar una sola palabra acerca de Scream 4. Hace unos días fue entrevistado por la segunda temporada de The Vampire Diaries y no hubo ni una sola pregunta sobre Scream 4. ¿Tiene el señor Williamson un contrato con la productora de The Vampire Diaries que le prohibe publicitar Scream 4 hasta que se haya estrenado la segunda temporada de la serie de televisión? ¿O es que realmente ha habido serios problemas entre él y los hermanos Weinstein y se mantienen en secreto para evitar que pueda dañar la reputación de la pelicula?




Kevin Williamson continues without mentioning a word about Scream 4. A few days ago was interviewed for the second season of The Vampire Diaries and there was not a single question on Scream 4. Has Williamson signed a contract with the producer of The Vampire Diaries that prohibits advertising Scream 4 until it has released the second season of the TV series? Or is there really have been serious problems between him and the Weinstein brothers and they are kept it secret to prevent damaging the reputation of the movie?



Question: What’s in store for the fans this coming season?
Kevin: Well, Katherine being back in Mystic Falls is a bit of a game changer for the show. It’s about, “How is that going to affect Damon and Stefan, in terms of Katherine now being back in town?” It’s so hard to talk about it without giving anything away because it seems like everything is a surprise and everything is a twist. But, Katherine comes back and pretty much states why she’s back. It will be fun to watch that play out. If you’ve watched our show in the past, you know that there’s always more than one reason why someone is there. It’s a huge journey. 

What is Katherine’s reason for being back?
Kevin: She says that she wants Stefan and that she came back for him.

Could she just be saying that?
Kevin: Maybe. Could be. 

How is Katherine now different from Katherine in 1864?
Kevin: She’s meaner. Actually, it’s going to be interesting to watch. She’s different, in the sense that she doesn’t have to wear corsets anymore. I’m scared to say because it will tease where she’s been. What she’s been up to is a bit of a secret. This is one of those shows you just can’t talk about. It sucks.

Are you going to have a few flashback episodes, like in Season 1?
Kevin: Right now, we have one. We have three flashback episodes planned, and I’m guessing there will be a fourth. 

Will there be flashback scenes with any of the characters that departed from the show?
Kevin: Yes. 

Will there be a reappearance of Isobel in Season 2?
Kevin: Not right away. I don’t have any plans, in the first half on the season. We’ve broken the whole season, but we haven’t individually broken down the back nine episodes. I’d hate to say no and then turn around and do it, so that you can make a liar out of me, but not in the first 12 episodes.
 
How much will viewers see of the werewolves this season?
Kevin: Tyler (Michael Trevino) is going to learn, through help from his Uncle Mason (Taylor Kinney), who comes to town in the very first episode, who and what he is. He’s going to learn about the curse, who he is and how he responds to it. It’s going to be a typical growing up story and a coming-of-age tale. But, it’s horrible to have all these questions about why you’re the way you are, why you’re so angry and why you always feel so lost, and then you get the answer and you don’t like it. It’s going to be a fun journey for him, and it’s going to be violent.

There was a lot of pressure going into Season 1, just for the show to succeed. Now that this show is so popular, was there pressure to outdo yourself in Season 2?
Kevin: There is a lot of pressure to keep it up. It’s a very hard show to write, I’ve discovered, because there’s so much genre mixed with relationships and characters. I didn’t realize how hard it was going to be. But, I do think we’ve found a rhythm to our show, which is some sort of human relationship and a mythology that runs concurrently with it, so yes, we are going to continue to mythology.
We’re going back to zero and telling a new story, but it’s the story that you already know half of because you’ve watched the first season. It’s the other half. We’re just going to continue the story. There’s so much to still know about 1864. What happened? Why wasn’t Katherine in the tomb? How did she escape? Where did she go? Why did she come to Mystic Falls, to begin with? What brought her to Mystic Falls? There’s all those fun questions that we’re going to explore, and how the Lockwood curse figures into it. It will be fun.

7 sept. 2010

She said...

Aqui teneis el videoclip de "She said". La canción de la banda Collective Soul cerraba Scream 2 con la imagen de Sidney alejándose de la multitud para estar sola en los jardines del campus. La letra tiene bastante que ver con Sidney.  El video muestra algunas imágenes de la película.

