DOCSLIB.ORG

Read Ebook {PDF EPUB} Freddy Vs. Jason Vs. Ash by Jeff Katz Friday the 13Th: the Website

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Read Ebook {PDF EPUB} Freddy Vs. Jason Vs. Ash by Jeff Katz Friday the 13Th: the Website Read Ebook {PDF EPUB} Freddy Vs. Jason Vs. Ash by Jeff Katz Friday the 13th: The Website. Even before Freddy vs. Jason was released at cinemas, a young rising executive at New Line Cinema was already plotting a sequel. Combining the characters of Freddy Krueger and Jason Voorhees with that of Ash Williams, the reluctant hero of the Evil Dead series, Freddy vs. Jason vs. Ash became hot property at the studio and looked set to be their next installment for the fledging Friday the 13th franchise. Yet, despite the success of Freddy vs. Jason , New Line decided to shelve the idea and the project seemed doomed. Yet, through a collaboration with writer James Kuhoric and artist Jason Craig, the story has finally made its way to the fans in the form of a graphic novel mini-series. Jeff Katz talks about the long journey of making Freddy vs. Jason vs. Ash a reality. How did you become involved with New Line Cinema and, more importantly, Freddy vs. Jason vs. Ash? I’d wanted to work at New Line since I was a little kid, about seven or eight years old. I fell in love with genre films - Elm Street especially - at a young age. Bob Shaye was from Detroit (Sam Raimi’s family lived next door to me as well) and I was inspired as a child that someone from my neighborhood could go to Los Angeles, start his own studio and make cool movies. Bob and I started corresponding when I was in fourth grade or so and I resolved to go to New Line as soon as possible. Following some lucky career breaks as a teen I was able to drop out of college, call in my chip with Bob and get an internship at New Line. My entire goal was to get involved with Freddy vs. Jason as I had read every script they’d done on the project to date. I was fortunate enough to be put on the movie as an executive and, ultimately, it was what launched my career in Hollywood. FvJvA was something I pitched around New Line starting as an intern and, later, as an executive it seemed like something I could actually pull off. So once FvJ performed well at the box office New Line was cool enough to back my idea and had me write up the treatment. We tried to put a deal together a few times but the realities of Hollywood dealmaking prevented it from coming together. Still, I’m incredibly grateful for Freddy, Jason and Ash coming into my life and am proud to see the story live on as a comic. Had you always been a fan of the three franchises and how confident were you that they would work well together? Fan would be an understatement. All three franchises were a huge part of my life. They seemed to fit very naturally. My big thing after FvJ was to get a hero that would be as interesting as Freddy and Jason as villains. And in the genre there’s only one that comes close and that’s Ash. To have the Necronomicon in JGTH , enabling us to set it up, was just a bonus. What was the length of the treatment that you wrote and how long did the process take? I can’t remember specifically but it wasn’t long. Most of these ideas were things I had been playing around with before it ever seemed like a reality. I knew this would be something that would get people talking and it was an idea that I, as a fan, would’ve loved to have seen. So I wrote it very much from the standpoint of what I’d have loved as a hardcore fan, thinking that other hardcores would enjoy it the same way I would. The story is centred around the Necronomicon, which was referenced in both the Evil Dead movies and Jason Goes to Hell . Was it difficult to fuse the three separate mythologies together, and which character were you most interested in? The Necronomicon in JGTH was huge for us, as it gave us a legitimate underpinning to get these franchises together. It would have been forced otherwise, to say the least. It gave us an organic reason. The mythologies actually worked really well together, which didn’t really surprise me. These three guys together just always made sense in my mind. I love all three characters so the idea of Ash meeting up with these two, plus smartening up Jason and giving Freddy greater power generally made the entire thing something I could invest in and love to work on. Were you impressed with the Freddy vs. Jason movie, as many fans felt it was too camp and dumb, even for a slasher movie? Ha! But how do you really feel? Well, considering I worked on it and it launched my career, I suppose I’m slightly biased. I’d certainly argue we were less campy than the later Friday s and Nightmare s. The idea was to return Freddy and Jason closer to their iconic versions, which to me was Freddy from one-four and Jason from four and six. Both in terms of look and tone. Those were my favorites personally. Generally the fans I’ve met have seemed like the liked the movie and the box office seems to speak to some level of satisfaction. But you’re never going to please everybody. All told though, I am proud of the film and think it’s very true to the characters and their