How was a teen Jamie Lee Curtis on the set of her first big movie? How did he pull off those awesome scenes without any digital effects?
Streaming October 12, Netflix’s series “The Movies That Made Us” sheds light on some of the darkest modern horror classics: “A Nightmare on Elm Street,” “Halloween,” and “Friday the 13th” — three horror renditions that lasted Went to see massive, lasting success.
The show’s creator and director, Brian Volk-Weiss, took The Post behind the scenes of those movies, revealing little-known facts about what it was like to make horror movies before any juiciness of the genre, some of the most The origins of strange characters – and the real horrors experienced on set.
In the “Halloween” screenplay, the killer Michael Myers is also known as The Shape. When director John Carpenter began shooting, his friend, Nick Castle, who had come to watch, donned a rubber mask — a horrifyingly altered Star Trek Captain Kirk mask — to appear in a shot as The Shape. did. It was not deeply thought out, Volk-Weiss told The Post. “Basically all these dudes were walking around. ‘Oh, you wanna play the bad guy? Sure!’ Castle played The Shep for most of the film—but the scene in which Myers is exposed is played by actor Tony Moran. (On top of Castle directing his own films, The Shep’s role in the later “Halloween” films) Will do.)
Veteran English actor Donald Pleasance, who played psychotherapist Doctor Loomis, did not like being in the film, and drank heavily. Shooting a scene in which his character rides in a car with a nurse, the pleasure was two bottles of deep wine – but thanks to a talk by Carpenter, who before that point tried to avoid encountering his only famous actor. had, he managed to provide a cool performance.
However, as a novice actress, Curtis stunned everyone as Laurie Strode. This was her big break, and at just 19 years old, she also helped carry film equipment. “I’m a friend [‘Halloween Kills’ director] David Gordon Green, and he says: Even then It does,” Volk-Weiss said. (Curtis is reprising the role of Laurie for the sixth time on Friday in the franchise’s latest installment, “Halloween Kills.”)
Essentially, there are goofs in “Halloween”: When the killer shatters the car window, you can see a wrench taped into the actor’s hand. Volk-Weiss has a theory about another error being edited in the new versions: “I’m positive, when I first saw this film, I could see the Steadicam reflected in the window,” he said. “Trust me if you found an ’80s VHS tape, you could watch it.”
‘Friday the 13th” (1980)
“This film started out as a poster,” Volk-Weiss said. Eager to capitalize on “Halloween,” director Sean Cunningham ran a Variety ad for “the most terrifying movie ever” in hopes of attracting investors. It worked. “There was a good response to the poster, so they made a movie!”
The style was just getting started. The term “horror movie” didn’t really exist until “Halloween” and “Friday the 13th,” a few years after “Rosemary’s Baby” and “The Exorcist.” In the case of “Friday,” they had all the right ingredients — Good looking men and women, blood, a scary thing.”
One of the things she doesn’t have is Jason, who (spoiler alert) isn’t the killer and doesn’t appear until the last frame. In fact, the infamous hockey mask doesn’t even come out until the third installment. “I remember looking at it and being like, ‘Where’s the hockey mask?’ Volk-Weiss said. “Imagine if in the first Batman movie, he didn’t dress up as Batman.”
“Friday the 13th” was created by a rookie crew. “The actors were the kids, the crew were the kids,” Volk-Weiss said. The make-up department was tasked with repairing Gary character deaths. Kevin Bacon’s Jack Burrell dies with a sharp arrow-to-throat wound – scene courtesy of a special effects man who hides under a bed, blowing liquid through a tube . “If you watch it now, it looks great!” Volk-Weiss said. “It’s the simplest trick in the world.”
Actor Harry Crosby – Bing Crosby’s son – saw his influence. “Making this movie, everything had the lowest common denominator,” Volk-Weiss said. This also included fake blood, which was made from cheap, dangerous chemicals. Crosby’s arrow-through-the-eye makeup leaked, leaving him blind for six months.
Despite an anemic budget, they found a composer, Harry Manfredini, who nailed the score: an echo of the first syllables of “kill” and “mother”.
“One of the hardest things in a low-budget film is you get sh-t music,” Volk-Weiss said. “The fact that they were able to find this guy who made the most memorable soundtrack ever – the right place, the right time.”
‘A Nightmare on Elm Street’ (1984)
Nascent director Wes Craven was inspired by a story he read in the Los Angeles Times about a series of sleep-deaths in the Cambodian community; Relatives thought that nightmares were to blame. “Nobody knows if that was really true, but people in the community, that was their path,” Volk-Weiss said.
Craven named his villain after Fred Krueger, who had been a schoolboy since childhood. “It’s a very personal film,” Volk-Weiss said. “If there’s one thing I’ve learned from directing ‘The Movies That Made Us’ to work on these levels of work, it’s not until you make a personal film.”
In one scene, Tina (Amanda Wise) is killed as she is beaten to death around her bedroom, on the walls and ceiling. Craven’s crew created a revolving room which, as Vice said in the episode, made him dizzy. “The spinning room is bonkers — it still looks great,” Volk-Weiss said. Another standout: the scene in which Depp’s character is sucked into his bed, which oozes blood—an homage to “The Shining.” The spinning chamber was re-used, but fake blood leaked into the equipment, causing electric shocks to some of the crew. “Not to the point of death,” said Volk-Weiss, “but I wouldn’t like that experience.”
The iconic knife glove was also dangerous; Kruger actor Robert Englund dissociated himself when he tried it for the first time. “Sometimes it just looks better on film,” Volk-Weiss said, “and you have to bite the bullet and make sure everyone is careful.”
The risks paid off. “There were five or six dozen other horror movies that year, and none of them were remembered,” Volk-Weiss said. “The fact that we’re still talking about this film tells you that it has heart.”