Here you have the video of "She said". The song of the band Collective Soul closed Scream 2 with the image of Sidney moving away from the crowd to be alone in the gardens of the campus. The llyrics has something to do with Sidney. The video shows some footage from the film.





"She Said"

She said that time is unfair
To a woman her age
Now that wisdom has come
Everything else fades
She said she realizes
She's seen her better days
She said she can't look back
To her days of youth
What she thought were lies
She later found was truth
She said her daddy had dreams
But he drank them away
And her mother's to blame
For the way she is today

Life's river shall rise
She Said
And only the strong shall survive
She Said
But I'm feeling quite weak
She Said
Will you comfort and forgive me
She Said

She said she's still searching
For salvation's light
She said she wishes all day
And she prays all night
She said she won't speak of love
Because love she's never known
She said it's moments like these
She hates to be alone

Forgive me
She Said
Forgive me
She Said


Thriller Theater

Todavía existe la página oficial de Buena Vista dedicada al vhs y dvd de Scream 3. Video Movies Go conecta con Thriller Theater, donde puedes visualizar las ediciones en vsh y dvd de Dimension Films. Tan solo puedes ver la pantalla de cine puesto que el enlace está roto, pero nosotros te lo facilitamos: Scream 3 Dvd Web

Aqui puedes ver distintos contenidos: trailer, tomas falsas, el casting, la sinopsis... Disfrútalos.




There is still the official website dedicated to the Buena Vista VHS and DVD of Scream 3. Go Video Movies connects with Thriller Theater, where you can view the vsh and DVD editions of Dimension Films. Only you can see the movie screen because the link is broken, but we will make it easy: Scream 3 Dvd Web

Here you can see different content: trailer, outtakes, casting, the synopsis ... Enjoy them.



6 sept. 2010

Bienvenido al... ¿primer o último acto? / Welcome to... first or final act?

Bananadoc tiene una nueva imagen. La que os mostramos a continuación es la casa donde se está rodando en este mismo momento, imaginamos que puede ser el lugar donde comienza la película. Despues, durante el resto del tiempo de rodaje hasta su finalización es posible que vayan a filmar la secuencia final. Tambien podría ocurrir que ahora estén filmando el inicio y luego ellos dediquen todo el tiempo que les quede a las escenas finales.


Bananadoc has a new image. Which we show below is the house where he is filming right now, we imagine that may be the place where the movie begins. Then, during the rest of the running time to completion is possible that they will film the final sequence. Also it may be that they are now filming the beginning and then they spend all the time remaining to the final scenes.


Wes Craven y su tesis / Wes Craven´s Thesis

El 21 de agosto de éste mismo verano hubo un visionado de Scream en 35 mm en la Universidad de Michigan. El director Wes Craven asisitó al evento y explicó su punto de vista acerca de la situación actual del género de terror. También se habló de temas como la violencia en el cine, la tortura y las "final girls". Craven respondió a numerosas preguntas, www.bloody-disgusting.com ha publicado toda la entrevista.

On 21 August of this summer there was a viewing of Scream in 35 mm at the University of Michigan. Director Wes Craven asist the event and explained his views on the current status of the horror genre. Also discussed issues such as violence in movies, torture and "final girls". Craven answered many questions, www.bloody-disgusting.com has published the entire interview.



Over the history of horror, what does it take to viscerally affect a viewer and is there a difference between what it took in the past versus now?

Wes Craven (W.C.): Well, I found that in order to viscerally affect someone, you need to cut them [laughs]. Well, everyone says "How many gallons of blood do you need for a horror film?" I never find it's that. Yes, you can have a scene that's very violent but I find that if you have something that gets under the skin of the audience in other ways and that usually has to do with the more human side of it, even with Last House (on The Left).

And doing something that's not expected within the genre. When I shot Last House, when you got shot or stabbed, you fell down dead. I just did the opposite: Somebody gets stabbed and they fall down but then the killer is ready to walk away and the person starts crawling. Nothing is as fast as it's supposed to be in a movie where people are supposed to die. That kinda started a whole different thing.