continuity. How instrumental were Sean Cunningham and Sam Raimi as you were preparing the treatment. Did you find that you were receiving a lot of support from the studio? Well, I worked at the studio so I think it’s safe to say there were supportive. It required some education for them as to who Ash was, Evil Dead and all that. Generally they were terrific. I love Sean and Sam, who are both terrific guys, but it was pretty much me in a room. Sean, especially, was very supportive. Had the treatment attracted the attention of any of the actors – Robert Englund, Bruce Campbell - and who were you hoping would play Jason? Yes. I went to Bruce early on for his blessing. Bruce is also from my area in Detroit originally and his father and my mother were friends. So there was a natural connection. Rob Tapert was someone I roped in early as well. Robert was always hugely supportive. He’s a great guy and loves that character. In terms of Jason, we were open minded but - and I know this one will be controversial with the fans - I suspect it would have been Ken again. Were any directors suggested for the movie or did talks not reach that far? We had plenty of people reach out once word got out we were talking about it. Some names that would surprise you probably. It just speaks to the eternal popularity of these three franchises. They’ll be scaring and inspiring kids for generations to come. How supportive were the fans of the movies once the concept was leaked out onto the internet? Hugely. Just incredibly supportive. The fans are the reason this thing ultimately saw the light of day as a comic. And the success of the comic since the release is a testament to their dedication and love for the franchise. It’s really cool to see and it makes me proud to be one of them. Once it seemed that the movie was not going to happen, how did the comic book come about? It was something we were talking about casually over a couple years until ultimately David Imhoff from New Line put the deal together. It was timing, at the end of the day. Bad timing is what killed the movie deal. Good timing is what enabled the comic series. How much input did you have in the writing of the comic, or was your treatment just used as a template? James, Jason and Thomas were terrific about involving me. Initially the idea was for me to adapt the treatment but I left New Line to go to 20th Century Fox and was already writing Booster Gold for DC Comics, so schedule and my obligations to Fox were a major factor. Since Jason took the reins, though, he’s been incredibly gracious about involving me. All of them have been great guys. We’re all fans here and I think that shows in the finished product. Have you read the comic series and, if so, what are your thoughts on it? Do you still wish it had been made as a movie, as many fans still ask about it? Of course I read it. Movies are my day job, comics my side gig. I’d obviously love to have seen this as a movie as it was my passion project. But as a comics fan I can’t really be disappointed considering the response to the thing. I’m just proud it will continue to live on. And now, with the Friday and Nightmare remakes coming, in some ways the series is the true continuation of the current (or classic) continuity. I’m very very proud of that. Had the movie happened, and had been a success, where do you think the new franchise could have gone from there? Which other horror icon would you have liked to have seen thrown into the mix? The idea was for Ash to be the one to kill Freddy and Jason and then go off into a larger budget Evil Dead film for Sam to be more involved in.
Load more

Recommended publications
  • Freddy Vs. Jason Script
    FREDDY VS. JASON Written By Damian Shannon & Mark J. Swift (Final Draft) © 2003 New Line Cinema 1. BROUGHT TO YOU BY CAMP BLOOD: THE HOME OF JASON VOORHEES AT http://www.shiversofhorror.com FADE IN: NEW LINE LOGO Freddy's theme plays hauntingly on a piano. A spark turns into a flame that burns in our TITLES: So Frowned the Mighty Combatants that Hell Grew darker at their frown; so matched they stood; For never but once more was wither like To meet so great a foe. See, with that heat these dogs of Hell advance To waster and havock younder world. MILTON Paradise lost MATCH CUT TO: FLAMES. PULL BACK TO REVEAL: INT. FURNACE The flames are inside an old furnace. In it, we see a child's doll melting. Like evidence being destroyed. INT. BOILER ROOM - SAME Outside the furnace, a dark figure moves. A love with knives for fingers screeches along a metal pipe. An unseen child SCREAMS. And then. .only blackness. INSERT - NEWSPAPER FRONT PAGE The headline reads: "Child Killer Set Free." There is a PICTURE of Fred Krueger walking down the court steps, smiling. We HEAR: the screams of a mother, the outrage of a father. And then, the familiar laugh of Fred Krueger. But then, the edges of the newspaper start to cinder. .and burn. EXT. SPRINGWOOD - ABANDONED BOILER ROOM - SUNSET Flames crawl up the side of an old Industrial building. A window explodes. We hear Fred Krueger SHRIEKING inside. 2. PULL BACK TO REVEAL: PARENTS gathered around the building. One sets a GASOLINE CANNISTER on the ground.
