Сценарий фильма крик

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23 апреля 2010 г. в 15:37

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Крик [1996] (фильм)

КРИК

(фильм ужасов)

Автор: Кевин Уильямсон

31 июля 1995

Перевод: Гоша Маслов

(gosha_mas@mail.ru)

[dc]Скачать. Архив ZIP.[/dc]

Отрывок:

ПРИМЕЧАНИЕ ПЕРЕВОДЧИКА
ИНТ. /ЭКСТ. – действие происходит внутри и вне помещения соответственно.
ИЗ ЗАТЕМНЕНИЯ
ТЕЛЕФОННЫЙ ЗВОНОК
Молодая девушка, КЕЙСИ БЕКЕР, подносит трубку к уху. Ей не больше шестнадцати. Приветливое личико с невинными глазками.
КЕЙСИ
Алло?
МУЖСКОЙ ГОЛОС
(из трубки)
Привет.
Тишина.
КЕЙСИ
Да.
МУЖЧИНА
Кто это?
КЕЙСИ
А кому вы звоните?
МУЖЧИНА
Какой это номер?
КЕЙСИ
А какой вы набирали?
МУЖЧИНА
Не знаю.
КЕЙСИ
Мне кажется, вы набрали не тот.
МУЖЧИНА
Правда?
КЕЙСИ
Бывает. Не переживайте.
ЩЕЛЧОК! Она вешает трубку. Камера отъезжает, и мы видим, Кейси, в одиночестве стоящую в гостиной. Разобравшись с телефоном, она направляется на кухню. Дом довольно таки милый. Богатый.
Телефон снова ЗВОНИТ.
ИНТ. КУХНЯ
Кейси берет радиотрубку.
КЕЙСИ
Алло.
МУЖЧИНА
Извините. Кажется, я набрал неверный номер.
КЕЙСИ
Так зачем опять звоните?
МУЖЧИНА
Чтобы извиниться.
КЕЙСИ
Вы прощены. Пока.
МУЖЧИНА
Постой, постой, не вешай трубку.
Кейси стоит напротив раздвижной стеклянной двери, выходящей на задний двор. Снаружи абсолютная темнота.
КЕЙСИ
Что?
МУЖЧИНА
Я хочу минутку с тобой поговорить.
КЕЙСИ
Для этого есть телефон доверия. Пока.
ЩЕЛЧОК! Кейси кладет трубку и недобро усмехается.
ЭКСТ. ДОМ КЕЙСИ – НОЧЬ – ПЕРВЫЙ ВЗГЛЯД
Большой загородный дом с большой заросшей лужайкой и множеством дубовых деревьев. Соседских домов не видно – дом стоит отдельно.
Телефон снова ЗВОНИТ.
ИНТ. КУХНЯ
На плите в кастрюле шипит попкорн. Кейси прикрывает его крышкой и снова берет трубку.
КЕЙСИ
Алло?
МУЖЧИНА
Почему ты не хочешь со мной разговаривать?
КЕЙСИ
Кто это?
МУЖЧИНА
Скажи мне свое имя – и я скажу свое.
КЕЙСИ
(мешая попкорн)
Я так не думаю.
МУЖЧИНА
Что это за звук?
Кейси улыбается, невинно подыгрывая ему.
КЕЙСИ
Попкорн.
МУЖЧИНА
Ты готовишь попкорн?
КЕЙСИ
Ага.
МУЖЧИНА
Я его ем только в кинотеатрах.
КЕЙСИ
А я как раз собираюсь смотреть фильм.
МУЖЧИНА
Правда? Какой?
КЕЙСИ
Очередной ужастик.
МУЖЧИНА
Любишь ужастики?
КЕЙСИ
Ага.
МУЖЧИНА
А какой твой любимый?
Он с ней флиртует. Кейси отходит от плиты и садится у кухонного стола, как раз напротив стеклянной двери.
КЕЙСИ
Даже не знаю.
МУЖЧИНА
Ну, должен же быть какой-то.
Кейси секунду размышляет.
КЕЙСИ
Ну… «Хэллоуин». Ну, ты знаешь, тот, где парень в белой маске типа ходит везде, преследуя детских сиделок. А твой?
МУЖЧИНА
Угадай.
КЕЙСИ
Ну… «Кошмар на улице вязов»?
МУЖЧИНА
Это тот, в котором у парня вместо пальцев были ножи?
КЕЙСИ
Да… Фредди Крюгер.
МУЖЧИНА
Фредди! Точно. Мне понравился этот фильм. Он страшный.
КЕЙСИ
Первый – да, остальные – отстой.
МУЖЧИНА
А у тебя есть парень?
КЕЙСИ
(хихикая)
А что? Ты хочешь меня на свидание пригласить?
МУЖЧИНА
Возможно. Так есть?
КЕЙСИ
Нет.
МУЖЧИНА
Ты так и не сказала, как тебя зовут.
Кейси улыбается, накручивая прядь волос на палец.
КЕЙСИ
Зачем тебе мое имя?
МУЖЧИНА
Потому что я хочу знать, на кого смотрю.
Кейси резко разворачивается к стеклянной двери.
КЕЙСИ
Что ты сказал?
МУЖЧИНА
Я хочу знать, с кем я разговариваю.
КЕЙСИ
Ты не так сказал.
МУЖЧИНА
А как я сказал?
Кейси ВКЛЮЧАЕТ внешнее освещение. Яркий свет заливает задний двор. Ее взляд бегает по территории. Но там пусто. Никого. Она выключает свет.
На плите начинает СТРЕЛЯТЬ попкорн.
КЕЙСИ
Мне пора идти.
МУЖЧИНА
Подожди…я думал, мы куда-нибудь сходим вместе.
КЕЙСИ
А я так не думаю…
МУЖЧИНА
Не вешай трубку.
КЕЙСИ
Мне пора.
МУЖЧИНА
Не…
ЩЕЛЧОК! Кейси кладет трубку. Она дергает стеклянную дверь, проверяя, заперта ли она и идет к плите, когда…
ЗВОНИТ ТЕЛЕФОН
Она снимает попкорн с плиты и подходит к телефону.
КЕЙСИ
Да?
МУЖЧИНА
Я тебе говорил не бросать трубку.
КЕЙСИ
Чего ты хочешь?
МУЖЧИНА
Поговорить.
КЕЙСИ
Позвони кому-нибудь другому, ладно?
МУЖЧИНА
Страшно становиться?
КЕЙСИ
Нет — скучно.
ЩЕЛЧОК. Она кладет трубку. Телефон снова ЗВОНИТ. Она хватает трубку.
КЕЙСИ
Слушай, придурок…
МУЖЧИНА
(очень серьезно)
НЕТ, ЭТО ТЫ СЛУШАЙ, МАЛЕНЬКАЯ СУЧКА. ЕСЛИ ТЫ ПОЛОЖИШЬ ТРУБКУ, Я РАСПОТРОШУ ТЕБЯ КАК РЫБУ. ПОНЯЛА?
Мертвая тишина. Он полностью завладел её вниманием.
КЕЙСИ
Это какая-то шутка?
МУЖЧИНА
Скорее игра.
Кейси смотрит на стеклянную дверь, затем смотрит в коридор, ведущий к входным дверям… бежит к ним. Не заперто. Она закрывает задвижку.
КЕЙСИ
Я сейчас позвоню в полицию.
МУЖЧИНА
Им ни за что не успеть.
Кейси поворачивается к дверям, она смотрит в глазок.
ВИД ИЗ СМОТРОВОГО ГЛАЗКА
Искаженное изображение крыльца у дома. Пусто. Она немного расслабляется.
КЕЙСИ
Чего ты хочешь?
МУЖЧИНА
(с откровенной злобой)
УВИДЕТЬ, КАК ТЫ ВЫГЛЯДИШЬ ИЗНУТРИ.

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Scream
Theatrical release poster
Directed by	Wes Craven
Written by	Kevin Williamson
Produced by	Cathy Konrad Cary Woods
Starring	David Arquette Neve Campbell Courteney Cox Matthew Lillard Rose McGowan Skeet Ulrich Jamie Kennedy Drew Barrymore
Cinematography	Mark Irwin
Edited by	Patrick Lussier
Music by	Marco Beltrami
Production company	Woods Entertainment[1]
Distributed by	Dimension Films[1]
Release dates	December 18, 1996 (Los Angeles) December 20, 1996 (United States)
Running time	111 minutes[2]
Country	United States
Language	English
Budget	$14–15 million[3][4]
Box office	$173 million[3]

Scream is a 1996 American slasher film^[5] directed by Wes Craven and written by Kevin Williamson. The film stars Neve Campbell, David Arquette, Courteney Cox, Matthew Lillard, Rose McGowan, Skeet Ulrich, Jamie Kennedy, and Drew Barrymore. Released on December 20, it follows high school student Sidney Prescott (Campbell) and her group of friends in the fictional town of Woodsboro, California, who become the targets of a mysterious killer in a Halloween costume known as Ghostface. The film satirizes the clichés of the slasher genre popularized in films such as Halloween (1978), Friday the 13th (1980) and Craven’s own A Nightmare on Elm Street (1984). Scream was considered unique at the time of its release for featuring characters aware of real-world horror films who openly discussed the clichés that the film attempted to subvert.

Inspired by the real-life case of the Gainesville Ripper, Scream was influenced by Williamson’s passion for horror films, especially Halloween (1978). The screenplay, originally titled Scary Movie, was bought by Dimension Films and was retitled by the Weinstein brothers just before filming was complete. The production faced censorship issues with the Motion Picture Association of America and obstacles from locals while filming on location. The film received positive reviews and was a financial success, earning $173 million worldwide, becoming the highest-grossing slasher film until the release of Halloween (2018). It still remains the highest-grossing slasher film in adjusted dollars. It received several awards and award nominations. The soundtrack by Marco Beltrami was also acclaimed, and was cited as «[one] of the most intriguing horror scores composed in years».^[6] The score has since earned «cult status».^[7] Scream marked a change in the genre as it cast already-established and successful actors, which was considered to have helped it find a wider audience, including a significant female viewership.

Scream was credited with revitalizing the slasher genre in the 1990s, which was considered to be almost dead following an influx of direct-to-video titles and numerous sequels to established horror franchises of the 1970s and 1980s. Scream‘s success spawned a series of sequels.

Plot[edit]

High school student Casey Becker is home alone when she receives a phone call from an unknown person, during which they discuss horror films. The caller turns sadistic, refusing to leave Casey alone and threatening her life. He reveals that her boyfriend Steve is bound and gagged outside on her patio and demands she answer questions about horror films if she wants him to live. After Casey answers a question about Friday the 13th incorrectly, Steve is murdered in front of her. Refusing to answer more questions, Casey attempts to escape, but is cornered by someone wearing a «Ghostface» costume, who kills her before her parents arrive home to find her disemboweled corpse hanging from a tree.

News media descend on the town in the wake of the murders and a police investigation begins. Teenager Sidney Prescott struggles with the first anniversary of her mother Maureen’s rape and murder, while a news reporter, Gale Weathers, whom Sidney despises, arrives among the media. Gale was responsible for spreading rumors and conspiracy theories about Maureen’s death, insinuating that the imprisoned Cotton Weary, who was tried and convicted of Maureen’s rape and murder, was not responsible for the crime. That night, while waiting at home for her best friend Tatum Riley to arrive, Sidney gets a taunting phone call and is attacked by Ghostface. Sidney’s boyfriend Billy Loomis arrives immediately after. When he drops his cell phone, Sidney suspects him of making the call and flees. Billy is arrested and questioned, but later, at Tatum’s house, Sidney receives another ominous call.

The next day, Billy is released and suspicion shifts to Sidney’s father Neil Prescott, due to the ominous phone calls having been traced to his phone. After school is suspended in wake of the murders, Ghostface ambushes Principal Arthur Himbry and stabs him to death. Tatum’s boyfriend and Billy’s best friend, Stu Macher, throws a party to celebrate the school’s closure. Gale attends uninvited, as she expects the killer to strike again. Tatum’s older brother, Deputy Sheriff Dewey Riley, also looks out for the murderer at the party. Tatum goes out to the garage and is cornered by Ghostface, who crushes her neck with the garage door when she attempts to escape through the pet door. Many party attendees are drawn away after hearing of Himbry’s death, leaving only Sidney, Billy, their friend Randy Meeks, Stu, and Gale’s cameraman Kenny.

After having sex, Sidney and Billy are confronted by Ghostface, who stabs Billy. Sidney escapes from the house and seeks help from Kenny, but he is killed by Ghostface. Gale crashes her van while escaping and Dewey is stabbed in the back while investigating in the house, with Sidney taking his gun for protection. Randy and Stu show up and accuse each other of being the killer, but Sidney retreats back into the house where she finds a wounded Billy. After they let Randy inside, Sidney gives Billy the gun, who in turn shoots Randy, revealing himself to be the killer; Stu is revealed to be his accomplice by talking into a voice changer.

Billy and Stu corner Sidney in the kitchen and discuss their plan to kill her and pin the murder spree on her father, whom they have taken hostage. They also reveal that they murdered her mother and framed Cotton for it, as she was having an affair with Billy’s father, which drove his mother away. Gale intervenes, enabling Sidney to escape and turn the tables on the killers, taunting them with a phone call and donning the Ghostface costume, before knocking Billy out and killing Stu by dropping a television set on his head. An enraged Billy awakens and attacks Sidney, but Gale shoots him. Randy, wounded but alive, remarks that the killer always resurfaces for one last scare. As Billy rises, Sidney shoots Billy in the head, finally killing him. As police arrive, Dewey, badly injured, is taken away by ambulance as Gale makes an impromptu news report about the night’s events.

Cast[edit]

Production[edit]

Writing[edit]

Scream was originally developed under the title Scary Movie by Kevin Williamson, an aspiring screenwriter.^[8] Influenced by a news story he was watching about a series of grisly murders by the Gainesville Ripper, Williamson became concerned about intruders upon finding an open window in the house where he was staying.^[8] He was inspired to draft an 18-page script treatment about a young woman, alone in a house, who is taunted over the phone and then attacked by a masked killer.^[9] The treatment remained as a short story while Williamson worked on another script, Teaching Mrs. Tingle, a thriller that he would eventually sell but that would languish in development hell for many years.^[10] Struggling to pay his bills, Williamson secluded himself in Palm Springs and focused on the development of his Scary Movie treatment, hoping for a quick sale to meet his financial needs.^[8] Over the course of three days, Williamson developed a full-length script as well as two separate five-page outlines for potential sequels—Scary Movie 2 and Scary Movie 3. He hoped to entice buyers with the potential for a franchise.^[10][11] In an interview, Williamson said that one reason he focused on the Scary Movie script was because it was a film he wanted to watch, born of his childhood love of horror films such as Halloween, but «nobody else [was] making it».^[12] His appreciation for previous horror films became evident in the script, which was inspired by and references films such as Halloween (1978), When a Stranger Calls (1979), Friday the 13th (1980), Prom Night (1980), and A Nightmare on Elm Street (1984).^[13] Williamson listened to the soundtrack of Halloween for inspiration while writing the script. Excerpts from the soundtrack appear in the film.^[13]

By June 1995^[10] Williamson brought the Scary Movie script to his agent, Rob Paris, to put out for sale. Paris warned him that the level of violence and gore in his script would make it «impossible» to sell. Following the script’s purchase by Miramax, Williamson was required to remove much of the gorier content, such as graphic depictions of the internal organs of gutted murder victims «rolling» down their legs. However, once Craven was secured as director, he was able to bring much of the excised content back.^[13] Williamson was going to remove a scene in the school bathroom featuring Sidney, as he felt it was awkward and out of place in the film. Craven insisted the scene should remain, as he felt it developed the character and her relationship with her deceased mother. Williamson later confirmed that he was glad that Craven proved him wrong about the scene.