But it has to do with making people real, I think more than anything else. You can have a movie where you kill people by the billions and it will become like Stalin says: "One person dies and it's a tragedy. One million people die and it's a statistic." So it starts to lose the effectiveness unless you feel those are real people.

And just being different that anything else that people have seen before, also. We just killed somebody last night that way.

[laughter]

But literally I had a scene where somebody was going to be killed and it was described as, well, an incidence; he's pinned to a seat, he's in a car. That's it? That's what happens to a character I've been watching for 45 minutes? So I just really ask myself, all the time, "Have I seen this before? If not, what would be really fascinating and different? And would it be something that I would want to see? Would it grip me? Make me scream, or laugh, or something like that."

I think, bottom line, the advice I would give is don't duplicate what you've seen before. That seems to be the primary mistake that young filmmaker's make. They've seen every film in the world. I think one of the gifts that I had was that in a Church and a college that was very strict and it didn't allow seeing movies at all, so I didn't have any precedent. So, when I made movies, I didn't copy anything because I hadn't seen anything! [laughs] Certainly nothing in the genre. So you have to keep your head up and ask, "Have I seen this before and if I have, go someplace else. Do something different."

Do you think that realism has a more visceral impact as opposed to something not as realistic?

W.C.: Yeah, but nothing in Shakespeare was real but it has enormous impact. It's lasted for centuries, so it has to do with an underlying reality that there is something human about it that you recognize. And that can even be in 'Scream'. I think what Kevin Williamson captured, and that maybe I enhanced a bit, was that it's funny and it's sort of arch and it's comedy on the culture and everything else and self-referential, so you get to like Randy. You get to feel like he's a real person. And certainly with Neve Campbell's character. That's kind of a real person and you invest yourself into that character a lot more if it's real. So I think that even within the context of the film, it is clearly referring to itself as a member of the genre, you know? [laughs] You can still make a reality there that enhances the impact of things, to frighten or just to make you laugh.
Personally, I don't enjoy going to see a lot of horror films because it's usually just, sort of, two-dimensional characters getting slaughtered. And I just don't have any interest in that. But if it's a situation of a person where I think, "Oh my god, I would do that!" It's like thinking, "Don't go outside." We had a character in Scream 3, an African-American, who at some point said, "This is where all the black characters get killed! [laughs] I'm outta here!" And he leaves the movie, you know? And you never see him again.

[laughter]

So, it's doing the unexpected. It's always a lot of fun and it makes things fresh. I sometimes tell students that the first person you should make the audience afraid of or uneasy with or watching, as far as monsters or scary characters within the film, is the director. They have to feel like whoever made this movie is crazy and smart is one step ahead of me. That's kind of your responsibility, not to underestimate your audience but to really be as smart and unpredictable and ahead of the audience as you can be. And to make your character smart and unpredictable. And especially your villains.
'Nightmare on Elm Street' went around Hollywood for three years and was rejected by everybody as either "too bloody" or "too stupid" or nobody would believe what was going on because it was in a dream or nobody would be afraid of it because it was in a dream. The audience was way ready for it! So, a lot of getting a good script going is finding a way past the studio blockade of people who can't understand how it will really play. And I deal with that all the time. You feel like, here's you guys (the audience) and here's this wall called the studio or a person in the studio. How do I get my film through that little aperture there that the studio allows you sometimes, to get to the audience and talk to them? Because the typical thing is, "This is stupid." or "I don't understand this. This will never play." Because there are quite often people who don't and sometimes aren't even that invested into the genre, they're just invested in the money that the genre can make.

Now, that is changing a lot. I mean, I think starting around 'Red Eye' I certainly walked into Dreamworks where the meeting was and pitched my idea and my script and everybody stood up and said, "I watched Last House on the Left when I was 13 and that's why I'm in the business." That's a huge change! And there are a lot more people at the studio level that are real fans and know the genre and are smarter about it. But you still run into it a lot. I think that's true with any idea. You look at Edison or any person with an idea that's ahead of its time. That's something of a curse. People are congratulating me now for making 'Last House on the Left' that when I made it were looking at me like I was a sick mother [pauses for effect]

[laughter]

And they kept their children away from me! I'm serious! [laughs] And so I was just commenting on the times as I saw it. But nobody was doing it like that, nobody was being that blunt about it.