    [Show full text]
  • A Nightmare on Elm Street Timeline
    A NIGHTMARE ON ELM STREET TIMELINE [ Introduction ] The timeline below is based on the highly successful horror series A Nightmare on Elm Street. This outline is the canonical account based on the films and approved licensing tie-ins. It contains the least possible spoilers for those who have not seen all the films, but still contains enough information to have everything covered. Below each listing is a footnote that provides evidence or explanation of where the listing originated. Please see these sources to confirm the information documented here. A NIGHTMARE ON ELM STREET TIMELINE 1907: Amanda Krueger is born. [As shown in A Nightmare on Elm Street 3: Dream Warriors.] Circa 1940: Practicing nun Sister Mary Helena (Amanda Krueger) is accidentally locked in the tower for the criminally “A young girl on the staff was insane at Our Lady of Sorrows mental institution. She is accidentally locked in here over raped for days by the one hundred patients confined there. the holidays. The inmates Amanda is found afterward, barley alive and now pregnant. managed to keep her hidden for After the incident in the tower, that wing of the hospital is days. She was raped...hundreds closed and Our Lady of Sorrows changes its name to Westin of times. When they found her, Hills psychiatric hospital. Frederick Charles Krueger is born she was barely alive...and with months later after a breech birth and given up for adoption. child. That girl was Amanda [Freddy’s birth date has not been officially released. A Nightmare on Elm Krueger. Her child - the bastard Street 3: Dream Warriors and A Nightmare on Elm Street 5: The Dream son of a hundred maniacs.” Child both reference it to be sometime in the 1940s.
    [Show full text]
  • The Nightmare Encyclopedia Walkthrough
    The Nightmare Series Encyclopedia DVD FAQ v0.6 by Tripps [[email protected]] http://www.rexer.com/tripps/nse/nsefaq.txt http://www.rexer.com/tripps/nse/nsemap.tif Table of Contents ----------------- FAQ Labyrinth Walkthru Subject Index Interviewees Krueger Quips MTV Clips Music Videos Still Galleries Endings Trailers Chapter Index Alphabetical Index ------------------ -*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*- \ / | FAQ | / \ -*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*- Q. What is the Nightmare Series Encyclopedia? A. The Nightmare Series Encyclopedia (NSE) is a bonus DVD in the Nightmare on Elm Street Collection. This boxed set boasts beautiful anamorphic transfers of all seven Elm Street films. Rather than adding trailers, outtakes, and other supplements to each of the seven movie DVDs, New Line decided collect all of their extra material on an eigth disc. The result of this decision was the NSE. The Elm Street boxed set is the only way to get the NSE. Q. What's on the NSE? A. The NSE contains interviews with the cast and crew of the Elm Street movies, "Krueger Quips" from the set of Elm Street 5, snippets from Freddy's appearances on MTV, music videos from the films, still galleries, alternate endings to Elm Street 1, and trailers for all seven movies. In all, there are 93 video clips and 3 still galleries on the disc adding up to more than 3.5 hours of material. Q. How is the NSE organized? A. The NSE is split into three sections: Primetime, Labyrinth, and Index. Primetime contains the featurette "Welcome to Primetime." "Welcome to Primetime" is the only self-contained documentary on the disc. There are 10 interviews and 1 alternate ending to Elm Street 1 in Primetime.