Dimension Films head Bob Weinstein realized while reviewing the script that there were thirty pages (approximately thirty on-screen minutes) without a murder, so he instructed Williamson to have another character killed. Williamson included the death of the character Principal Himbry (Winkler) based on this input and in doing so inadvertently resolved a problem in the script’s finale. Williamson had struggled to find a reason for several extraneous characters to leave a party scene so that the killer could attack, finally determining that the announcement of the discovery of Himbry’s corpse would serve to remove the non-essential characters, who decide to take a look at the corpse and leave the party before (and enabling) the start of the murders. Concerning the killers’ motives, Williamson felt it was essential for the audience to learn why the antagonists had become killers, but he also felt it was potentially scarier if they had no motivation. Opinions at the studio were split between those who believed a motive was needed for resolution and those who felt the action was scarier without one. As there were two killers, Williamson decided to do both: Billy Loomis had the motive of maternal abandonment, while the second killer, Stu Macher, jokingly suggests «peer pressure» as his motive when prompted.

Development[edit]

The script for what was then known as Scary Movie went on sale on a Friday in June 1995, but received no bids.^[8] By the following Monday, the script had become the subject of a significant bidding war among a host of established studios, including Paramount Pictures, Universal Pictures, and Morgan Creek Productions.^[15] Producer Cathy Konrad read the script and felt it was exactly what the Weinstein brothers of the fledgling Dimension Films – then a part of Miramax – were looking for. Dimension had previously released several horror films and intended to focus on that genre. Konrad brought the script to Bob Weinstein’s assistant, Richard Potter. Believing it had potential, he brought it to Weinstein’s attention.^[9] Studios began to drop out of the bidding as the price of the script increased, and the final two bidders were Oliver Stone, who was at the time working under Cinergi Pictures, and the Weinsteins of Dimension Films.^[10] Williamson agreed to a bid of $400,000 from Miramax, plus a contract for two sequels and a possible fourth unrelated film. Williamson said he chose Dimension because he believed they would produce Scary Movie immediately and without significantly censoring the violence in the script.^[10][13] Craven read the script before he became involved in the production, and considered convincing a studio to buy it for him to direct. However, by the time Craven read the script, it had already been sold.^[8]

Bob Weinstein approached Craven early in the planning stages, because he felt Craven’s previous work in the genre that combined horror and comedy would make him the perfect person to bring Williamson’s script to screen. Craven was already busy developing a remake of The Haunting and was considering distancing himself from the horror genre. He was growing weary of what he felt was an inherent misogyny and violence in it.^[9] Weinstein approached other directors, including Robert Rodriguez, Quentin Tarantino,^[16] Danny Boyle,^[17] George A. Romero, and Sam Raimi.^[9] Williamson said they «didn’t get it»; he was concerned that having read the script, many of the directors believed the film to be purely a comedy.^[17] Craven was approached again but continued to pass in spite of repeated requests. When production of The Haunting collapsed, Craven was freed from that commitment and found himself in need of a project.^[13] Meanwhile, Drew Barrymore had signed on to the film at her own request. When he heard an established actress wanted to be involved, Craven reasoned that Scary Movie might be different from other films of the genre he had previously undertaken, and he contacted Weinstein to accept the job.^[9] Craven was committed to keeping the film’s title Scary Movie.^[18]

As the film neared completion, the Weinstein brothers changed the film’s title from Scary Movie to Scream.^[10] They were inspired by the Michael Jackson song of the same name.^[19] Bob Weinstein considered Scary Movie to be an unsuitable title as, in addition to the horror and violence, the film contained elements of satire and comedy; Weinstein wished for that to be better conveyed by the title. The change was effected so late into production that congratulatory gifts bore the original name.^[9] Williamson and Craven immediately disliked the new title, and considered it «stupid». Both later remarked that the change turned out to be positive, and that Weinstein had been wise to pick the new title. Following a screening of the film in front of a test audience and Miramax executives, Craven was offered a two-picture contract for sequels to Scream.^[13]

Sony Pictures filed a lawsuit against Dimension Films and Miramax, claiming that the title «Scream» infringed on the copyright of Sony’s own Screamers (1995), released the previous year. After the case was settled out of court—the details remain confidential—Scream 2 producer Marianne Maddalena considered that the case was a result of other issues between the two companies and did not truly pertain to the film’s moniker. Maddalena confirmed that the studio was free to use the Scream brand for future films.^[11]

Casting[edit]

Scream was a turning point in terms of casting for the horror genre, which normally involved relatively unknown actors. The genre was considered unsuitable for bigger names as the films had lower budgets and often attained negative critical response.^[11] Drew Barrymore read the script and was interested in being involved. She approached the production team herself to request a role. Barrymore, a member of the Barrymore family of actors and granddaughter of actor John Barrymore, had become a star in her own right following her appearance in E.T. the Extra-Terrestrial (1982). The producers were quick to take advantage of her unexpected interest, and signed her to play the lead role of Sidney Prescott.^[8][10] Her involvement was believed to be instrumental in attracting other popular actors to the film in spite of its smaller budget, and in causing Craven to reconsider his decision to direct the film.^[8] Before filming began, Barrymore was faced with unexpected commitments that meant she would no longer be available to play the lead role. She instead played the smaller role of Casey Becker, which allowed her to remain involved and still gave the production the advantage of her stature.^[10] Killing off one of their biggest stars early in the film was considered a calculated risk, but it was believed that it would be so shocking and unexpected that audiences would then believe that any character could die. Craven had seen Neve Campbell in the television series Party of Five and asked her to audition for the part of Sidney. He believed she could play a character who was «innocent», but who could also realistically handle herself while dealing with the physical conflict and emotions required by the role.^[8] Campbell was initially reluctant to star in another horror film so soon after her supporting role in The Craft (1996).^[8] After a successful audition, Campbell accepted an offer to play Sidney. She accepted because Scream would be her first leading role, and because she adored the character, saying «She’s a fantastic character for any kind of movie.»^[17]

For the role of news reporter Gale Weathers, the studio wanted a recognizable actress. They auditioned Brooke Shields and Janeane Garofalo.^[9] Courteney Cox, who was starring in the sitcom Friends at the time, approached the production to pursue the role. She was interested in playing a «bitch» character to offset her «nice» Friends image. This image was the main reason why the producers initially refused to consider Cox for the part. Cox continued to lobby the studio as she felt she could believably play the character; her efforts ultimately succeeded.^[8] Rose McGowan was cast as Tatum Riley: the casting director believed she best embodied the «spunky», «cynical» yet «innocent» nature of the character.^[9] The studio felt the strong female cast of Campbell, Barrymore, Cox, and McGowan would help draw a significant female audience to the film.

Skeet Ulrich was cast in the role of Sidney’s boyfriend Billy Loomis. The producers viewed him as «perfect» for the part and noted his resemblance to a young Johnny Depp who appeared in A Nightmare on Elm Street, one of the many films referenced in Scream.^[9] Ulrich and Campbell had worked together on The Craft shortly before Scream, and believed their experience on the former film helped them be more comfortable with each other, which allowed a more natural portrayal of the relationship between their characters.^[17] David Arquette was also approached for the role of Billy Loomis but he asked to read for the part of Dewey Riley after reading the script. The role, described as «hunky», was considered ill-fitting for Arquette’s lean, slender appearance and approach but Arquette was still allowed to audition for the part. Craven appreciated his softer, funnier approach to the character, and gave him the role.^[8] Matthew Lillard was cast as Billy’s equally sadistic friend Stu Macher by chance after accompanying his then-girlfriend to an unrelated audition taking place elsewhere in the same building. Casting director Lisa Beach saw Lillard in the hallway and asked him to audition for the part.^[9] He got into the role with «incredible ferocity».^[13] Lillard would later confirm that he initially was supposed to audition for the role of Billy, but he was eventually persuaded to come back and audition for Stu instead.^[20] The role of Randy Meeks was contested between Jamie Kennedy and Breckin Meyer. The producers favored Kennedy, believing him to best embody the role.^[9] As he had no major roles prior to Scream, the studio wanted a more prominent actor than Kennedy to play the character. The producers were adamant that he was the best choice and successfully fought to keep him.^[10] According to Kennedy, Jason Lee and Seth Green were in the running for the role as well.^[21] Roger L. Jackson, voice of the character Ghostface, was picked at the end of several weeks of local casting in Santa Rosa, where parts of Scream were filmed.^[22] The producers had originally intended to use his voice only as a placeholder, dubbing over it during post-production. They decided that Jackson’s contribution was perfect and kept it. Craven described it as an «intelligent» and «evil» voice that would become irreplaceable to the series.^[24] To aid their performances, Jackson was never allowed to meet the other actors, preventing them from associating a face with the menacing voice. Jackson was present on the set and spoke to actors by phone to help aid their performances.

The cast was rounded out by W. Earl Brown, who played Gale Weather’s cameraman Kenny; Joseph Whipp, who portrayed Sheriff Burke; Lawrence Hecht as Neil Prescott (Sidney’s father); and C.W. Morgan as Hank Loomis (Billy’s father). Liev Schreiber appeared in a minor role as Cotton Weary, the framed killer of Sidney’s mother, and Linda Blair made a brief cameo as a TV reporter outside the school. Henry Winkler appeared as Principal Himbry, an aggressive school principal. He remained uncredited so as to not draw attention away from the young main cast.

Filming[edit]

Principal photography for Scream took place over eight weeks between April 15 and June 8, 1996, on a budget of $15 million.^[25] The Weinsteins wanted to film in Vancouver as it was estimated that they could save $1 million in costs compared to shooting in the United States.^[9] Craven was adamant about filming in the United States, and making a film that looked «truly American». The argument over where to film almost led to Craven being removed from the project, but the Weinsteins eventually agreed to keep the production in America.^[9] Location scouts looked at North Carolina as a possibility, but found that sites that seemed appropriate for the film’s requirements would have required extensive building, repairs, or modification, which would have inflated costs.^[8]

Attention was next turned towards California; scouts discovered Sonoma County and the cities of Santa Rosa, Healdsburg, and the nearby Tomales Bay. The house of Barrymore’s character is situated southeast of Santa Rosa on Sonoma Mountain Road, directly facing the house used in the horror film Cujo (1983). The home of Sidney Prescott is located near Calistoga, north of Santa Rosa.^[22] Tatum’s home is situated on McDonald Avenue in Santa Rosa, next to the houses used in Pollyanna (1960) and Shadow of a Doubt (1943).^[26] The home of Lillard’s character, which is the location for the entire third act, is a house on Tomales Road east of Tomales Bay that had only recently become available after the death of its owners. The Woodsboro town square, including the fountain where many of the cast sit in an early scene, is represented by the Healdsburg town square.^[22]

For the Woodsboro high school, Craven desired a building that looked «American»,^[9] and the producers approached Santa Rosa High School. The school board insisted on seeing the script and immediately objected to the violence against teenage children and the cynical, dark dialogue, including that of the fictional school principal.^[10] Local newspapers criticized the project, and irate parents objected to such a film taking place at their children’s school. Comparisons were made between film violence and the kidnap and murder of Polly Klaas three years prior, which had left the area sensitized toward violence.^[9] The producers received support from the school’s students and some local residents, who recognized that economic benefits would be generated by the film’s presence. Others argued for the film’s First Amendment rights. The dispute resulted in a three-hour debate scheduled for April 16, one day after filming was to begin. Unwilling to be delayed, Craven began filming as scheduled on the 15th. He started with the opening scene of the film, which features Barrymore;^[10] the scene took five days to complete.^[15] The result of the Santa Rosa debate was that permission would be denied. The production was forced to find another location for the school, and ended up filming at the Sonoma Community Center, southeast of Santa Rosa.^[10]

The progress of filming was criticized early on. Bob Weinstein disliked the Ghostface mask, believing it was not «scary». Upon reviewing the dailies footage of the opening scene, the studio was concerned that the film was progressing in an unwanted direction. They considered replacing Craven.^[9] To assuage their concerns, Craven and editor Patrick Lussier developed a rough workprint version of the opening 13 minutes of the film to demonstrate how the completed film might turn out. After viewing the new footage, the studio was content to let Craven continue as director. Weinstein, having seen the mask in action, was satisfied that it could be scary.^[9] The third and final act of the film, over forty minutes long, is set at a house party where Ghostface strikes. It was shot at a vacant property in Tomales over 21 nights.^[9] The scene, labeled «Scene 118», was considered the most difficult to shoot as it took place entirely in one location yet featured the individual stories and deaths of multiple characters. Actors spent weeks undertaking intense emotional and physical scenes while coated in fake blood and wounds. As the scene was set during the evening, production had no choice but to halt at dawn.^[9]

Director of photography Mark Irwin was fired during filming of Scream‘s finale, a week before principal photography was to be completed. Upon review of the dailies, Craven found the footage was out of focus and unusable.^[9] Irwin was initially ordered to fire his camera crew. He retorted that if his crew were to be fired, they would also have to fire him. The producers fired him and replaced him with Peter Deming, who finished the film.^[9]

Special effects and design[edit]

To produce the many grisly effects for the film, the producers recruited KNB Effects team Howard Berger, Robert Kurtzman, and Gregory Nicotero. One of their first tasks was the production of a mask for the film’s killer. In his script, Williamson had only described the antagonist as a «masked killer», which gave Craven no specific information on what type of mask to use or how to conceal the body. While location scouting, Maddalena discovered the Ghostface mask hanging from a post inside the house previously used for the film Shadow of a Doubt.^{[9][27][28][29]} Craven wanted to use it, but the mask design was owned by Fun World, a costume company. He was told to create one that the production could own.^[9] KNB developed multiple design sketches varying from deformed faces to monstrous visages riddled with fangs. Craven found nothing like the Ghostface design, so he had KNB develop a mask that was based on it, with enough differences to avoid any claim of copyright. The team developed several molds based on the Ghostface design, but Craven found none were as suitable as the mask he wanted to use.^[9] Desperate to use the design, Craven finally convinced the studio to approach Fun World and gained permission to use the mask. While negotiations were in progress, he had KNB make a mask that was very similar to the original mask, but was appropriate for use in filming. The mask they produced, made of a thin foam, was used in two scenes of the film: the opening scene with Barrymore’s character and the murder of Principal Himbry. Craven disliked the mask due to its slight differences from the original, and thus used the Fun World design for the rest of filming.

KNB Effects created over 50 gallons of fake blood, normally composed of corn syrup and food dye, to create the special effect of severe wounds.^[10] For the penetrating effect of knives, the production used collapsible blades to prevent injury. An umbrella with a retractable tip is used as a stabbing weapon in the finale. Ulrich wore a protective vest beneath his shirt to help prevent harm while a stuntwoman attacked him with it. The second thrust missed the vest and stabbed Ulrich on his chest, impacting a wound from an open heart surgery operation. Ulrich’s genuine pain was captured on film and used in the release version of Scream.

Two of the most complex special effects in the film were the corpses of Barrymore’s and Walls’ characters, Casey Becker and Steve Orth.^[10] Their deaths involved the character being gutted from ribcage to pelvis, essentially hollowing out the torso of internal organs,^[30] with the guts «rolling» from the wound.^[13] To allow Walls to continue to move and feign death while displaying the wound, KNB designed a chair with no back. The actor would kneel behind it while his upper body, head, and arms were positioned within the chair’s seating area.^[10] An anatomical model representing the character’s torso and legs was positioned in the chair and disguised so that the actor’s upper body and the model appeared to be one piece. The fake abdomen was filled with rubber, latex, and gelatin pieces smeared in fake blood—the «internal organs» – which could then fall free.^[10] The other effect involved Barrymore’s character being gutted and hanged by the neck from a tree. The team utilized a similar approach, but replicated Barrymore’s entire body, as it would be impossible to conceal her real body and display the special effect of her character having been gutted.^[10]

Post-production[edit]

After filming was completed in June 1996, Craven spent two months editing the final product. He encountered repeated conflicts with the Motion Picture Association of America film rating system (MPAA) concerning the content of scenes. He was forced to tone down or obscure the more intense scenes and overall violence to avoid an NC-17 rating, which is considered «box office suicide»—cinemas and retail chains often refused to stock NC-17 titles.^[31] Though Dimension had previously released NC-17-rated films, the rating made those films difficult to market and attract an audience. Dimension was desperate for a less-restrictive R rating, but the producers felt the demanded cuts would remove key elements from the film and reduce its quality.^[10] The opening scene featuring Barrymore was one of the most difficult parts to process through the MPAA, who required cuts based on its «intensity». Craven lied to the MPAA, claiming he had only one take of the scene and could not replace it with something less intense; the MPAA allowed the scene.