In your movies, you display a lot of alternative families: In 'Last House on the Left', you had the very dysfunctional family of Krug and company and you also had Nancy's family in 'Nightmare on Elm Street' and you had the kind of unit in 'People Under the Stairs'. It's a common theme that I'm seeing throughout your movies. Do you think that because the heroes of the stories are the product of these alternative families, is there the idea of a generation growing up with more strength because of this lack of normalcy?

W.C.: No, I think you guys are all screwed up.

[laughter]

It could well be. With the sort of tsunami of media that started somewhere around the Vietnam War where suddenly everyone was seeing real life almost thrown on their television every night, with documented footage of the Vietnam War and the revelations about the presidency and having electronic ways of retrieving information from the government. A typical teenager knows a lot more about how the world really works. And it just keeps expanding: I remember my son telling me, "I watched this guy get his head cut off on the web." And shit, my little boy! [laughs] He was a young man at the time but that was when Al Qaeda was capturing people and cutting their heads off and putting it on the Internet so that generation was exposed to just hideous things that are real that they have to process. And I've always felt that horror films are the nightmares of the culture and that nightmares, as a function of the organism of human beings and of the mind that human beings have, they've kept nightmares, evolutionary-wise. So, I'd say that horror films fall into that in terms of cinema, as the nightmares of the culture, things that keep us awake at night. Whether it's 'Frankenstein', what science is starting to do, fooling around with human beings and being able to control people's minds and so forth, or atomic energy in the 50's with all those horror films, or serial killers and mass murderers. It's all reflecting the culture. And I've always felt that people who criticize horror films are trying to break the mirror.

Where did the conception of the personality of Freddy Krueger come from?

W.C.: Well, it's kind of an old story, so I'll abbreviate it. There was an adult, a drunk that happened to be walking by the apartment I was living in with my family when I, I don't know, 12, or something like that. He woke me up out of sleep with drunken rumblings and when I looked out, I was in the second story bedroom, he somehow stopped and looked right up at my window. I backed away from the window and sat on the edge of my bed, scared. There was something about the way he looked at me. I thought I was there for a year and then I finally crept back to the window and he was there and he did this (makes a scary face) and then he kept walking down the street, looking at me, sort of over his shoulder. Then he went into our building and I knew he wasn't from our building. So that, in retrospect looking at it as an adult, I realize that was somebody getting a sense of power and enjoyment out of terrifying a child and having power over that child's mind. That never left me, that sense of there are people out there who will enjoy your suffering and sometimes they have more power than you do.

So, it was kind of based on that and also little things; that man wore a hat and Freddy wore a hat. The hand claws were simply two things. One; that was a time when there were a lot of villains with masks and knives or machetes. There was Jason and others. So I asked myself, "What haven't I seen?", that was the question I referred to earlier, and I literally went through my memory of what I thought was the earliest sort of DNA structures of human memory of fear. I went back to cave bear and claws and the idea of the tooth and claw, because that has to be buried somewhere very, very deep and that's gotta be what knives are. I remember walking around London and the royal palaces there and all the fences had swords and that's part of their fence railings. It's just this sort of idea of the edged weapon and the thing that skewers you. It's very deep in our culture and I think that comes from out genetic part of ourselves.

And the human hand: I remember reading that one of the reasons that the brain grew so much is because of the opposable thumb development and what you could do with it. The fingers and brain fed each other. The more the fingers could do, the bigger the brain had to be to handle what the fingers could do and vice versa. So you end up with this creature that has this incredible dexterity. So, the hand as a weapon itself is intriguing.

So part of it was intellectual, psychological, I was a psychology major, art minor in college, so I'm fascinated by nature. So, it's a whole host of things, kind of being put together.

You say that horror movies are often a commentary of the social events of a time. How do you feel that 'My Soul To Take' and 'Scream 4' are reflections of current social events?

