Wes Craven
Wes Craven
Wesley Earl "Wes" Cravenwas a prolific and influential American film director, writer, producer, and actor known for his pioneering work in the genre of horror films, particularly slasher films. Due to the success and cultural impact of his works in the horror film genre Craven has been called the "Master of Horror"...
NationalityAmerican
ProfessionDirector
Date of Birth2 August 1939
CityCleveland, OH
CountryUnited States of America
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So then it's a matter of, do you want to make movies? Yeah. Then you're going to make scary movies. So it was like, how do I make the best scary movies I can, movies I would like to see? I never went out of my way to make a single one. I don't particularly like them. My conviction is that I can do any kind of film.
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The monsters are a little silly because they had no money, so obviously they can't show them for very long, ... But the film itself is a romp; a very bloody, goofy, scary one.
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I said, 'I don't know how to write a scary movie,' and he told me, 'Just pull all the skeletons out of your closet,' ... Over the weekend, I wrote The Last House on the Left , and those guys (in Boston) loved it. We shot it in 16 mm. It caused a firestorm of controversy, and off I went.
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After that, everybody-assumed I must be a terrifying person who lived in a cave. We both tried to make other kinds of films, but we couldn't get any money. They were offering us money to make scary movies, so I went off and made The Hills Have Eyes , and Sean went off and did Friday the 13th ,
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I wrote, I think, half a dozen films that were completely out of genre. Comedies, love stories, even one serious film about Vietnam, and we couldn't get backing for any of it. And we both sort of drifted from making, at that time, serious money on Last House to going through it all in the course of almost three years and only getting offers to do something scary again.
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I came from a very strict background. [So if you want to make a scary movie] if you were raised as a fundamentalist, just pull all the skeletons out of your closet.
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I came to terms with living mostly in a world of horror pictures or genre pictures. I have had a few chances to get outside and do something different, like Paris, Je T'Aime or Music Of The Heart, but mostly it's been my lot. And to have created, with a few shocking films, an awareness or a perception of me as somebody dangerous and scary - that can be sold, but trying to sell me for some other kind of picture, like Music Of The Heart, was very difficult.
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I've seen the final cut and it's a lot of fun, ... It actually turned out pretty well and it ended up with everybody thinking, 'By God, John really knows what he's doing.' He pulled it off. Absolutely. He did a real, real good job.
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Rachel was one of the early names that came up. As soon as we started thinking about her, we really got excited. She has a quality that is missing in a lot of American girls now. You know, just a sense of wholesomeness. And I had seen her movies and I thought they showed such range. At one moment, she's doing 'Mean Girls,' which is sort of high-level comedy, in a way, and then she's doing this really beautiful love story.
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Without being on the set, I was very closely involved.
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Those are the only two films I've made in which I have significant ownership. So you can make a deal where a studio releases your film but doesn't have final cut. You have a lot of power that you wouldn't have otherwise.
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I don't know where the limits of her range are. I certainly didn't find them.
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She has a quality that is missing in a lot of American girls now ...
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It's obviously not buckets of blood; it's a psychological thriller, ... For me, it was kind of an announcement that I can step out of the horror context and hold my own with the best of them.