Craven sent eight different cuts of the film to deal with complaints. Problematic scenes included the gutting death of Steve Orth (Walls), where he was required to remove any movement of the character’s internal organs; the throat-cutting of Kenny, where he had to trim the end of the scene, as the MPAA felt the actor’s pained expression was too «disturbing»; and they had to shorten the length of time spent viewing the crushed head of Tatum Riley.^[13] The MPAA still held issue with a scene from the finale, where the killers (Ulrich and Lillard) stab each other, creating large amounts of visible blood. The MPAA required that the blood not be seen in motion—falling to the floor from the body. It seemed unlikely that the film would be able to achieve an R rating without further significant cuts.^[13] With the film’s release date drawing closer, Bob Weinstein intervened and personally contacted the MPAA. He believed they misunderstood the film and to which genre Scream really belonged, and were focusing too much on the horror elements.^[9] Weinstein explained that although he agreed with their assessment that the film was «intense», the film also had comedic elements and satire; it was not just a horror film glorifying violence.^[9] The MPAA reviewed their decision; shortly thereafter the film was granted an R rating.^[10]

Music[edit]

The Scream score was provided by fledgling composer Marco Beltrami, his first time scoring a feature film. Craven’s assistant Julie Plec had requested input on composers who were «new», «fresh», and «wonderful», and was given Beltrami’s name by several people. Beltrami was contacted for samples of his work. Craven, impressed by what he heard, requested Beltrami come to the set to view the opening thirteen minutes of the film containing the introduction and the death of Barrymore’s character. Beltrami was tasked with scoring a piece of music for this scene, which would be reviewed by the producers and the Weinstein brothers. Beltrami was hired to score the entire film on the basis of this sample.^[32] Beltrami had no prior experience scoring a work of horror. Craven and editor Patrick Lussier advised him on how to deliver music that would raise the tension and how to use stings to punctuate the more intense moments.^[32][33] Craven wanted the music to intentionally raise tension during scenes where audience expectations were already raised by their experience of previous horror films. The volume would be raised to indicate that the killer is hiding behind a door, but nothing would be present upon its opening.

Beltrami decided to intentionally disregard conventional horror score styles. He approached the film as a western, taking influence from Ennio Morricone, a prolific composer for many westerns.^[34] When scoring a theme for the character of Dewey (Arquette), Beltrami approached him as a «quirky» wild west sheriff, using a Morricone-style guitar accompaniment.^[35] Sidney Prescott’s theme, titled «Sidney’s Lament», features a female choral arrangement expressing «sorrow» concerning the character’s situation. Beltrami states that the voice «spoke» for the character, «lamenting» the loss of her mother.^[33] Christian Clemmensen of Filmtracks called the «haunting» vocals of the track the «voice of the franchise». The song was used throughout the film’s sequels.^[7]

Release[edit]

Theatrical[edit]

Scream held its premiere on December 18, 1996, at the AMC Avco theater in Westwood, Los Angeles, California.^[36] Bob Weinstein ordered that the film be released on December 20, 1996, a date others were critical of as it was the Christmas period where seasonal and family films were more prevalent.^[9] Weinstein argued this fact was in the film’s favor as it meant that horror fans and teenagers had nothing interesting to watch during the December period.^[9] When Scream‘s first weekend takings amounted to only $6 million, it was considered that this release date gamble had failed, but the following week, takings did not drop but increased and continued to increase in the following weeks leading to a total U.S. gross of over $100 million and high critical praise.^[9]

In cooperation with rights holder Paramount Pictures, Fathom Events said it would re-release Scream in theaters for one night on October 10, 2021.^[37]

Home media[edit]

Scream was released in the United States on Dolby Digital (AC-3) LaserDisc (uncut) on July 2, 1997,^[38] VHS on June 24, 1997, and a special release with the Scream 2 trailer on December 2, 1997,^[39] and on DVD on December 3, 1997.^[40] A DTS LaserDisc uncut version was released on August 26, 1998,^[41] followed by a collector’s edition DVD of the film on December 8, 1998,^[42] containing the film, the theatrical trailer, cast interviews, a director’s commentary, and behind the scenes information.^[43] These releases were all undertaken by Buena Vista Home Entertainment. Following the release of Scream 3, Scream and its first two sequels were collected in «The Ultimate Scream Collection» by Buena Vista Home Entertainment on September 26, 2000, a boxset containing the three films^[44] and a bonus disc containing «Behind the Scream», a 30-minute documentary about the production of the three films, and additional material, including screentests and outtakes. Scream was also released on LaserDisc in France, Hong Kong, Japan, and the United Kingdom in 1997; and in Germany and as a special edition in Japan in 1998.^[45]

Scream remained unreleased on DVD in some foreign territories, including Europe, until 2001. The Japanese DVD was released on December 23, 1998^[46] contained both the R-rated version of the film, plus the original «Director’s Cut», which restored the gore/violence removed by the MPAA.^[47] Scream was released in Europe with Scream 2 and Scream 3 on February 26 by Buena Vista Home Entertainment. Each package contained additional content found in the Collector’s Edition version of the US release, including deleted scenes, outtakes, theatrical trailers, music videos, and crew commentary.^[48][49][50] The three films were also sold as a collection called the «Scream Trilogy», released on February 26, 2001.^[51]

On March 29, 2011, two weeks prior to the release of Scream 4, Scream was released in US territories on Blu-ray by Lionsgate Home Entertainment. The Blu-ray presents the films in 1080p high definition. The releases contain all the additional materials found on the Collector’s Edition DVD, but not the material from the boxset bonus disc.^[52]

On October 19, 2021, for its 25th anniversary, Paramount released a newly remastered 4K version of the film on Ultra HD Blu-ray.^[53] Blu-ray.com praised the new transfer as a significant improvement over the 2011 Blu-ray.^[54]

Reception[edit]

Box office[edit]

The film opened in 1,413 theaters, taking $6.4 million in its opening weekend, opening in second against Beavis and Butt-head Do America,^[55] and almost $87 million in its initial release. It was re-released to theatres on April 11, 1997, and accrued a further $16.2 million,^[56] for a total domestic gross of $103 million,^[55] and a worldwide lifetime gross of $173 million.^[55] Scream remains the most successful of the Scream film series, receiving a largely positive critical reception. Scream 2 generated a worldwide gross of $172 million, less than $1 million below that of the first film, $11 million more than Scream 3, and $75 million more than Scream 4. As of 2013, Scream is currently the 577th highest-grossing movie worldwide.^[57] In the United States, without adjusting for inflation, the film is the twentieth highest-grossing horror film,^[58] and remained the highest-grossing slasher film until it was surpassed by Halloween (2018), directly followed by Scream 2 and Scream 3.^[59] Adjusted for inflation, the film would have doubled its gross to $346 million.^[60]

Despite competition from other box office fare such as Tom Cruise’s Jerry Maguire and Tim Burton’s Mars Attacks!, its release during the Christmas season, and Variety labeling it «D.O.A.» before it was even released,^[8] Scream became the fifteenth highest-grossing film of 1996, well placed amongst big-budget blockbusters released that year such as Independence Day and Mission: Impossible. It was shown in cinemas for nearly eight months after its release.^[9][61]

Critical response[edit]

On review aggregator Rotten Tomatoes, the film holds an approval rating of 80% based on 84 reviews, with an average rating of 7.3/10. The website’s critical consensus reads, «Horror icon Wes Craven’s subversive deconstruction of the genre is sly, witty, and surprisingly effective as a slasher film itself, even if it’s a little too cheeky for some.»^[62] On Metacritic, the film received a weighted average score of 65 out of 100 based on 25 critics, indicating «generally favorable reviews».^[63]

Peter Stack of the San Francisco Chronicle appreciated the shift from the teen slasher films of the 1980s and their «endless series of laborious, half-baked sequels».^[64] Kevin Thomas of The Los Angeles Times called Scream «a bravura, provocative sendup of horror pictures» and complimented the film for being «scary and gruesome» while avoiding a sense of «morbidity».^[61] Empire‘s Adam Smith called it «Clever, quick and bloody funny».^[65] Williamson’s script was praised as containing a «fiendishly clever, complicated plot» which «deftly mixes irony, self-reference and wry social commentary with chills and blood spills».^[66] Time Out London lauded the film’s intelligence and scares, while praising the casting, saying «at last, a horror movie to shout about!»^[67] Film4 cited Craven’s own Wes Craven’s New Nightmare (1994) and its cast of self-aware characters as inspiration for Scream, but declared that while New Nightmare was a «noble failure – pretty smart, but crucially not very scary» that Scream was «not merely clever … it is, from its breathtaking opening sequence (with Barrymore as the woman in peril) onwards, simply terrifying».^[68]

Roger Ebert of the Chicago Sun-Times gave the film a positive review of 3 out of 4 stars, appreciating «the in-jokes and the self-aware characters», but was confused over whether the level of violence was «defused by the ironic way the film uses it and comments on it».^[69] The New York Times‘ Janet Maslin was not as appreciative, saying «not much of Scream is that gruesome». She wrote that Craven «wants things both ways, capitalizing on lurid material while undermining it with mocking humor. Not even horror fans who can answer all this film’s knowing trivia questions may be fully comfortable with such an exploitative mix.»^[70] Despite being critical of the film itself, calling it «one experiment that needed more lab time», Variety complimented the «strong» ensemble cast, singling out the performances of Campbell and Ulrich as «charismatic».^[71] The BBC claimed that the film had promise, saying «It appeared to be clever, dangerous, witty, and fresh» but went on to label it as derivative of the films it satirized: «Scream runs out of humour, and in turn robs itself of the chance to get the audience to take the thrills and gut-spills it offers seriously.»^[72]

Accolades[edit]

Scream received several awards and award nominations following its release, including the Saturn Award for Best Actress for Campbell, Best Writing for Kevin Williamson, and Best Horror Film; it received Saturn nominations for Best Director for Wes Craven and Best Supporting Actor for Ulrich and Barrymore.^[73] Craven was awarded the Grand Prize at the Gérardmer Film Festival.^[74][75] The film was awarded the 1997 Best Movie by the MTV Movie Awards, while Campbell received a nomination for Best Female Performance.^[76]

Year	Award	Category	Work	Result	Ref.
1996	International Horror Guild	Best Film	Scream	Won	[77]
Saturn Award	Best Actress	Neve Campbell	Won	[73]
Best Direction	Wes Craven	Nominated	[78]
Best Horror Film	Scream	Won	[73]
Best Supporting Actor	Skeet Ulrich	Nominated	[78]
Best Supporting Actress	Drew Barrymore	Nominated	[78]
Best Writing	Kevin Williamson	Won	[73]
1997	MTV Movie Award	Best Female Performance	Neve Campbell	Nominated	[79]
Best Movie	Scream	Won	[79]
Gérardmer Film Festival	Grand Prize	Wes Craven	Won	[74][75]

Albums[edit]

Soundtrack[edit]

Scream: Music from the Dimension Motion Picture
Soundtrack album by Various artists
Released	December 17, 1996
Genre	Alternative rock
Length	46:30
Label	TVT
Producer	Marco Beltrami Tony Cohen Kelley Deal Ed Gerrard Tim Harper Timothy London Tim Patalan Jefferey Rabhan Chris Randall[80]
Scream soundtrack chronology
Scream: Music from the Dimension Motion Picture (1996) Scream 2: Music from the Dimension Motion Picture (1997)

The Scream original soundtrack was released on December 17, 1996, by TVT Records. The soundtrack features 11 songs—most of which appeared in various scenes in the film—plus a piece from the film’s score, «Trouble in Woodsboro» / «Sidney’s Lament», by Beltrami. The Alice Cooper version of «School’s Out» appeared in the film following the closure of Woodsboro high school, but it was replaced with a cover version of the song by The Last Hard Men on the album. An acoustic cover of Blue Öyster Cult’s «Don’t Fear the Reaper», performed by Gus Black, plays softly in the background while Sidney and Billy discuss their relationship. The song was also one of the few songs featured in John Carpenter’s Halloween, a film to which Scream makes repeated homage. Analyst Jeff Smith describes the musical choice as:

An ironic comment on the brutality we have just seen in the opening sequence. More importantly, however, the allusion to the Blue Öyster Cult classic recasts the song’s title by literalizing its meaning. While the title itself invokes the Reaper as a popular symbol for death, the film presents us with an actual person, who not only dresses as the Grim Reaper but also unleashes homicidal vengeance on the other characters of the film. The irony here, of course, is that Billy himself proves to be one of the film’s dual slashers and is, in fact, the «Reaper» to be feared.^[81]

The song «Red Right Hand» by Nick Cave and the Bad Seeds, heard in the first film, is also used in Scream 2, Scream 3 and Scream (2022). Nick Cave performs a version of the track written specifically for Scream 3 in that film. An alternate version of the music video «Drop Dead Gorgeous» by Republica, featuring clips from the film, was shown on music networks such as MTV. Although the song can be heard in the film, it is only included on the European edition of the soundtrack album. The song was also used in one of the film’s television commercials. The soundtrack album was not considered a success, failing to chart on the US Billboard 200.^[82] AllMusic awarded the album 3 stars out of 5.^[83]

Score[edit]

The Scream score by Marco Beltrami was released by Varèse Sarabande on July 14, 1998, on a CD titled «Scream/Scream 2», which also contained tracks from the score of Scream 2.^[6] The release consisted of only six tracks—»Sidney’s Lament», «Altered Ego», «A Cruel World», «Trouble in Woodsboro», «Chasing Sidney», and «NC-17»^[7]—with a runtime of only 12 minutes, compared to over an hour of music made for the film and the more common 30–45 minutes of music found in other original scores.^[6] Some reviewers felt the restricted runtime was a result of the high cost of releasing a composer’s music commercially, combined with Varèse Sarabande’s unwillingness to pay.^[84]

The score to Scream received generally positive reviews, with Mikael Carlsson labeling it as «some of the most intriguing horror scores composed in years».^[6] Filmtracks.com claimed the scores had «cult status», awarding it 3 stars out of 5.^[7] AllMusic said that the score «perfectly captured the post-modern, hip scare-ride of the Scream movies», also giving it 3 stars out of 5.^[85]

Sequels[edit]

Williamson had attached five-page proposals for potential sequels to Scream when he originally sold the script, hoping to entice prospective buyers into buying a film and a franchise. When Dimension Films bought the script, they secured Williamson for two future Scream films, should the original prove successful.^[10][13] After a highly positive test screening of Scream at which executives from Dimension Films and Miramax were present, Craven was signed to direct the two sequels.^[13] After the film’s box office and critical success, the first sequel was greenlit and sent into production while Scream was still in theaters. The second picture was given an increased budget. The surviving cast—Campbell, Cox, Arquette, Kennedy, and Schreiber—all returned, as well as much of the original crew, including editor Patrick Lussier and composer Marco Beltrami.^[11] A third film followed shortly after, again with the crew and surviving cast returning to create what was, at the time, the concluding film in the Scream trilogy. The three original films, released in a five-year period, followed the story of Sidney Prescott’s encounters with a succession of killers adopting the Ghostface disguise. The films also analyze her relationship with her deceased mother, who inadvertently initiates the events depicted in the films.^[30][86][87] Scream 2 fared as well financially and critically as its predecessor,^[55][88] while Scream 3 fared significantly worse on both counts, with critics deriding the film as having become what the original had so deftly satirized.^[89]

Fifteen years after the release of Scream and eleven years after the release of the last film in the series, The Weinstein Company released a new sequel, Scream 4, in April 2011.^[90] Campbell, Cox and Arquette all returned to their roles, and Craven, Williamson, and Beltrami returned to the production side. The Weinstein Company stated that the success of Scream 4 could have led to potential sequels and a new Scream trilogy,^[91] with Campbell,^[92] Arquette,^[93] Craven,^[91] and Williamson^[94] all having been contracted or expressed interest in appearing in future installments.