W.C.: Well, two different things: 'Scream 4' is very much about of analyzing the culture of violence and film. It's been basically 10 years since a 'Scream', so that part of it, the Meta part, that standing off and looking at the culture, sort of analyzing it, that's the subtext of 'Scream 4', among other things.

'My Soul To Take' was part of, going back to talking about families, was somewhere in the course of my career, I realized that some of my best films were about families of some sort. Also, opposing families and if you look at history, it's all about opposing families: Royal families, human rights, human families versus animal families and all sorts of things like that. So I found that I just sort of instinctively did films about families and that they were very powerful and to me it was intriguing because you get to look at two or three generations, like 'The Hills Have Eyes' where you have the older parents, the father with the gun and then you have the mother, practically nursing her child and then you have the younger child, the baby itself, symbolizing innocence. That sort of tribe and levels of generations and worldviews and all these things that I found really interesting, and missing from a lot of horror movies as well.

Like 'Texas Chainsaw Massacre', which is one of my favorites, it's just a bunch of kids but you have the family on the other side and that was really where I found it very intriguing. And even Hitchcock: 'Psycho' with the son and mother.

So those are very, very powerful things in all of our lives and that's kind of how I ended up there, that's why 'My Soul To Take' is commenting about. It's the question of "Who were, or are my parents?" especially if they're gone. "What do they do and what grief is it bringing down on my head?" And then, the question you ask yourself, just a few years later, is "Am I going to be like that?" or "Am I like that?" So there's always this thing as you're going from high school to college where all the adults are fucked up and they're responsible for all the wars and blah blah blah. Then you find yourself with your first child, saying something that you remember your parents saying or you're marching off to war or whatever it is, and it's then that you realize that it's kind of this wheel going. It's very interesting to look at from multiple generations sometimes.

But anyway, 'My Soul To Take' is about that. And it's based on a legend from a Native American legend about condors, because the central character loves birds, especially the California condor, which is kind of clinging on the brink of extinction, about the gatherer of souls and that it's not a hideous creature that eats dead things, as the high school principle of this young man says, but it is something that keeps the soul of every animal that it eats and protects it, so that it has accumulative wisdom and gravity about it. It's kind of fun. [laughs]

[laughter]

You've been making horror films for a long time and the genre has obviously changed so much in that time. There is a lot of films that use the extreme, such as the so-called "torture porn" films of Eli Roth. Do you feel that you have to keep up with or top those films? Do you feel that audiences are so jaded these days that it's harder?

W.C.:No, I feel like the audience is bored, like they've had enough of it. Like, "Is that all you've got?" In fact, that's one of the things I guard myself against, is never trying to emulate. The few times that I've tried to do this have been quite disastrous [laughs]. I personally don't like the "torture porn" stuff. I watched 'Saw 1' and, okay, that was kind of interesting, but it's just not my cup of tea, so I don't try to emulate it. Not to say that they're bad films or anything, unless they get into the 7th and 8th and 10th iteration, then maybe.

[laughter]

Look, we're doing 'Scream 4', so…[laughs]

[laughter]

As long as you keep it fresh!

But 'Scream 4' won't be like that?

W.C.: No. But 'Scream 4' is unique. I can't think of another film that is a tracking of three central characters over a span of 16 years now, with the same actors. You're literally watching someone go from high school age to full adulthood, with Neve Campbell for instance.

And what's that vampire movie from Scandinavia. 'Let the Right One In'? That's a pretty fascinating film. So, throughout all generations there's great original films.

I've always thought that Nancy Thompson from the original 'Nightmare on Elm Street' is the quintessential "survivor girl". I feel that the evolution of this character, who makes the decision to stand and fight has evolved into something along the lines of "torture porn", where as long as we see the girl fight, that's enough for us. Is that something that you are still trying to cultivate? The idea of a very strong woman who is trying to face the fears that keep following her?

W.C.: Well, I've done a lot of central characters that are female and strong. I have a daughter, who now has her own child, and it was after 'Swamp Thing', in a scene where Adrienne Barbeau is running away from the bad guys and she trips and falls down. And my daughter turned and looked at me when she saw that and said, "Dad. Women don't always fall down when they're running, okay?"