    [Show full text]
  • Fabricating Freddy Vs. Jason: Understanding a Motion Picture As a Social Encounter Between Fans and Filmmakers
    Western Michigan University ScholarWorks at WMU Dissertations Graduate College 4-2007 Fabricating Freddy vs. Jason: Understanding a Motion Picture as a Social Encounter between Fans and Filmmakers Jason M. Rapelje Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Film and Media Studies Commons, Social Psychology and Interaction Commons, and the Sociology of Culture Commons Recommended Citation Rapelje, Jason M., "Fabricating Freddy vs. Jason: Understanding a Motion Picture as a Social Encounter between Fans and Filmmakers" (2007). Dissertations. 910. https://scholarworks.wmich.edu/dissertations/910 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. FABRICATING FREDDY VS. JASON: UNDERSTANDING A MOTION PICTURE AS A SOCIAL ENCOUNTER BETWEEN FANS AND FILMMAKERS by Jason M. Rapelje A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of Sociology Dr. Paula S. Brush, Advisor Western Michigan University Kalamazoo, Michigan April 2007 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. FABRICATING FREDDY VS JASON: UNDERSTANDING A MOTION PICTURE AS A SOCIAL ENCOUNTER BETWEEN FANS AND FILMMAKERS Jason M. Rapelje, Ph.D. Western Michigan University, 2007 The break in the mass communicative chain, which separates producers and receivers from one another in both time and space, impedes researchers from studying motion pictures as social encounters.
    [Show full text]
  • A Nightmare on Elm Street 5.5: Freddy's Triumph
    A NIGHTMARE ON ELM STREET 5.5 FREDDY’S TRIUMPH Screenplay by George Willson Based on characters created by Wes Craven & David Chaskin, Bruce Wagner, Chuck Russell, Bran Helgeland, William Kotzwinkle, Scott Pierce, John Skipp, Craig Spector, Leslie Bohem, Rachel Talalay, and Michael DeLuca “Freddy”, “Freddy Krueger” and “A Nightmare on Elm Street” are registered trademarks of New Line Cinema Corporation Explanation: The first time I saw Freddy’s Dead: The Final Nightmare, I was hopelessly lost in an extremely confusing plot. All the rules that were established and followed (to an extent) in the previous movies were broken in this part. Freddy continually got at people or inexplicable “dream-like” things happened to people while they were awake. My solution to this problem was to create a prequel to Freddy’s Dead. It hopes to give a little explanation to why things happened they way they did, and also hints to a backstory of Freddy so that the “revelation” of Katherine Krueger in Freddy’s Dead doesn’t feel so cheap. This is not intended to be a piece of high art, but simply a desire I’ve had since I watched Freddy’s Dead and got lost in the mess it was. It also hopes to solidify the series in a way that no other sequel has done by recalling characters who survived other parts. For example, a lot of people want to forget about Nightmare 2, but this script uses it for what it was: a way for Freddy to enter the real world, which is basically what has happened in Freddy’s Dead.
    [Show full text]
  • Freddy Vs. Jason
    FREDDY VS. JASON Written By Damian Shannon & Mark J. Swift (Final Draft) © 2003 New Line Cinema 1. BROUGHT TO YOU BY CAMP BLOOD: THE HOME OF JASON VOORHEES AT http://www.shiversofhorror.com FADE IN: NEW LINE LOGO Freddy's theme plays hauntingly on a piano. A spark turns into a flame that burns in our TITLES: So Frowned the Mighty Combatants that Hell Grew darker at their frown; so matched they stood; For never but once more was wither like To meet so great a foe. See, with that heat these dogs of Hell advance To waster and havock younder world. MILTON Paradise lost MATCH CUT TO: FLAMES. PULL BACK TO REVEAL: INT. FURNACE The flames are inside an old furnace. In it, we see a child's doll melting. Like evidence being destroyed. INT. BOILER ROOM - SAME Outside the furnace, a dark figure moves. A love with knives for fingers screeches along a metal pipe. An unseen child SCREAMS. And then. .only blackness. INSERT - NEWSPAPER FRONT PAGE The headline reads: "Child Killer Set Free." There is a PICTURE of Fred Krueger walking down the court steps, smiling. We HEAR: the screams of a mother, the outrage of a father. And then, the familiar laugh of Fred Krueger. But then, the edges of the newspaper start to cinder. .and burn. EXT. SPRINGWOOD - ABANDONED BOILER ROOM - SUNSET Flames crawl up the side of an old Industrial building. A window explodes. We hear Fred Krueger SHRIEKING inside. 2. PULL BACK TO REVEAL: PARENTS gathered around the building. One sets a GASOLINE CANNISTER on the ground.