A fifth Scream film was released in January 2022, with Matt Bettinelli-Olpin and Tyler Gillett directing and Kevin Williamson producing.^[95] Neve Campbell reprised her role as Sidney Prescott in the film,^[96] along with Courteney Cox, David Arquette^[97] and Skeet Ulrich.

Controversies[edit]

In the years following the release of Scream, the film has been accused of inspiring copycat crimes and inducing violent acts.

In January 1998, 16-year-old Mario Padilla and his 14-year-old cousin, Samuel Ramirez, stabbed Mario’s mother, Gina Castillo, 45 times, killing her. The case became known as the «Scream murder» and fell under intense media scrutiny after the boys claimed they were inspired by Scream and Scream 2. The pair confessed to needing the money acquired from Gina’s murder to fund a killing spree, which would include purchasing two Ghostface costumes, as well as a voice-changer used by the characters in the films. During their trial, Madeline Levine, a psychologist who studied the effect of violence on children, stated, «There were a whole bunch of reasons why they acted out that way. But did the movie provide a blueprint? Absolutely.»^[98] The case was expected to highlight the effect of violent films on teenagers. However, presiding judge John Cheroske ordered that evidence pertaining to Scream be barred and that the case not be referred to as the «Scream murder», refusing media access to the courtroom, intending that the case be tried as murder and nothing else.^[10][98]

On January 17, 1999, 13-year-old Ashley Murray was stabbed multiple times in the head and back before being left for dead by his friends Daniel Gill, 14, and Robert Fuller, 15. He was later found and saved by an elderly man walking his dog. The pair were dubbed the «Scream attackers» after it emerged that they had watched Scream shortly before the attack and drawings of the Ghostface mask were found among their possessions. Their actions were additionally blamed on physical abuse, drugs and exposure to black magic in their home life.^[99] Murray, who later testified against the pair, stated that he believed the film may have influenced the pair to attack him.^[100]

On May 4, 1999, following the Columbine High School massacre and increasing news media reports on the effects of violent films, games, and other media on society, the United States Senate Commerce committee held a hearing about Hollywood’s marketing of films to youths. The committee focused specifically on horror films. The opening scene of Scream, featuring the murder of Casey Becker, was shown to the committee as an example of negative media which may be viewed by children.^[10][101]

On June 3, 2002, a 17-year-old boy lured his friend, 15-year-old Alice Beaupère, out of her parents’ house in Saint-Sébastien-sur-Loire, France, and stabbed her 42 times while wearing a Ghostface mask. He ran away when he saw a neighbor approaching, and the girl told the neighbor the name of her attacker before she died from her injuries. After being arrested, the boy told police that he had wanted to kill someone to emulate the Ghostface character from Scream.^{[102][103][104]}

Legacy[edit]

Prior to Scream‘s release, the popularity of the horror genre had been considered to be in decline, with many films released straight-to-video while those released in cinemas were sequels to popular and established franchises, such as Psycho, The Texas Chainsaw Massacre, Halloween, Friday the 13th, and A Nightmare on Elm Street, capable of drawing audiences despite decreasing budgets and diminishing critical reception. The glut of sequels contributed to audience familiarity with the icons of the late 1970s and early 1980s, such as Freddy Krueger and Jason Voorhees, and that familiarity was considered to have dampened their ability to instill fear or interest in their audiences.^[105] Scream, utilizing a popular and attractive cast and an innovative script that both mocked and embraced the conventions of horror which had become considered clichéd, was credited with changing the status of the genre, becoming both a financial and critical success, and launching the careers of many of its actors.^[106] Such was the film’s impact that some commentators considered its legacy as the creation of a distinct era of «post-Scream» horror films. Following its release, many studios, including Scream‘s own Dimension Films, rushed to capitalize on its unexpected success with the release of films such as I Know What You Did Last Summer (1997), Urban Legend (1998) and Cherry Falls (2000), as well as sequels to popular, but diminishing, franchises such as Halloween H20: 20 Years Later and Bride of Chucky.^[106]

Much of the humor of the 2000 film Scary Movie relies upon specific references to other contemporary films. Roger Ebert remarked in his review that «to get your money’s worth, you need to be familiar with the various teenage horror franchises.»^[107] The two films on which the script is most heavily based are Scream and I Know What You Did Last Summer (1997), utilizing the general narrative arcs of both films, and featuring comedic recreations of key scenes.^[108] The backstory in which the teenagers are responsible for accidentally killing a man following a beauty pageant recalls the same plot point in I Know What You Did Last Summer. Major references to Scream include the identity of Ghostface and the murder of Drew Decker in the opening scene, a reference to the opening scene of Scream in which the same thing occurs to the character played by Drew Barrymore. Additionally, the characters of Scream and I Know What You Did Last Summer are heavily mirrored in the film, and the title Scary Movie was originally the working title for the project that would eventually become Scream.

In June 2001, as part of the American Film Institute‘‘s AFI 100 Years … series, Scream became one of the 400 nominees in the 100 Years … 100 Thrills category.^[109] In 2003, the character Ghostface was nominated in the «Villains» category 100 Heroes and Villains.^[110] In 2005, «Do you like scary movies?», as spoken by Roger Jackson, was nominated for AFI’s 100 Years … 100 Movie Quotes, a list of the greatest cinematic quotes.^[111]

Scream ranks #32 on Entertainment Weekly‘s list of the «50 Best High School Movies»,^[112] and the opening scene featuring the death of Barrymore’s character ranked No. 13 on Bravo’s 100 Scariest Movie Moments.^[113] In 2008, Entertainment Weekly dubbed the film a «New Classic» by ranking it #60 in their list of the «100 Best Films of the Last 13 years».^[114] In 2008 Empire ranked the film #482 on their list of «The 500 Greatest Movies of All Time».^[115] In 2016, Empire ranked the film #3 on their list of the greatest horror films of all time.^[116]

Year	Award	Recipient	Ranking	Ref.
2001	AFI’s 100 Years … 100 Thrills	Scream	—	[109]
2003	AFI’s 100 Years … 100 Heroes and Villains	Ghostface	—	[110]
2004	Bravo‘s «100 Scariest Movie Moments»	Opening scene	#13	[113]
2005	AFI’s 100 Years … 100 Movie Quotes	«Do you like scary movies?»	—	[111]
2008	Empire‘s «The 500 Greatest Movies of All Time»	Scream	#482	[115]
Entertainment Weekly‘s «50 Best High School Movies»	Scream	#32	[112]
Entertainment Weekly‘s 100 Best Films of the Last 13 Years	Scream	#60	[114]

See also[edit]

• List of films featuring home invasions

References[edit]

External links[edit]

Scream
Theatrical release poster
Directed by	Wes Craven
Written by	Kevin Williamson
Produced by	Cathy Konrad Cary Woods
Starring	David Arquette Neve Campbell Courteney Cox Matthew Lillard Rose McGowan Skeet Ulrich Jamie Kennedy Drew Barrymore
Cinematography	Mark Irwin
Edited by	Patrick Lussier
Music by	Marco Beltrami
Production company	Woods Entertainment[1]
Distributed by	Dimension Films[1]
Release dates	December 18, 1996 (Los Angeles) December 20, 1996 (United States)
Running time	111 minutes[2]
Country	United States
Language	English
Budget	$14–15 million[3][4]
Box office	$173 million[3]

Scream is a 1996 American slasher film^[5] directed by Wes Craven and written by Kevin Williamson. The film stars Neve Campbell, David Arquette, Courteney Cox, Matthew Lillard, Rose McGowan, Skeet Ulrich, Jamie Kennedy, and Drew Barrymore. Released on December 20, it follows high school student Sidney Prescott (Campbell) and her group of friends in the fictional town of Woodsboro, California, who become the targets of a mysterious killer in a Halloween costume known as Ghostface. The film satirizes the clichés of the slasher genre popularized in films such as Halloween (1978), Friday the 13th (1980) and Craven’s own A Nightmare on Elm Street (1984). Scream was considered unique at the time of its release for featuring characters aware of real-world horror films who openly discussed the clichés that the film attempted to subvert.

Inspired by the real-life case of the Gainesville Ripper, Scream was influenced by Williamson’s passion for horror films, especially Halloween (1978). The screenplay, originally titled Scary Movie, was bought by Dimension Films and was retitled by the Weinstein brothers just before filming was complete. The production faced censorship issues with the Motion Picture Association of America and obstacles from locals while filming on location. The film received positive reviews and was a financial success, earning $173 million worldwide, becoming the highest-grossing slasher film until the release of Halloween (2018). It still remains the highest-grossing slasher film in adjusted dollars. It received several awards and award nominations. The soundtrack by Marco Beltrami was also acclaimed, and was cited as «[one] of the most intriguing horror scores composed in years».^[6] The score has since earned «cult status».^[7] Scream marked a change in the genre as it cast already-established and successful actors, which was considered to have helped it find a wider audience, including a significant female viewership.

Scream was credited with revitalizing the slasher genre in the 1990s, which was considered to be almost dead following an influx of direct-to-video titles and numerous sequels to established horror franchises of the 1970s and 1980s. Scream‘s success spawned a series of sequels.

Plot[edit]

High school student Casey Becker is home alone when she receives a phone call from an unknown person, during which they discuss horror films. The caller turns sadistic, refusing to leave Casey alone and threatening her life. He reveals that her boyfriend Steve is bound and gagged outside on her patio and demands she answer questions about horror films if she wants him to live. After Casey answers a question about Friday the 13th incorrectly, Steve is murdered in front of her. Refusing to answer more questions, Casey attempts to escape, but is cornered by someone wearing a «Ghostface» costume, who kills her before her parents arrive home to find her disemboweled corpse hanging from a tree.

News media descend on the town in the wake of the murders and a police investigation begins. Teenager Sidney Prescott struggles with the first anniversary of her mother Maureen’s rape and murder, while a news reporter, Gale Weathers, whom Sidney despises, arrives among the media. Gale was responsible for spreading rumors and conspiracy theories about Maureen’s death, insinuating that the imprisoned Cotton Weary, who was tried and convicted of Maureen’s rape and murder, was not responsible for the crime. That night, while waiting at home for her best friend Tatum Riley to arrive, Sidney gets a taunting phone call and is attacked by Ghostface. Sidney’s boyfriend Billy Loomis arrives immediately after. When he drops his cell phone, Sidney suspects him of making the call and flees. Billy is arrested and questioned, but later, at Tatum’s house, Sidney receives another ominous call.

The next day, Billy is released and suspicion shifts to Sidney’s father Neil Prescott, due to the ominous phone calls having been traced to his phone. After school is suspended in wake of the murders, Ghostface ambushes Principal Arthur Himbry and stabs him to death. Tatum’s boyfriend and Billy’s best friend, Stu Macher, throws a party to celebrate the school’s closure. Gale attends uninvited, as she expects the killer to strike again. Tatum’s older brother, Deputy Sheriff Dewey Riley, also looks out for the murderer at the party. Tatum goes out to the garage and is cornered by Ghostface, who crushes her neck with the garage door when she attempts to escape through the pet door. Many party attendees are drawn away after hearing of Himbry’s death, leaving only Sidney, Billy, their friend Randy Meeks, Stu, and Gale’s cameraman Kenny.

After having sex, Sidney and Billy are confronted by Ghostface, who stabs Billy. Sidney escapes from the house and seeks help from Kenny, but he is killed by Ghostface. Gale crashes her van while escaping and Dewey is stabbed in the back while investigating in the house, with Sidney taking his gun for protection. Randy and Stu show up and accuse each other of being the killer, but Sidney retreats back into the house where she finds a wounded Billy. After they let Randy inside, Sidney gives Billy the gun, who in turn shoots Randy, revealing himself to be the killer; Stu is revealed to be his accomplice by talking into a voice changer.

Billy and Stu corner Sidney in the kitchen and discuss their plan to kill her and pin the murder spree on her father, whom they have taken hostage. They also reveal that they murdered her mother and framed Cotton for it, as she was having an affair with Billy’s father, which drove his mother away. Gale intervenes, enabling Sidney to escape and turn the tables on the killers, taunting them with a phone call and donning the Ghostface costume, before knocking Billy out and killing Stu by dropping a television set on his head. An enraged Billy awakens and attacks Sidney, but Gale shoots him. Randy, wounded but alive, remarks that the killer always resurfaces for one last scare. As Billy rises, Sidney shoots Billy in the head, finally killing him. As police arrive, Dewey, badly injured, is taken away by ambulance as Gale makes an impromptu news report about the night’s events.

Cast[edit]

Production[edit]

Writing[edit]

Scream was originally developed under the title Scary Movie by Kevin Williamson, an aspiring screenwriter.^[8] Influenced by a news story he was watching about a series of grisly murders by the Gainesville Ripper, Williamson became concerned about intruders upon finding an open window in the house where he was staying.^[8] He was inspired to draft an 18-page script treatment about a young woman, alone in a house, who is taunted over the phone and then attacked by a masked killer.^[9] The treatment remained as a short story while Williamson worked on another script, Teaching Mrs. Tingle, a thriller that he would eventually sell but that would languish in development hell for many years.^[10] Struggling to pay his bills, Williamson secluded himself in Palm Springs and focused on the development of his Scary Movie treatment, hoping for a quick sale to meet his financial needs.^[8] Over the course of three days, Williamson developed a full-length script as well as two separate five-page outlines for potential sequels—Scary Movie 2 and Scary Movie 3. He hoped to entice buyers with the potential for a franchise.^[10][11] In an interview, Williamson said that one reason he focused on the Scary Movie script was because it was a film he wanted to watch, born of his childhood love of horror films such as Halloween, but «nobody else [was] making it».^[12] His appreciation for previous horror films became evident in the script, which was inspired by and references films such as Halloween (1978), When a Stranger Calls (1979), Friday the 13th (1980), Prom Night (1980), and A Nightmare on Elm Street (1984).^[13] Williamson listened to the soundtrack of Halloween for inspiration while writing the script. Excerpts from the soundtrack appear in the film.^[13]

By June 1995^[10] Williamson brought the Scary Movie script to his agent, Rob Paris, to put out for sale. Paris warned him that the level of violence and gore in his script would make it «impossible» to sell. Following the script’s purchase by Miramax, Williamson was required to remove much of the gorier content, such as graphic depictions of the internal organs of gutted murder victims «rolling» down their legs. However, once Craven was secured as director, he was able to bring much of the excised content back.^[13] Williamson was going to remove a scene in the school bathroom featuring Sidney, as he felt it was awkward and out of place in the film. Craven insisted the scene should remain, as he felt it developed the character and her relationship with her deceased mother. Williamson later confirmed that he was glad that Craven proved him wrong about the scene.