[laughter]

[laughs] And I really got it! I just got it! So then I went off and did movies about strong female characters. But 'My Soul To Take' is Max Theriot, he's the central character, so it's not always that.

There is something inherently…how to say this without sounding sexist? But there is something inherently more vulnerable about women in that they are usually a little bit smaller and a little bit more sensitive to things than men, so they quite often get put into situations in horror films or action films. But the interesting thing is that they have become very strong. Look at the character in 'Terminator', who when one of the first times you see her, I think it was in 'Terminator 2', she's in the jail cell doing pull-ups and you see these actual muscles on an actual actress that didn't have them before and you realize there's a whole different way of looking at femininity that has arrived and is actually being assaulted on all sides by pornography and the popularization of "the pimp". You know, it just makes my blood boil because it's just trying to beat back women. It's quite insidious. There's a very powerful backlash going on. It's a battle of centuries and centuries, all over the world, as I'm sure you know. Women are really subjected to being under the thumb and foot of men, so it's a very important struggle. So I like showing female characters that can stand up and fight through no matter what.
When I saw 'Saw', or maybe it was 'Hostel', I really felt it wasn't as bad as I thought, because at least the characters got away, but you can also have filmmaker's like the German guy, what's his name? Where in 'Funny Games' you have the woman pushed off the boat and she drowns, and it's just like "Okay." And with making films you can constantly decide anything you want to happen. So then what do you want to say about life or what do you want to put on the audience? You could center a film around something awful, hideous where everybody dies in the most hideous, novel way and say, "That is the truth." But there's a lot of truths, you know?

There's just a lot of different things that occur in the human family, so at a certain point I think 'Last House on the Left' was as far as I would go with bleakness. And I've always asked myself, "Am I selling out?" You know, 'Scream' people are laughing when someone is getting stabbed and everything else. But I've always tried to keep a core of reality in the Neve Campbell character. She actually feels the loss of people. I guess, in a sense, I feel that's where I am in what I do for a living. This odd job or odd career of doing horror films, which I never expected to get into. It's just pure chance. I continually wake up and say, "What the hell? I can't believe I'm making horror films!"

[laughter]

Right now, in the horror genre, there are a great deal of sequels and remakes, especially with a lot of your older films. It seems like the fans wanting some original content, which 'My Soul To Take' will offer. But how do you think that 'Scream 4' doesn't fall prey to the victim of "another sequel"?

W.C.: Well, the biggest thing about it is that's exactly what it talks about. We're all sick of sequels and what is the new genre of cinema and horror going to be? Of course, the plot is wrapping itself around what it will hopefully be, in the vision of Kevin (Williamson). It takes that on head-on; it's all about that. Where do films go from here in the genre? What will make them different and not just more sequels or remakes?

I have to say, in defense of the two remakes, or three, 'The Hills Have Eyes' and 'Last House On The Left' were unique. As you know, they were the first two films that I had made. They were made with two separate buddies, just friends that I had gotten to know in New York when I'd first just gotten in. We had in our contracts, which we were joking about; we were longhaired freaks doing lots of drugs and convinced we would be dead by 35. And at a certain point, we realized, "Oh my god! I think we own that property again!" 30 years later, so that's when we decided to start looking around, start talking to interesting directors to see if they're interested in doing a remake. So 'The Hills Have Eyes', 'The Hills Have Eyes 2' and 'Last House On The Left' came out of that. It gave me a chance to work with my son, he was producer on it. And at the same time, it was scary. I was afraid of burying myself, of having people say, "I love 'Last House On The Left'!" The one two years ago [laughs].

[laughter]

"You mean there was an earlier one?!" [laughs]. So, you do run that risk.