Dimension Films head Bob Weinstein realized while reviewing the script that there were thirty pages (approximately thirty on-screen minutes) without a murder, so he instructed Williamson to have another character killed. Williamson included the death of the character Principal Himbry (Winkler) based on this input and in doing so inadvertently resolved a problem in the script’s finale. Williamson had struggled to find a reason for several extraneous characters to leave a party scene so that the killer could attack, finally determining that the announcement of the discovery of Himbry’s corpse would serve to remove the non-essential characters, who decide to take a look at the corpse and leave the party before (and enabling) the start of the murders. Concerning the killers’ motives, Williamson felt it was essential for the audience to learn why the antagonists had become killers, but he also felt it was potentially scarier if they had no motivation. Opinions at the studio were split between those who believed a motive was needed for resolution and those who felt the action was scarier without one. As there were two killers, Williamson decided to do both: Billy Loomis had the motive of maternal abandonment, while the second killer, Stu Macher, jokingly suggests «peer pressure» as his motive when prompted.

Development[edit]

The script for what was then known as Scary Movie went on sale on a Friday in June 1995, but received no bids.^[8] By the following Monday, the script had become the subject of a significant bidding war among a host of established studios, including Paramount Pictures, Universal Pictures, and Morgan Creek Productions.^[15] Producer Cathy Konrad read the script and felt it was exactly what the Weinstein brothers of the fledgling Dimension Films – then a part of Miramax – were looking for. Dimension had previously released several horror films and intended to focus on that genre. Konrad brought the script to Bob Weinstein’s assistant, Richard Potter. Believing it had potential, he brought it to Weinstein’s attention.^[9] Studios began to drop out of the bidding as the price of the script increased, and the final two bidders were Oliver Stone, who was at the time working under Cinergi Pictures, and the Weinsteins of Dimension Films.^[10] Williamson agreed to a bid of $400,000 from Miramax, plus a contract for two sequels and a possible fourth unrelated film. Williamson said he chose Dimension because he believed they would produce Scary Movie immediately and without significantly censoring the violence in the script.^[10][13] Craven read the script before he became involved in the production, and considered convincing a studio to buy it for him to direct. However, by the time Craven read the script, it had already been sold.^[8]

Bob Weinstein approached Craven early in the planning stages, because he felt Craven’s previous work in the genre that combined horror and comedy would make him the perfect person to bring Williamson’s script to screen. Craven was already busy developing a remake of The Haunting and was considering distancing himself from the horror genre. He was growing weary of what he felt was an inherent misogyny and violence in it.^[9] Weinstein approached other directors, including Robert Rodriguez, Quentin Tarantino,^[16] Danny Boyle,^[17] George A. Romero, and Sam Raimi.^[9] Williamson said they «didn’t get it»; he was concerned that having read the script, many of the directors believed the film to be purely a comedy.^[17] Craven was approached again but continued to pass in spite of repeated requests. When production of The Haunting collapsed, Craven was freed from that commitment and found himself in need of a project.^[13] Meanwhile, Drew Barrymore had signed on to the film at her own request. When he heard an established actress wanted to be involved, Craven reasoned that Scary Movie might be different from other films of the genre he had previously undertaken, and he contacted Weinstein to accept the job.^[9] Craven was committed to keeping the film’s title Scary Movie.^[18]

As the film neared completion, the Weinstein brothers changed the film’s title from Scary Movie to Scream.^[10] They were inspired by the Michael Jackson song of the same name.^[19] Bob Weinstein considered Scary Movie to be an unsuitable title as, in addition to the horror and violence, the film contained elements of satire and comedy; Weinstein wished for that to be better conveyed by the title. The change was effected so late into production that congratulatory gifts bore the original name.^[9] Williamson and Craven immediately disliked the new title, and considered it «stupid». Both later remarked that the change turned out to be positive, and that Weinstein had been wise to pick the new title. Following a screening of the film in front of a test audience and Miramax executives, Craven was offered a two-picture contract for sequels to Scream.^[13]

Sony Pictures filed a lawsuit against Dimension Films and Miramax, claiming that the title «Scream» infringed on the copyright of Sony’s own Screamers (1995), released the previous year. After the case was settled out of court—the details remain confidential—Scream 2 producer Marianne Maddalena considered that the case was a result of other issues between the two companies and did not truly pertain to the film’s moniker. Maddalena confirmed that the studio was free to use the Scream brand for future films.^[11]

Casting[edit]

Scream was a turning point in terms of casting for the horror genre, which normally involved relatively unknown actors. The genre was considered unsuitable for bigger names as the films had lower budgets and often attained negative critical response.^[11] Drew Barrymore read the script and was interested in being involved. She approached the production team herself to request a role. Barrymore, a member of the Barrymore family of actors and granddaughter of actor John Barrymore, had become a star in her own right following her appearance in E.T. the Extra-Terrestrial (1982). The producers were quick to take advantage of her unexpected interest, and signed her to play the lead role of Sidney Prescott.^[8][10] Her involvement was believed to be instrumental in attracting other popular actors to the film in spite of its smaller budget, and in causing Craven to reconsider his decision to direct the film.^[8] Before filming began, Barrymore was faced with unexpected commitments that meant she would no longer be available to play the lead role. She instead played the smaller role of Casey Becker, which allowed her to remain involved and still gave the production the advantage of her stature.^[10] Killing off one of their biggest stars early in the film was considered a calculated risk, but it was believed that it would be so shocking and unexpected that audiences would then believe that any character could die. Craven had seen Neve Campbell in the television series Party of Five and asked her to audition for the part of Sidney. He believed she could play a character who was «innocent», but who could also realistically handle herself while dealing with the physical conflict and emotions required by the role.^[8] Campbell was initially reluctant to star in another horror film so soon after her supporting role in The Craft (1996).^[8] After a successful audition, Campbell accepted an offer to play Sidney. She accepted because Scream would be her first leading role, and because she adored the character, saying «She’s a fantastic character for any kind of movie.»^[17]

For the role of news reporter Gale Weathers, the studio wanted a recognizable actress. They auditioned Brooke Shields and Janeane Garofalo.^[9] Courteney Cox, who was starring in the sitcom Friends at the time, approached the production to pursue the role. She was interested in playing a «bitch» character to offset her «nice» Friends image. This image was the main reason why the producers initially refused to consider Cox for the part. Cox continued to lobby the studio as she felt she could believably play the character; her efforts ultimately succeeded.^[8] Rose McGowan was cast as Tatum Riley: the casting director believed she best embodied the «spunky», «cynical» yet «innocent» nature of the character.^[9] The studio felt the strong female cast of Campbell, Barrymore, Cox, and McGowan would help draw a significant female audience to the film.

Skeet Ulrich was cast in the role of Sidney’s boyfriend Billy Loomis. The producers viewed him as «perfect» for the part and noted his resemblance to a young Johnny Depp who appeared in A Nightmare on Elm Street, one of the many films referenced in Scream.^[9] Ulrich and Campbell had worked together on The Craft shortly before Scream, and believed their experience on the former film helped them be more comfortable with each other, which allowed a more natural portrayal of the relationship between their characters.^[17] David Arquette was also approached for the role of Billy Loomis but he asked to read for the part of Dewey Riley after reading the script. The role, described as «hunky», was considered ill-fitting for Arquette’s lean, slender appearance and approach but Arquette was still allowed to audition for the part. Craven appreciated his softer, funnier approach to the character, and gave him the role.^[8] Matthew Lillard was cast as Billy’s equally sadistic friend Stu Macher by chance after accompanying his then-girlfriend to an unrelated audition taking place elsewhere in the same building. Casting director Lisa Beach saw Lillard in the hallway and asked him to audition for the part.^[9] He got into the role with «incredible ferocity».^[13] Lillard would later confirm that he initially was supposed to audition for the role of Billy, but he was eventually persuaded to come back and audition for Stu instead.^[20] The role of Randy Meeks was contested between Jamie Kennedy and Breckin Meyer. The producers favored Kennedy, believing him to best embody the role.^[9] As he had no major roles prior to Scream, the studio wanted a more prominent actor than Kennedy to play the character. The producers were adamant that he was the best choice and successfully fought to keep him.^[10] According to Kennedy, Jason Lee and Seth Green were in the running for the role as well.^[21] Roger L. Jackson, voice of the character Ghostface, was picked at the end of several weeks of local casting in Santa Rosa, where parts of Scream were filmed.^[22] The producers had originally intended to use his voice only as a placeholder, dubbing over it during post-production. They decided that Jackson’s contribution was perfect and kept it. Craven described it as an «intelligent» and «evil» voice that would become irreplaceable to the series.^[24] To aid their performances, Jackson was never allowed to meet the other actors, preventing them from associating a face with the menacing voice. Jackson was present on the set and spoke to actors by phone to help aid their performances.

The cast was rounded out by W. Earl Brown, who played Gale Weather’s cameraman Kenny; Joseph Whipp, who portrayed Sheriff Burke; Lawrence Hecht as Neil Prescott (Sidney’s father); and C.W. Morgan as Hank Loomis (Billy’s father). Liev Schreiber appeared in a minor role as Cotton Weary, the framed killer of Sidney’s mother, and Linda Blair made a brief cameo as a TV reporter outside the school. Henry Winkler appeared as Principal Himbry, an aggressive school principal. He remained uncredited so as to not draw attention away from the young main cast.

Filming[edit]

Principal photography for Scream took place over eight weeks between April 15 and June 8, 1996, on a budget of $15 million.^[25] The Weinsteins wanted to film in Vancouver as it was estimated that they could save $1 million in costs compared to shooting in the United States.^[9] Craven was adamant about filming in the United States, and making a film that looked «truly American». The argument over where to film almost led to Craven being removed from the project, but the Weinsteins eventually agreed to keep the production in America.^[9] Location scouts looked at North Carolina as a possibility, but found that sites that seemed appropriate for the film’s requirements would have required extensive building, repairs, or modification, which would have inflated costs.^[8]

Attention was next turned towards California; scouts discovered Sonoma County and the cities of Santa Rosa, Healdsburg, and the nearby Tomales Bay. The house of Barrymore’s character is situated southeast of Santa Rosa on Sonoma Mountain Road, directly facing the house used in the horror film Cujo (1983). The home of Sidney Prescott is located near Calistoga, north of Santa Rosa.^[22] Tatum’s home is situated on McDonald Avenue in Santa Rosa, next to the houses used in Pollyanna (1960) and Shadow of a Doubt (1943).^[26] The home of Lillard’s character, which is the location for the entire third act, is a house on Tomales Road east of Tomales Bay that had only recently become available after the death of its owners. The Woodsboro town square, including the fountain where many of the cast sit in an early scene, is represented by the Healdsburg town square.^[22]

For the Woodsboro high school, Craven desired a building that looked «American»,^[9] and the producers approached Santa Rosa High School. The school board insisted on seeing the script and immediately objected to the violence against teenage children and the cynical, dark dialogue, including that of the fictional school principal.^[10] Local newspapers criticized the project, and irate parents objected to such a film taking place at their children’s school. Comparisons were made between film violence and the kidnap and murder of Polly Klaas three years prior, which had left the area sensitized toward violence.^[9] The producers received support from the school’s students and some local residents, who recognized that economic benefits would be generated by the film’s presence. Others argued for the film’s First Amendment rights. The dispute resulted in a three-hour debate scheduled for April 16, one day after filming was to begin. Unwilling to be delayed, Craven began filming as scheduled on the 15th. He started with the opening scene of the film, which features Barrymore;^[10] the scene took five days to complete.^[15] The result of the Santa Rosa debate was that permission would be denied. The production was forced to find another location for the school, and ended up filming at the Sonoma Community Center, southeast of Santa Rosa.^[10]

The progress of filming was criticized early on. Bob Weinstein disliked the Ghostface mask, believing it was not «scary». Upon reviewing the dailies footage of the opening scene, the studio was concerned that the film was progressing in an unwanted direction. They considered replacing Craven.^[9] To assuage their concerns, Craven and editor Patrick Lussier developed a rough workprint version of the opening 13 minutes of the film to demonstrate how the completed film might turn out. After viewing the new footage, the studio was content to let Craven continue as director. Weinstein, having seen the mask in action, was satisfied that it could be scary.^[9] The third and final act of the film, over forty minutes long, is set at a house party where Ghostface strikes. It was shot at a vacant property in Tomales over 21 nights.^[9] The scene, labeled «Scene 118», was considered the most difficult to shoot as it took place entirely in one location yet featured the individual stories and deaths of multiple characters. Actors spent weeks undertaking intense emotional and physical scenes while coated in fake blood and wounds. As the scene was set during the evening, production had no choice but to halt at dawn.^[9]

Director of photography Mark Irwin was fired during filming of Scream‘s finale, a week before principal photography was to be completed. Upon review of the dailies, Craven found the footage was out of focus and unusable.^[9] Irwin was initially ordered to fire his camera crew. He retorted that if his crew were to be fired, they would also have to fire him. The producers fired him and replaced him with Peter Deming, who finished the film.^[9]

Special effects and design[edit]

To produce the many grisly effects for the film, the producers recruited KNB Effects team Howard Berger, Robert Kurtzman, and Gregory Nicotero. One of their first tasks was the production of a mask for the film’s killer. In his script, Williamson had only described the antagonist as a «masked killer», which gave Craven no specific information on what type of mask to use or how to conceal the body. While location scouting, Maddalena discovered the Ghostface mask hanging from a post inside the house previously used for the film Shadow of a Doubt.^{[9][27][28][29]} Craven wanted to use it, but the mask design was owned by Fun World, a costume company. He was told to create one that the production could own.^[9] KNB developed multiple design sketches varying from deformed faces to monstrous visages riddled with fangs. Craven found nothing like the Ghostface design, so he had KNB develop a mask that was based on it, with enough differences to avoid any claim of copyright. The team developed several molds based on the Ghostface design, but Craven found none were as suitable as the mask he wanted to use.^[9] Desperate to use the design, Craven finally convinced the studio to approach Fun World and gained permission to use the mask. While negotiations were in progress, he had KNB make a mask that was very similar to the original mask, but was appropriate for use in filming. The mask they produced, made of a thin foam, was used in two scenes of the film: the opening scene with Barrymore’s character and the murder of Principal Himbry. Craven disliked the mask due to its slight differences from the original, and thus used the Fun World design for the rest of filming.

KNB Effects created over 50 gallons of fake blood, normally composed of corn syrup and food dye, to create the special effect of severe wounds.^[10] For the penetrating effect of knives, the production used collapsible blades to prevent injury. An umbrella with a retractable tip is used as a stabbing weapon in the finale. Ulrich wore a protective vest beneath his shirt to help prevent harm while a stuntwoman attacked him with it. The second thrust missed the vest and stabbed Ulrich on his chest, impacting a wound from an open heart surgery operation. Ulrich’s genuine pain was captured on film and used in the release version of Scream.

Two of the most complex special effects in the film were the corpses of Barrymore’s and Walls’ characters, Casey Becker and Steve Orth.^[10] Their deaths involved the character being gutted from ribcage to pelvis, essentially hollowing out the torso of internal organs,^[30] with the guts «rolling» from the wound.^[13] To allow Walls to continue to move and feign death while displaying the wound, KNB designed a chair with no back. The actor would kneel behind it while his upper body, head, and arms were positioned within the chair’s seating area.^[10] An anatomical model representing the character’s torso and legs was positioned in the chair and disguised so that the actor’s upper body and the model appeared to be one piece. The fake abdomen was filled with rubber, latex, and gelatin pieces smeared in fake blood—the «internal organs» – which could then fall free.^[10] The other effect involved Barrymore’s character being gutted and hanged by the neck from a tree. The team utilized a similar approach, but replicated Barrymore’s entire body, as it would be impossible to conceal her real body and display the special effect of her character having been gutted.^[10]

Post-production[edit]

After filming was completed in June 1996, Craven spent two months editing the final product. He encountered repeated conflicts with the Motion Picture Association of America film rating system (MPAA) concerning the content of scenes. He was forced to tone down or obscure the more intense scenes and overall violence to avoid an NC-17 rating, which is considered «box office suicide»—cinemas and retail chains often refused to stock NC-17 titles.^[31] Though Dimension had previously released NC-17-rated films, the rating made those films difficult to market and attract an audience. Dimension was desperate for a less-restrictive R rating, but the producers felt the demanded cuts would remove key elements from the film and reduce its quality.^[10] The opening scene featuring Barrymore was one of the most difficult parts to process through the MPAA, who required cuts based on its «intensity». Craven lied to the MPAA, claiming he had only one take of the scene and could not replace it with something less intense; the MPAA allowed the scene.

Craven sent eight different cuts of the film to deal with complaints. Problematic scenes included the gutting death of Steve Orth (Walls), where he was required to remove any movement of the character’s internal organs; the throat-cutting of Kenny, where he had to trim the end of the scene, as the MPAA felt the actor’s pained expression was too «disturbing»; and they had to shorten the length of time spent viewing the crushed head of Tatum Riley.^[13] The MPAA still held issue with a scene from the finale, where the killers (Ulrich and Lillard) stab each other, creating large amounts of visible blood. The MPAA required that the blood not be seen in motion—falling to the floor from the body. It seemed unlikely that the film would be able to achieve an R rating without further significant cuts.^[13] With the film’s release date drawing closer, Bob Weinstein intervened and personally contacted the MPAA. He believed they misunderstood the film and to which genre Scream really belonged, and were focusing too much on the horror elements.^[9] Weinstein explained that although he agreed with their assessment that the film was «intense», the film also had comedic elements and satire; it was not just a horror film glorifying violence.^[9] The MPAA reviewed their decision; shortly thereafter the film was granted an R rating.^[10]

Music[edit]

The Scream score was provided by fledgling composer Marco Beltrami, his first time scoring a feature film. Craven’s assistant Julie Plec had requested input on composers who were «new», «fresh», and «wonderful», and was given Beltrami’s name by several people. Beltrami was contacted for samples of his work. Craven, impressed by what he heard, requested Beltrami come to the set to view the opening thirteen minutes of the film containing the introduction and the death of Barrymore’s character. Beltrami was tasked with scoring a piece of music for this scene, which would be reviewed by the producers and the Weinstein brothers. Beltrami was hired to score the entire film on the basis of this sample.^[32] Beltrami had no prior experience scoring a work of horror. Craven and editor Patrick Lussier advised him on how to deliver music that would raise the tension and how to use stings to punctuate the more intense moments.^[32][33] Craven wanted the music to intentionally raise tension during scenes where audience expectations were already raised by their experience of previous horror films. The volume would be raised to indicate that the killer is hiding behind a door, but nothing would be present upon its opening.

Beltrami decided to intentionally disregard conventional horror score styles. He approached the film as a western, taking influence from Ennio Morricone, a prolific composer for many westerns.^[34] When scoring a theme for the character of Dewey (Arquette), Beltrami approached him as a «quirky» wild west sheriff, using a Morricone-style guitar accompaniment.^[35] Sidney Prescott’s theme, titled «Sidney’s Lament», features a female choral arrangement expressing «sorrow» concerning the character’s situation. Beltrami states that the voice «spoke» for the character, «lamenting» the loss of her mother.^[33] Christian Clemmensen of Filmtracks called the «haunting» vocals of the track the «voice of the franchise». The song was used throughout the film’s sequels.^[7]

Release[edit]

Theatrical[edit]

Scream held its premiere on December 18, 1996, at the AMC Avco theater in Westwood, Los Angeles, California.^[36] Bob Weinstein ordered that the film be released on December 20, 1996, a date others were critical of as it was the Christmas period where seasonal and family films were more prevalent.^[9] Weinstein argued this fact was in the film’s favor as it meant that horror fans and teenagers had nothing interesting to watch during the December period.^[9] When Scream‘s first weekend takings amounted to only $6 million, it was considered that this release date gamble had failed, but the following week, takings did not drop but increased and continued to increase in the following weeks leading to a total U.S. gross of over $100 million and high critical praise.^[9]

In cooperation with rights holder Paramount Pictures, Fathom Events said it would re-release Scream in theaters for one night on October 10, 2021.^[37]

Home media[edit]

Scream was released in the United States on Dolby Digital (AC-3) LaserDisc (uncut) on July 2, 1997,^[38] VHS on June 24, 1997, and a special release with the Scream 2 trailer on December 2, 1997,^[39] and on DVD on December 3, 1997.^[40] A DTS LaserDisc uncut version was released on August 26, 1998,^[41] followed by a collector’s edition DVD of the film on December 8, 1998,^[42] containing the film, the theatrical trailer, cast interviews, a director’s commentary, and behind the scenes information.^[43] These releases were all undertaken by Buena Vista Home Entertainment. Following the release of Scream 3, Scream and its first two sequels were collected in «The Ultimate Scream Collection» by Buena Vista Home Entertainment on September 26, 2000, a boxset containing the three films^[44] and a bonus disc containing «Behind the Scream», a 30-minute documentary about the production of the three films, and additional material, including screentests and outtakes. Scream was also released on LaserDisc in France, Hong Kong, Japan, and the United Kingdom in 1997; and in Germany and as a special edition in Japan in 1998.^[45]

Scream remained unreleased on DVD in some foreign territories, including Europe, until 2001. The Japanese DVD was released on December 23, 1998^[46] contained both the R-rated version of the film, plus the original «Director’s Cut», which restored the gore/violence removed by the MPAA.^[47] Scream was released in Europe with Scream 2 and Scream 3 on February 26 by Buena Vista Home Entertainment. Each package contained additional content found in the Collector’s Edition version of the US release, including deleted scenes, outtakes, theatrical trailers, music videos, and crew commentary.^[48][49][50] The three films were also sold as a collection called the «Scream Trilogy», released on February 26, 2001.^[51]

On March 29, 2011, two weeks prior to the release of Scream 4, Scream was released in US territories on Blu-ray by Lionsgate Home Entertainment. The Blu-ray presents the films in 1080p high definition. The releases contain all the additional materials found on the Collector’s Edition DVD, but not the material from the boxset bonus disc.^[52]

On October 19, 2021, for its 25th anniversary, Paramount released a newly remastered 4K version of the film on Ultra HD Blu-ray.^[53] Blu-ray.com praised the new transfer as a significant improvement over the 2011 Blu-ray.^[54]

Reception[edit]

Box office[edit]

The film opened in 1,413 theaters, taking $6.4 million in its opening weekend, opening in second against Beavis and Butt-head Do America,^[55] and almost $87 million in its initial release. It was re-released to theatres on April 11, 1997, and accrued a further $16.2 million,^[56] for a total domestic gross of $103 million,^[55] and a worldwide lifetime gross of $173 million.^[55] Scream remains the most successful of the Scream film series, receiving a largely positive critical reception. Scream 2 generated a worldwide gross of $172 million, less than $1 million below that of the first film, $11 million more than Scream 3, and $75 million more than Scream 4. As of 2013, Scream is currently the 577th highest-grossing movie worldwide.^[57] In the United States, without adjusting for inflation, the film is the twentieth highest-grossing horror film,^[58] and remained the highest-grossing slasher film until it was surpassed by Halloween (2018), directly followed by Scream 2 and Scream 3.^[59] Adjusted for inflation, the film would have doubled its gross to $346 million.^[60]

Despite competition from other box office fare such as Tom Cruise’s Jerry Maguire and Tim Burton’s Mars Attacks!, its release during the Christmas season, and Variety labeling it «D.O.A.» before it was even released,^[8] Scream became the fifteenth highest-grossing film of 1996, well placed amongst big-budget blockbusters released that year such as Independence Day and Mission: Impossible. It was shown in cinemas for nearly eight months after its release.^[9][61]

Critical response[edit]

On review aggregator Rotten Tomatoes, the film holds an approval rating of 80% based on 84 reviews, with an average rating of 7.3/10. The website’s critical consensus reads, «Horror icon Wes Craven’s subversive deconstruction of the genre is sly, witty, and surprisingly effective as a slasher film itself, even if it’s a little too cheeky for some.»^[62] On Metacritic, the film received a weighted average score of 65 out of 100 based on 25 critics, indicating «generally favorable reviews».^[63]

Peter Stack of the San Francisco Chronicle appreciated the shift from the teen slasher films of the 1980s and their «endless series of laborious, half-baked sequels».^[64] Kevin Thomas of The Los Angeles Times called Scream «a bravura, provocative sendup of horror pictures» and complimented the film for being «scary and gruesome» while avoiding a sense of «morbidity».^[61] Empire‘s Adam Smith called it «Clever, quick and bloody funny».^[65] Williamson’s script was praised as containing a «fiendishly clever, complicated plot» which «deftly mixes irony, self-reference and wry social commentary with chills and blood spills».^[66] Time Out London lauded the film’s intelligence and scares, while praising the casting, saying «at last, a horror movie to shout about!»^[67] Film4 cited Craven’s own Wes Craven’s New Nightmare (1994) and its cast of self-aware characters as inspiration for Scream, but declared that while New Nightmare was a «noble failure – pretty smart, but crucially not very scary» that Scream was «not merely clever … it is, from its breathtaking opening sequence (with Barrymore as the woman in peril) onwards, simply terrifying».^[68]

Roger Ebert of the Chicago Sun-Times gave the film a positive review of 3 out of 4 stars, appreciating «the in-jokes and the self-aware characters», but was confused over whether the level of violence was «defused by the ironic way the film uses it and comments on it».^[69] The New York Times‘ Janet Maslin was not as appreciative, saying «not much of Scream is that gruesome». She wrote that Craven «wants things both ways, capitalizing on lurid material while undermining it with mocking humor. Not even horror fans who can answer all this film’s knowing trivia questions may be fully comfortable with such an exploitative mix.»^[70] Despite being critical of the film itself, calling it «one experiment that needed more lab time», Variety complimented the «strong» ensemble cast, singling out the performances of Campbell and Ulrich as «charismatic».^[71] The BBC claimed that the film had promise, saying «It appeared to be clever, dangerous, witty, and fresh» but went on to label it as derivative of the films it satirized: «Scream runs out of humour, and in turn robs itself of the chance to get the audience to take the thrills and gut-spills it offers seriously.»^[72]

Accolades[edit]

Scream received several awards and award nominations following its release, including the Saturn Award for Best Actress for Campbell, Best Writing for Kevin Williamson, and Best Horror Film; it received Saturn nominations for Best Director for Wes Craven and Best Supporting Actor for Ulrich and Barrymore.^[73] Craven was awarded the Grand Prize at the Gérardmer Film Festival.^[74][75] The film was awarded the 1997 Best Movie by the MTV Movie Awards, while Campbell received a nomination for Best Female Performance.^[76]

Year	Award	Category	Work	Result	Ref.
1996	International Horror Guild	Best Film	Scream	Won	[77]
Saturn Award	Best Actress	Neve Campbell	Won	[73]
Best Direction	Wes Craven	Nominated	[78]
Best Horror Film	Scream	Won	[73]
Best Supporting Actor	Skeet Ulrich	Nominated	[78]
Best Supporting Actress	Drew Barrymore	Nominated	[78]
Best Writing	Kevin Williamson	Won	[73]
1997	MTV Movie Award	Best Female Performance	Neve Campbell	Nominated	[79]
Best Movie	Scream	Won	[79]
Gérardmer Film Festival	Grand Prize	Wes Craven	Won	[74][75]

Albums[edit]

Soundtrack[edit]

Scream: Music from the Dimension Motion Picture
Soundtrack album by Various artists
Released	December 17, 1996
Genre	Alternative rock
Length	46:30
Label	TVT
Producer	Marco Beltrami Tony Cohen Kelley Deal Ed Gerrard Tim Harper Timothy London Tim Patalan Jefferey Rabhan Chris Randall[80]
Scream soundtrack chronology
Scream: Music from the Dimension Motion Picture (1996) Scream 2: Music from the Dimension Motion Picture (1997)

The Scream original soundtrack was released on December 17, 1996, by TVT Records. The soundtrack features 11 songs—most of which appeared in various scenes in the film—plus a piece from the film’s score, «Trouble in Woodsboro» / «Sidney’s Lament», by Beltrami. The Alice Cooper version of «School’s Out» appeared in the film following the closure of Woodsboro high school, but it was replaced with a cover version of the song by The Last Hard Men on the album. An acoustic cover of Blue Öyster Cult’s «Don’t Fear the Reaper», performed by Gus Black, plays softly in the background while Sidney and Billy discuss their relationship. The song was also one of the few songs featured in John Carpenter’s Halloween, a film to which Scream makes repeated homage. Analyst Jeff Smith describes the musical choice as:

An ironic comment on the brutality we have just seen in the opening sequence. More importantly, however, the allusion to the Blue Öyster Cult classic recasts the song’s title by literalizing its meaning. While the title itself invokes the Reaper as a popular symbol for death, the film presents us with an actual person, who not only dresses as the Grim Reaper but also unleashes homicidal vengeance on the other characters of the film. The irony here, of course, is that Billy himself proves to be one of the film’s dual slashers and is, in fact, the «Reaper» to be feared.^[81]

The song «Red Right Hand» by Nick Cave and the Bad Seeds, heard in the first film, is also used in Scream 2, Scream 3 and Scream (2022). Nick Cave performs a version of the track written specifically for Scream 3 in that film. An alternate version of the music video «Drop Dead Gorgeous» by Republica, featuring clips from the film, was shown on music networks such as MTV. Although the song can be heard in the film, it is only included on the European edition of the soundtrack album. The song was also used in one of the film’s television commercials. The soundtrack album was not considered a success, failing to chart on the US Billboard 200.^[82] AllMusic awarded the album 3 stars out of 5.^[83]

Score[edit]

The Scream score by Marco Beltrami was released by Varèse Sarabande on July 14, 1998, on a CD titled «Scream/Scream 2», which also contained tracks from the score of Scream 2.^[6] The release consisted of only six tracks—»Sidney’s Lament», «Altered Ego», «A Cruel World», «Trouble in Woodsboro», «Chasing Sidney», and «NC-17»^[7]—with a runtime of only 12 minutes, compared to over an hour of music made for the film and the more common 30–45 minutes of music found in other original scores.^[6] Some reviewers felt the restricted runtime was a result of the high cost of releasing a composer’s music commercially, combined with Varèse Sarabande’s unwillingness to pay.^[84]

The score to Scream received generally positive reviews, with Mikael Carlsson labeling it as «some of the most intriguing horror scores composed in years».^[6] Filmtracks.com claimed the scores had «cult status», awarding it 3 stars out of 5.^[7] AllMusic said that the score «perfectly captured the post-modern, hip scare-ride of the Scream movies», also giving it 3 stars out of 5.^[85]

Sequels[edit]

Williamson had attached five-page proposals for potential sequels to Scream when he originally sold the script, hoping to entice prospective buyers into buying a film and a franchise. When Dimension Films bought the script, they secured Williamson for two future Scream films, should the original prove successful.^[10][13] After a highly positive test screening of Scream at which executives from Dimension Films and Miramax were present, Craven was signed to direct the two sequels.^[13] After the film’s box office and critical success, the first sequel was greenlit and sent into production while Scream was still in theaters. The second picture was given an increased budget. The surviving cast—Campbell, Cox, Arquette, Kennedy, and Schreiber—all returned, as well as much of the original crew, including editor Patrick Lussier and composer Marco Beltrami.^[11] A third film followed shortly after, again with the crew and surviving cast returning to create what was, at the time, the concluding film in the Scream trilogy. The three original films, released in a five-year period, followed the story of Sidney Prescott’s encounters with a succession of killers adopting the Ghostface disguise. The films also analyze her relationship with her deceased mother, who inadvertently initiates the events depicted in the films.^[30][86][87] Scream 2 fared as well financially and critically as its predecessor,^[55][88] while Scream 3 fared significantly worse on both counts, with critics deriding the film as having become what the original had so deftly satirized.^[89]

Fifteen years after the release of Scream and eleven years after the release of the last film in the series, The Weinstein Company released a new sequel, Scream 4, in April 2011.^[90] Campbell, Cox and Arquette all returned to their roles, and Craven, Williamson, and Beltrami returned to the production side. The Weinstein Company stated that the success of Scream 4 could have led to potential sequels and a new Scream trilogy,^[91] with Campbell,^[92] Arquette,^[93] Craven,^[91] and Williamson^[94] all having been contracted or expressed interest in appearing in future installments.