With 'Nightmare On Elm Street', unfortunately though, because nobody else wanted to buy it, when I did sell the script, it was, you know, New Line Cinema, which at the time was working out of a store front, the contract was that they owned it forever and ever. And so I didn't even have a phone call to me on that one. It was just whoever did it, did it.
But 'Scream 4' is about that. And at the same time, I have to say it was a joy to have Andrew Rona, who was the executive at Dimension just under Bob Weinstein. I worked with him throughout all the 'Screams' and then he eventually left Bob Weinstein and went and to Rogue films, before it's current Rogue films. And then he offered me the chance to write something if I had an idea and I pitched him the idea and it's the first film that I've written and directed, with the exception of that little 5-minute thing in 'Paris, Je T'Aime', since 'Wes Craven's New Nightmare'. And I don't know how the hell that happened! I think between 'Scream' and 'Music of the Heart' and 'Red Eye', I just had good scripts available, so I did them.


And as hard as it is to be a director, it's even harder to be a writer-director, because you do all the director's work until two or three in the morning and then [laughs] you start the re-writes and then work until five and then get up at six, so it's hard, but it is your personal baby and that's great.

Since you're post-converting 'My Soul To Take' into 3-D, what is your take on the current 3-D craze going on in Hollywood right now?

W.C.: That's a good question. It's been a long trek to get it finally coming out. That said, all of that done, we finally have the film done and Relativity is finally gearing up and I get the call of, "You know, we want to do it as 3-D."

Somebody that's working with me that started as my assistant and is co-producing with us on this film researched very thoroughly and we started going to places that would do the process if we were to do it. And this is not a film that is shot in the two-camera, old way of doing things, but there's a new system where basically, you take a film that was shot in 2-D and you feed it through giant computers and assign distances for every single thing in the frame then there is a sub computer system that rounds the characters and others that deal with hair. I mean, it's an incredibly complex thing. It's a lot of handwork and all the math involved.

I went to see 'Clash of the Titans' at the place that made it, after reading all the reviews and Roger Ebert saying that "3-D was the worst thing to come out of the pipe, ever." and that for the filmmakers it was a tragedy that had been forced into it. In the place that made it, and showed it properly, 'Clash of the Titans' was fantastic. Clear, no problem seeing it. Much more 3-D-ishness then I would prefer. At the same time, I was getting educated in on the enormity of the push towards 3-D by people at top of manufacturing television sets and equipment that shows movies, exhibitors. As far as I can tell, it's here to stay, in a huge new way. I mean, there are 3-D television sets that are just around the corner, probably already in stores at a high price. And someone at the studio told me that, "You, now, are at the brink between silent films and talkies." So there were people back then that were fantastic in silent films and that decided that talkies were horrible and they were not going to go there. Then there were others that made the bridge.

I decided for the sake of my film and for what I'd seen in that theater, it was looking pretty good. It was also with an understanding with the studio that I wasn't going to make it with things flying into your face, especially since the film was already shot. We were going to use it subtly and kind of make it in the way that the eye actually sees things. It was worth a shot and the film would get out there and it would also be out there in 2-D. We'll see what happens. I hope I haven't sold my soul!

It's interesting because there is one character in the film that is quite insane and it kind of comes on slowly, but within the span of a single scene. As a director, you can make that room start to distort very subtly in the course of a three-minute scene. You have another palette that you didn't have before. I'm trying not to throw it out because it's new and see what happens.

...There is an infrastructure that is very important at the level of theaters where it takes something like eight times as many lumens to push through the film in 3-D because you're looking through glasses. So you need extraordinarily bright projections. There is still the option for theater owners to put the bulb at half lumens so it'll last almost twice as long and the bulbs cost like $3,500 a piece. So there is always a problem at the level of the theater itself where they are pinching pennies and then it's dim and everyone says "3-D sucks!" but it's not that, it's the manager. I think it was 'Alice in Wonderland', that studio did a quality check at every single theater it played in. So that's what I think it will take, at least in the first two, three, four, five years before people catch up. But I can tell you that I've seen my films in 2-D back in the day, you know, coming fresh from the mix two weeks before when you go opening night, and there's a broken speaker in that theater and that guy is running it at half-lights and they have lights for people to walk up and down the aisles and it's like you just want to blow your brains out anyways.

[laughter]

So, in Los Angeles, there's a theater called the Arclight. The whole thing about it, you pay more, much more to see a film but it's perfect projection. Nobody is texting. You go in there to see a perfect quality production and it's a great thing and that's what it takes.

Thank you all for the great questions!