A fifth Scream film was released in January 2022, with Matt Bettinelli-Olpin and Tyler Gillett directing and Kevin Williamson producing.^[95] Neve Campbell reprised her role as Sidney Prescott in the film,^[96] along with Courteney Cox, David Arquette^[97] and Skeet Ulrich.

Controversies[edit]

In the years following the release of Scream, the film has been accused of inspiring copycat crimes and inducing violent acts.

In January 1998, 16-year-old Mario Padilla and his 14-year-old cousin, Samuel Ramirez, stabbed Mario’s mother, Gina Castillo, 45 times, killing her. The case became known as the «Scream murder» and fell under intense media scrutiny after the boys claimed they were inspired by Scream and Scream 2. The pair confessed to needing the money acquired from Gina’s murder to fund a killing spree, which would include purchasing two Ghostface costumes, as well as a voice-changer used by the characters in the films. During their trial, Madeline Levine, a psychologist who studied the effect of violence on children, stated, «There were a whole bunch of reasons why they acted out that way. But did the movie provide a blueprint? Absolutely.»^[98] The case was expected to highlight the effect of violent films on teenagers. However, presiding judge John Cheroske ordered that evidence pertaining to Scream be barred and that the case not be referred to as the «Scream murder», refusing media access to the courtroom, intending that the case be tried as murder and nothing else.^[10][98]

On January 17, 1999, 13-year-old Ashley Murray was stabbed multiple times in the head and back before being left for dead by his friends Daniel Gill, 14, and Robert Fuller, 15. He was later found and saved by an elderly man walking his dog. The pair were dubbed the «Scream attackers» after it emerged that they had watched Scream shortly before the attack and drawings of the Ghostface mask were found among their possessions. Their actions were additionally blamed on physical abuse, drugs and exposure to black magic in their home life.^[99] Murray, who later testified against the pair, stated that he believed the film may have influenced the pair to attack him.^[100]

On May 4, 1999, following the Columbine High School massacre and increasing news media reports on the effects of violent films, games, and other media on society, the United States Senate Commerce committee held a hearing about Hollywood’s marketing of films to youths. The committee focused specifically on horror films. The opening scene of Scream, featuring the murder of Casey Becker, was shown to the committee as an example of negative media which may be viewed by children.^[10][101]

On June 3, 2002, a 17-year-old boy lured his friend, 15-year-old Alice Beaupère, out of her parents’ house in Saint-Sébastien-sur-Loire, France, and stabbed her 42 times while wearing a Ghostface mask. He ran away when he saw a neighbor approaching, and the girl told the neighbor the name of her attacker before she died from her injuries. After being arrested, the boy told police that he had wanted to kill someone to emulate the Ghostface character from Scream.^{[102][103][104]}

Legacy[edit]

Prior to Scream‘s release, the popularity of the horror genre had been considered to be in decline, with many films released straight-to-video while those released in cinemas were sequels to popular and established franchises, such as Psycho, The Texas Chainsaw Massacre, Halloween, Friday the 13th, and A Nightmare on Elm Street, capable of drawing audiences despite decreasing budgets and diminishing critical reception. The glut of sequels contributed to audience familiarity with the icons of the late 1970s and early 1980s, such as Freddy Krueger and Jason Voorhees, and that familiarity was considered to have dampened their ability to instill fear or interest in their audiences.^[105] Scream, utilizing a popular and attractive cast and an innovative script that both mocked and embraced the conventions of horror which had become considered clichéd, was credited with changing the status of the genre, becoming both a financial and critical success, and launching the careers of many of its actors.^[106] Such was the film’s impact that some commentators considered its legacy as the creation of a distinct era of «post-Scream» horror films. Following its release, many studios, including Scream‘s own Dimension Films, rushed to capitalize on its unexpected success with the release of films such as I Know What You Did Last Summer (1997), Urban Legend (1998) and Cherry Falls (2000), as well as sequels to popular, but diminishing, franchises such as Halloween H20: 20 Years Later and Bride of Chucky.^[106]

Much of the humor of the 2000 film Scary Movie relies upon specific references to other contemporary films. Roger Ebert remarked in his review that «to get your money’s worth, you need to be familiar with the various teenage horror franchises.»^[107] The two films on which the script is most heavily based are Scream and I Know What You Did Last Summer (1997), utilizing the general narrative arcs of both films, and featuring comedic recreations of key scenes.^[108] The backstory in which the teenagers are responsible for accidentally killing a man following a beauty pageant recalls the same plot point in I Know What You Did Last Summer. Major references to Scream include the identity of Ghostface and the murder of Drew Decker in the opening scene, a reference to the opening scene of Scream in which the same thing occurs to the character played by Drew Barrymore. Additionally, the characters of Scream and I Know What You Did Last Summer are heavily mirrored in the film, and the title Scary Movie was originally the working title for the project that would eventually become Scream.

In June 2001, as part of the American Film Institute‘‘s AFI 100 Years … series, Scream became one of the 400 nominees in the 100 Years … 100 Thrills category.^[109] In 2003, the character Ghostface was nominated in the «Villains» category 100 Heroes and Villains.^[110] In 2005, «Do you like scary movies?», as spoken by Roger Jackson, was nominated for AFI’s 100 Years … 100 Movie Quotes, a list of the greatest cinematic quotes.^[111]

Scream ranks #32 on Entertainment Weekly‘s list of the «50 Best High School Movies»,^[112] and the opening scene featuring the death of Barrymore’s character ranked No. 13 on Bravo’s 100 Scariest Movie Moments.^[113] In 2008, Entertainment Weekly dubbed the film a «New Classic» by ranking it #60 in their list of the «100 Best Films of the Last 13 years».^[114] In 2008 Empire ranked the film #482 on their list of «The 500 Greatest Movies of All Time».^[115] In 2016, Empire ranked the film #3 on their list of the greatest horror films of all time.^[116]

Year	Award	Recipient	Ranking	Ref.
2001	AFI’s 100 Years … 100 Thrills	Scream	—	[109]
2003	AFI’s 100 Years … 100 Heroes and Villains	Ghostface	—	[110]
2004	Bravo‘s «100 Scariest Movie Moments»	Opening scene	#13	[113]
2005	AFI’s 100 Years … 100 Movie Quotes	«Do you like scary movies?»	—	[111]
2008	Empire‘s «The 500 Greatest Movies of All Time»	Scream	#482	[115]
Entertainment Weekly‘s «50 Best High School Movies»	Scream	#32	[112]
Entertainment Weekly‘s 100 Best Films of the Last 13 Years	Scream	#60	[114]

See also[edit]

• List of films featuring home invasions

References[edit]

External links[edit]

КРИК

— Алло?
— Алло.

— Да?
— Кто это?

— Кому вы звоните?
— Какой это номер?

— Какой номер вам нужен?
— Не знаю.

— Думаю, вы не туда попали.
— Неужели?
Бывает. Ничего страшного.

— Алло?
— Простите, я набрал не тот номер.

— А зачем вы набрали его снова?
— Чтобы извиниться.

— Я вас проЩаю. Пока.
— Нет, подождите.

— Что?
— Я хочу поговорить с вами.
Телефон доверия 9-0-0. Пока.

— Алло?
— Не хотите говорить со мной?

— Кто это?
— Скажите ваше имя, и я скажу свое.
Это ни к чему.

— Что это за шум?
— Попкорн.

— Вы жарите попкорн?
— Да.

— Я ем попкорн только в кино.
— Я как раз иду смотреть видео.

— Правда? А что за фильм?
— Какие-то ужасы.

— Вам нравятся фильмы ужасов?
— Да.

— Какой ваш любимый фильм ужасов?
— Не знаю.
Называйте первое, что пришло в голову.
«Хэллоуин».
Знаете? С парнем в белой маске, который охотился на девушек?

— Да.
— А у вас?
Угадайте.
«Кошмар на улице Вязов».

— Это там, где у парня лезвия на руках?
— Да, Фредди Крюгер.
Фредди? Верно, хороший фильм. Очень страшный.

— Да, первая серия. Потом уже не то.
— А приятель у тебя есть?

— Что, хочешь со мной встретиться?
— Возможно.

— Так у тебя есть приятель?
— Нет.

— Ты не сказала свое имя.
— Зачем оно тебе?
Я хочу знать, на кого смотрю.
Что ты сказал?

— Я хочу знать, с кем разговариваю.
— Ты не это сказал.
А что я сказал?
Что?
Алло?

— Пожалуй, мне пора.
— Постой, я думал, мы назначим встречу.

— Нет, вряд ли.
— Не вешай трубку.
Черт.

— Да?
— Я тебе сказал: не вешай трубку!

— Чего ты хочешь?
— Поболтать.
Позвони кому-нибудь еЩе, ладно?
Послушай, ты…
Нет, это ты послушай. Бросишь трубку, и я выпотрошу тебя, как рыбу! Ясно?
Да.

— Это такая шутка?
— Я бы сказал, игра.
Тебе нравится?
Блондиночка.
Ты меня видишь?
Послушай, через 2 секунды я звоню в полицию.
Они не успеют, мы находимся, бог знает где.

— Чего ты хочешь?
— Посмотреть, как ты выглядишь изнутри.
Кто там?
Кто там?
Я звоню в полицию.
Никогда не говори: «Кто там?» Вспомни фильмы ужасов. Это очень опасно.
Можешь выйти и проверить, что тут за странные звуки.
Слушай, ты уже достаточно развлекся, по-моему. Хватит, а то дождешься.
Дождусь чего?
Мой приятель будет здесь через секунду, и он тебе голову оторвет!
У тебя же нет приятеля.
Я лгала. Мой приятель сейчас придет, так что проваливай.
Врешь.
Клянусь.
Он качок, играет в футбол. Он из тебя весь дух вышибет!

— Ты меня напугала, я прямо весь дрожу.
— Тогда проваливай.
Приятеля, случайно, не Стив зовут?
Откуда ты знаешь его имя?
Зажги свет во дворике и узнаешь.
Господи!

— Я бы этого не делал.
— Где ты, где?

— Угадай.
— Отпусти его!
Это зависит от тебя.

— Что?
— Я хочу поиграть.

— Нет, нет.
— Или он умрет.

— Нет!
— Выбирай.
Выбирай.
Как? Как поиграть?
Выключи свет, тогда узнаешь, что это за игра.
Выполняй.
Кейси. Нет.

Правило первое: Хороший сценарий

Кевин Уильямсон на съемках фильма «Крик» 2022 года

Как и большинство историй великого успеха, первая глава «Крика» началась с великого отчаяния: начинающий артист с двумя названиями в фильмографии и нулевыми перспективам Кевин Уильямсон был по уши в долгах. Увидев в гостях репортаж об убийствах в студенческом кампусе и Гейнсвиллском потрошителе, он решил написать сценарий фильма ужасов и продать его как можно выгоднее. Спойлер: ему удалось. Фанат жанра («Хэллоуин» — любимый фильм Кевина) писал от лица фанатов, и буквально через считаные дни за «Страшное кино» (таким было рабочее название проекта) разгорелась битва продюсеров, которую выиграл Боб Вайнштейн.

Роуз МакГоун в роли Татум на на съемках фильма «Крик» 1996 года

Уильямсон был не только знатоком и любителем слэшеров, но и человеком, тонко чувствующим вибрации времени: ему недавно исполнилось 30, и он уловил цайтгайст и обороты речи подростков. Продюсеры увидели потенциал резни не только в заигрываниях с постмодернистскими материями и правилами жанра, а и в живых (до поры до времени) молодых людях. Причем представителях сразу двух поколений: к компании школьников- выживальцев присоединились дотошная журналистка и неуклюжий полицейский. Боб Вайнштейн, который искал исключительный проект для своей студии Dimension, позволил Уильямсону самому назвать цену сценария: безработный актер в один момент стал успешным кинематографистом.

Кевин выступил автором следующих фильмов серии (второго и четвертого, а в новом неномерном значится продюсером), а кроме того, работал и над другими хитовыми проектами: «Факультетом» Роберта Родригеса, сериалом «Бухта Доусона» и «Оборотнями» Уэса Крейвена. На волне успеха «Крика» Уильямсон написал и «Я знаю, что вы сделали прошлым летом» — канонический фильм отсчета тел в декорациях 90-х, который не ступал на зыбкую почву экспериментов, но все равно сорвал кассу. «Крик» уже вернул слэшеру былое величие и подготовил лояльного зрителя, а экранизация романа Лоис Дункан подкупала харизмой любимцев Америки — Фредди Принца-мл., Дженнифер Лав Хьюитт, Сары Мишель Геллар, Райана Филиппа. Кстати, в конце прошлого года случилось возрождение и этой франшизы — мягко говоря, неудачное, но речь о другом: Уильямсон был человеком своего времени и точно знал, что в голове у подростков 90-х, а потому снова и снова стрелял в болевые точки поколения.

Правило второе: Культовый режиссер

А вот с великим и ужасным Уэсом Крейвеном ситуация вышла обратная: он довольно долго отказывался от участия в проекте, несмотря на уговоры продюсеров. Отчасти автора можно понять: Крейвен не хотел повторяться. Буквально за год до того, как «Страшное кино» было запущено в разработку, постановщик вернулся в свою родную вотчину «Кошмара на улице Вязов», где провернул сходный метаэксперимент. В седьмой части франшизы о Фредди Крюгере (в оригинале тоже, кстати, неномерной) действие перекочевало на съемочную площадку, и Хэзер Лэнгеркэмп играла уже не Нэнси, а саму себя, как и Роберт Инглунд, и даже Уэс Крэйвен. Крюгер полосовал не подростков, а кинематографистов, а жанр буквально рвал материю экрана.

Уэс Крейвен на съемках фильма «Крик 3»

К сожалению или к счастью, сложно сказать даже ретроспективно, эта крохотная революция осталась незамеченной: возможно, потому что ужасы переживали не лучшие времена в сердцах зрителей. В очередном же воскрешении жанра свою роль сыграла продюсерская прозорливость: в 70-х Крейвен стряхнул пыль с седин критиков «Последним домом слева», на закате 80-х, когда слэшеры набили всем оскомину, именно он вернул публику в кинотеатры благодаря «Кошмару на улице Вязов». Но волна обожания, поднятая Фредди, уже превратилась в штиль, и слэшерам была нужна новая встряска.

Уэс Крейвен на съемках фильма «Крик 3»

Уэс выступил на съемках не только мастером кровавых дел и изумительным ремесленником, способным напугать, но и автором, которому надоел родной жанр. Режиссер искал в знакомых ужасах новое — в том числе и жанровую подвижность, которая и определила физиогномику «Крика». Крэйвен начал ревизионистский диалог со своим собственным творчеством, где-то копируя подростковую решительность (Билли Лумис, как и Глен в «Кошмаре», залезает через окно в комнату к подружке), где-то высмеивая свои же шаблоны (Сидни возмущается тому, что героиня бежит по лестнице вверх вместо того, чтобы мчаться прочь из дома). Проще говоря, постановщик точно знал, как наполнить кадр адреналиновым воплями, но у него хватало чувства юмора и иронии не воспринимать собственные достижения на поприще кинематографа слишком серьезно.

Правило третье: Пост-, мета- и жанровая акробатика

«Крик» стал глашатаем метареволюции и постмодернистской азбукой слэшеров прежде всего благодаря Рэнди. У фанатов появился свой легитимный представитель прямо в кадре: герой Джейми Кеннеди помнит наизусть «Хэллоуин», знает, в каком ужастике и на какой минуте появится голая грудь Джейми Ли Кертис и фразы, которые никогда нельзя говорить, если хочешь дожить до рассвета. Это вызывало не просто симпатию, но дикий восторг — он знает, о чем мы думали на прошлом сеансе!

Джейми Кеннеди в роли Рэнди на кадре из фильма «Крик»

Но, откровенно говоря, слэшеры не нуждались в этой систематизации: в конце 80-х уже вышло эссе Кэрол Кловер «Ее тело, он сам: Гендер в слэшерах», где подробно разбирались не только шаблоны, но и психологические инструменты жанра, в том числе сексуальная подоплека насилия. Что же касается самого кино, то еще до «Крика» многие продолжения превратились в самопародии с серьезным лицом, а метазаигрывания начались не только в предыдущем фильме самого Уэса Крейвена, но и в культовом «Подглядывающем» или, допустим, куда менее раскрученном «Первом апреля».

Джейми Кеннеди на съемках фильма «Крик»

Прорыв был не только в «исследовательском» и знаточеском подходе и нарушении оглашенных заповедей жанра — после секса можно и не умирать, последних девушек бывает две (как и убийц!), а маньяк всегда возвращается, — но и в жанровой полифонии. «Крик» в равной степени был смешным и страшным: зритель пугался маски, и тут же оказывалось, что за ней прячется помощник шерифа Дьюи, который боится не меньше тех, кто затаил дыхание в зале. Смех — естественная разрядка стрессового момента: вспомните себя или любое видео розыгрыша. После высшей точки испуга, как правило, когда реальная опасность миновала, следует заливистый хохот. Эта нехитрая психологическая механика и воспроизведена на экране. Кроме того, на множественные продолжения той же «Пятницы 13-е» зрители ходили поглумиться: фанаты радостно ждали расправы Джейсона над очередными детишками и давно уже перестали его бояться. «Крик» зафиксировал, что слэшерам стоит перестать притворяться жутким кошмаром с кожаным лицом и пора разрешить себе быть смешными исходя из сюжетной логики, а не только благодаря реакциям извне.

Дэвид Аркетт в роли Дьюи на кадре из фильма «Крик»

Но ужасы и комедия — скорее ответ на вопрос «Как?», а детектив стал ключевым в параграфе «Что?». В новом фильме преемница Ренди Минди (Джасмин Савой Браун) проговаривает на экране, что «Крик» — прежде всего расследование в классическом варианте whodunnit. В оригинальных частях авторы постепенно подбрасывали зацепки — как сюжетные детали, так и жанровые приемы в виде монтажных склеек или музыкальных акцентов, — чтобы привести героев и зрителей к кульминационной сцене, где срываются маски. Часто «Крик» вел по ложному следу: в первой части ботинки шерифа выглядели как обувь убийцы (сцена нападения в женском туалете), а в финале трилогии сложно было поверить, что маньяк не инспектор Кинкейд (Патрик Демпси).

Конструкция с тайным убийцей тоже не откровение: в первой же сцене «Крика» героиня Дрю Берримор оступается на вопросе о «Пятнице 13-е» и миссис Вурхис, которая мстила за свое чадо. Но в родственной франшизе карта джокера была разыграна лишь однажды, чтобы потом уступить традиционному маньяку (на случай, если вам позвонят: классической хоккейной маской Джейсон обзавёлся лишь к третьей части франшизы). «Крик» же прием возвёл в метод и ни разу (теперь уже за 26-летнюю историю) не отступился от правил своего собственного жанра — детектива, щедро политого кровью.

Правило четвертое: Призрачное Лицо

Здесь речь пойдет о новшестве, которое стало не менее важным, чем жанр или подмигивания публике, но зарекомендовало себя лишь на долгосрочной дистанции. Убийца смертен и переменчив: никакого тебе Джейсона или Майкла Майерса, которые если и были когда-то людьми, то почти сразу превратились в сверхсуществ, вечно воскрешенных и неуязвимых. Одна попытка, один раунд, одно возвращение секунд на пятнадцать, чтобы получить финальную пулю в лоб. Билли Лумис не мог каждый раз оказываться под белой маской — утилитарная сторона сценария, призванная поддерживать интригу, стала дверью к демонам, живущим внутри.

Кадр из фильма «Крик»

Сам Уэс Крейвен считал, что маска олицетворяет зло в каждом, особенно в тех, кто прячет себя. А потому она скорее символ, совокупность агрессии и трещин мироздания, непроговоренных комплексов и травм. Лишаясь своего костюма, Стюи бьется в истерике и рассеянно ищет искупления, а Сид, примерив Призрачное лицо, из жертвы превращается в нападающую (но об этой эволюции поговорим чуть позже).

Кортни Кокс в роли Гейл на кадре из фильма «Крик 4»

Здесь можно развернуть целую скатерть суеверий и социальных примет: маска — сексуальное насилие невидимого человека, призраки прошлого и психологическая травма, которая атакует всю жизнь, страх перед близостью, предательством родных людей или попросту подкашивающая неуверенность в себе. Трактовок много, и все правдивы, но куда важнее то, что «Крик» — первая франшиза, где последняя девушка победила убийцу и в поединке за любовь зрителей, и в количестве возвращений.

Правило пятое: Последние девушки

Сидни Прескотт стала главной последней девушкой 90-х (прости, Дженифер Лав Хьюитт): изначально роль выживающей должна была достаться Дрю Бэрримор, но из-за перемены планов та стала лишь эпизодической жертвой. Уэс Крейвен искал типичную girl next door (соседскую девчонку), которая могла быть наследницей его Нэнси из «Кошмара на улице Вязов»: ни Бриттани Мерфи, ни Риз Уизерспун не прошли кастинг, роль отдали начинающей канадской артистке Нив Кэмпбелл.

Нив Кэмпбелл в роли Сидни на кадре из фильма «Крик»

Сидни крушила стереотипы своего титула: она не была ни примерной девчонкой, ни отличницей вроде Лори Страуд, ни воином, как Элен Рипли, ни девушкой-мечтой Рамоной Флауэрс. Всего-навсего обычная школьница, у которой есть лучшая подруга, симпатичный бойфренд и жуткая травма после жестокого убийства матери. Не идеализированной девчонке, которая может и споткнуться, убегая от маньяка, и врезать ему промеж ног, проще сопереживать. После «Крика» все чаще в подростковом кино и сериалах будут появляться бесстрашные девушки вроде Сид: будь то Кэт из «10 причин моей ненависти» или даже Баффи (та, что истребляла вампиров). Уильямсон и Крейвен и здесь точно уловили переменчивые стандарты времени: мало того что Сидни может ударить кулаком в лицо докучающей журналистке, она еще и выживает, переспав с парнем. Женская сексуальность перестает быть смертельно наказуемой в слэшерах, и если не это революция в жанре, то что?

Кортни Кокс в роли Гейл на кадре из фильма «Крик»

Кроме того, из фильма в фильм Сидни проходит важные жизненные этапы (в свободное от выживания время): закачивает школу, поступает в колледж, ищет работу — ее взросление лишь подтверждает мысль о том, что «Крик» — кино поколенческое и движется во времени вместе со своим зрителем.

Нив Кэмпбелл в роли Сидни на кадре из фильма «Крик 2»

Но и этого было авторам недостаточно: настоящим котом (а точнее, кошкой) в мешке стала неутомимая журналистка Гейл Уэзерс. По всем параметрам героиня Кортни Кокс (актриса вымаливала роль, лишь бы перестать быть Моникой Геллер) — анти-последняя девушка. Она карьеристка, не боится ни бога, ни черта, ни маньяка с ножом, ей плевать на светлые моральные принципы и здоровье своего оператора. Разумеется, сама по себе героиня архетипичная и восходит к Питеру Урорену из «Это случилось однажды ночью» и его «сестре» Хильди из «Его девушка Пятница». Но женщина такой формации по всем правилам слэшера должна была одной из первых отправиться под нож, а не выживать снова и снова. В рамках трилогии все же и сердце прессы дрогнуло: разумеется, Гейл прошла через череду трансформаций и даже нашла любовь всей жизни, на экране и за его пределами. Кортни Кокс и Девид Аркетт поженились, а затем развелись (как и в фильме!) — тоже своего рода метароман.

При этом Крейвен и Уильямсон избежали очередного штампа сестринства и вечной дружбы: Гейл и Сидни скорее врагини и лишь к финалу оригинальной трилогии окончательно налаживают отношения. Вместо клише девичьих объятий и стрекота болтовни «Крик» вслух проговаривает необходимость проработки травмы и солидарности: в третьей части Сидни Прескотт работает на линии поддержки женщин — жертв насилия, и обе последние девушки пишут книги, чтобы проработать ПТСР и поделиться кошмарным опытом (и получить Пулитцер, если получится). До этого последствия нападения в слэшерах, как правило, оставались за кадром — героиням достаточно было дожить до рассвета, а что будет дальше, мало кого волновало.

Правило шестое: Семья

Трепетное отношение к последним девушкам у Уэса Крейвена возникло благодаря его собственному ребенку: весь «Кошмар на улице Вязов» можно считать как любовное послание Джессике. Будучи совсем малышкой, она пережила развод родителей (Уэс долго мучился чувством вины), а повзрослев, спросила у папы-режиссера: почему девушки в фильмах ужасов такие безмозглые? Она попросила его создать героиню, на которую хотелось бы равняться, — так появились Нэнси и Сидни Прескотт.

Линн МакРи в роли Рины Рейнольдс/Морин Прескотт

В оптике режиссера действительно случилось смещение от взгляда любовника к заботе отцовской фигуры: последние девушки Крейвена куда менее сексуализированы и объективированы, а насилие сопряжено с тем самым чувством вины, а не наслаждения. Энергетически сильнее заряжены сцены, в которых женщины наконец дают отпор (хотя, разумеется, аттракцион резни никто не отменял), а болезненное влечение между маньяком и жертвой пропадает, даже при том что убийца в первой части — парень Сидни.

Эмма Робертс в роли Джилл на кадре из фильма «Крик 4»

Эта позиция не только стала логичным путем развития тропа final girl, но и отвечала веяниям времени: в 1994 году уже вышли «Маленькие женщины» Джиллиан Армстронг, которые вписывались в третью волну феминизма в кино. Сегодня вполне можно заключить, что «Крик» — женское дело, мужчины оказываются если не нападающими, то довольны бесполезными солдатами на войне с маньяком, даже родной отец Сид.

Семейные связи, выходящие за рамки отношений убийцы и жертвы, как правило, нехарактерны для слэшеров, но традиционны для кинематографа Крейвена. Дети бесконечно платят за грехи родителей и повторяют их же ошибки. Папа Сидни — персонаж приходящий, по-настоящему не влияющий на жизнь дочери. Мать же — фигура самая мифологизированная во всей франшизе: с одной стороны, Морин Прескотт стала проекцией мизогинистских настроений маленького городка, с другой — почти святой Марией Магдалиной. Несмотря на то что Сидни фильм за фильмом стремится проститься с прошлым, которое буквально убивает ее, она идет по знакомому сценарию и уже в сиквеле становится актрисой, как и ее мать Морин. Эти фрейдистские и психотерапевтические мотивы часто остаются на втором плане в поп-культурном наследии «Крика» — пусть одно из главных правил и гласит, что в прошлом кроется большая тайна.

Правило седьмое: Открывающая сцена и титры

От проработки характеров и родственных связей перейдем к простому кинематографическому трюкачеству. Как мы писали выше, первой претенденткой на роль Сидни была Дрю Бериммор — большая звезда в тот момент, способная притянуть аудиторию в кинозалы. Что-то то ли в графике артистки, то ли с ее настроением пошло не так, и она предложила убить себя в открывающей сцене. Это было фундаментальным нарушением правил общения кинематографистов и зрителей: актрису, красующуюся на постере, убивают в первые 10 минут хронометража. Такого поворота зрители могли не простить, но вместо этого обманка стала культовым приемом, который повторялся не один раз, в том числе и самим «Криком». Впредь каждая новая часть франшизы начиналась с гибели знакомых лиц: в сиквеле Джадду Пикнет Смит пронзили ножом прямо в кинотеатре, в третьей части пришлось попрощаться с Коттоном Уири, а начало четвертой стало настоящей метаматрешкой (которую стремится воспроизвести пятая часть). Впрочем, звонок не был изобретением Уильямсона, а стал тем самым постмодернистским заимствованием: открывающая сцена «Крика» схематично повторяет композицию из «Когда звонит незнакомец» 1979 года.

Дрю Бэрримор в роли Кейси на кадре из фильма «Крик»

Другой приметой франшизы стало краткое появление Призрачного лица прямо перед финальными титрами: маньяк появляется на долю секунды в первой и второй частях, заменяя фразу «продолжение следует». Завершение трилогии было своего рода избавлением, и в момент томительного ожидания экран так и оставался черным: Сидни была наконец свободной. Но до поры до времени: через одиннадцать лет финал четвертой части тоже остался без этой пасхалки. Крейвен был готов отправить на заслуженную пенсию своих последних девушек. А вот режиссеры новой части Мэттью Беттинелли и Тайлер Джиллетт, судя по всему, рассчитывают на сиквел: маньяк на мгновение появляется прямо перед титрами в финале фильма.

Джада Пинкетт Смит в роли Морин на кадре из фильма «Крик 2»

Правило восьмое: Поп-культура, кино и насилие

Можно ли как-то стройно подвести итог 25 годам «Крика» на больших экранах (одноименный сериал оставим за скобками канонической истории Сидни Прескотт)? Крейвен, как и большая часть режиссеров 70-80-х годов, бесконечно боролся со стигмой по отношению к жанру с вывеской «однотипная мясорубка, которая воспитывает маньяков». Насилие в кино стало флагманской линией, которая привела франшизу в третьей части буквально на студию. Страшно подумать, но на деньги Вайнштейнов был снят фильм о харассменте в Голливуде и о том, как бизнес калечит актрис.

Рори Калкин в роли Чарли на кадре из фильма «Крик 4»

Кинопроизводство в «Крике» представлено как цикл бесконечной монетизации травмы: франшиза внутри франшизы «Удар ножом» декламирует правила индустрии и пульсацию сиквелов и ремейков в Голливуде. Реальные трагические события становятся прибыльным аттракционом для публики. Несогласие переспать с продюсером равняется прямому билету до забвения в архиве (камео великой Кэрри Фишер). Поломанные судьбы талантливых артисток превращаются в поломанную жизнь их дочерей. Вероятно, будь «Крик» лишен ироничной интонации и не прячься он за маской стереотипов, фильм бы не пропустили, но здесь комедии удалось стать сатирой. На этом дело не кончилось — Уильямсон и Крейвен вновь прочувствовали веяния современности еще через одиннадцать лет, ощутив силу фанатов с развитием Интернета и прямых эфиров в «Крике 4». Кино теперь общее дело и не принадлежит только создателям.

Кортни Кокс в роли Гэйл на кадре из фильма «Крик»

Все это лишь та самая обратная сторона: на деле насилие на экране Крейвена чрезмерно кинематографично, кровь похожа на кетчуп, а резня выглядит театрально. Но не ее последствия. Местами с юмором, местами схематично показанные пытки посвящены постскриптуму длиной в четыре фильма и двадцать с лишним лет (все же пятая часть выбивается из этой парадигмы). «Крик» — франшиза о том, что было после смерти. Как дочь смирилась с утратой матери, как муж не простил неверную жену, как дети без родителей теряли ориентиры, а выжившие женщины стремились поделиться опытом и подставить плечо тому, кто дожил до рассвета, но не пережил психологический урон.

Надеемся, вам понравилась наша подборка, а теперь вы можете отметить фильмы, которые смотрели, и рассказать об этом друзьям!