    [Show full text]
  • Slasher Cinema As Youth Empowerment
    What Can You Do in Your Dreams? Slasher Cinema as Youth Empowerment L. J. DE GRAFFENREID ERHAPS NO CINEMATIC GENRE IS MORE MISUNDERSTOOD THAN THE classic American slasher. Such films are alternately reviled as Prandom, meaningless spectacle (Crane 147) or revered as cul- tural products of the exploitation of sexual difference. Psychoanalytic and feminist readers posit that we watch slashers because they act as signifiers of latent teenage sexual anxiety and desire (Mulvey 756). In the grand tradition of Halloween (1978), the Nightmare on Elm Street (1984) franchise is ‘‘characterized by the presence of a psychotic killer usually involved in a multiplicity of murders’’ (Dika 87). What sets these films apart from such canonical works as Hitchcock’s Psycho (1960) is the intimate, formulaic relationship between Clover’s chaste, somewhat androgynous ‘‘Final Girl’’ (Clover 35) and her sexually aggressive assailant (Tracansky 65). The Final Girl’s ‘‘triumphant’’ survival is read by some critics as reflecting the conservative sexual politics of a nation then in the throes of an HIV/AIDS and teen preg- nancy crisis (Derry 163). In critical analysis, however, this reactionary view tends to obfuscate the generally troubled relationship between parents and their rebellious offspring: in the Nightmare on Elm Street films, authority figures either dismiss teenage pleas for assistance or pose direct physical threats. The slasher, then, can be seen as underage society’s revenge-seeking doppelganger, its desire for rebellion made manifest in the murderous tendencies of powerful, sadistic Freddy. And though sexual exploration is a key feature of the slasher, in the Night- mare films, preservation of innocence and peer support constitute the most pressing crises and needs of the teenage unconscious.
    [Show full text]
  • Gothic Features in the 1984 and 2010 Versions of a Nightmare on Elm Street
    DOI: http://dx.doi.org/10.5007/2175-8026.2019v72n1p199 “IT HURTS ’CAUSE YOU’RE IN MY WORLD NOW, BITCH”: GOTHIC FEATURES IN THE 1984 AND 2010 VERSIONS OF A NIGHTMARE ON ELM STREET Claudio Vescia Zanini1* Universidade Federal do Rio Grande do Sul, Porto Alegre, Rio Grande do Sul, Brasil* Abstract his article discusses the 1984 slasher ilm A Nightmare on Elm Street and its 2010 remake emphasizing the presence of recurrent tropes both in Gothic iction and slasher ilm such as transgression, excess, disrupted family structures, the monster, the haunting return of the past, and the terrible place. A literature review for slasher ilm theory precedes a detailed analysis of the symbolic and thematic connections between the opening and closing sequences in each ilm. he conclusion highlights the remake’s resigniication of the original movie’s Gothic legacy by updating its supernatural monster into an earthly threat and by endowing its heroine with the strength and proactivity necessary for the inal confrontation with the monster. Keywords: A Nightmare on Elm Street; Horror cinema; Slashers; Gothic iction. * Professor of Literatures in English at the Federal University of Rio Grande do Sul (UFRGS). Founding member of the research group Estudos do Gótico (CNPq). His research interests include Gothic studies, horror cinema and the interfaces between iction and psychoanalysis. His e-mail address is [email protected]. ORCID: 0000-0003-3688-324X. Esta obra tem licença Creative Commons 200 Claudio Vescia Zanini, “It hurts ’cause you’re in my world now, bitch”:... Popular ilms, then, respond to interpretation as at once the personal dreams of their makers and the collective dreams of their audiences – the fusion made possible by the shared structures of a common ideology.
    [Show full text]
  • Nightmare on Elm Street: Dream Reunion
    NIGHTMARE ON ELM STREET: DREAM REUNION written by Eric Dickson [email protected] OVER BLACK Riotous APPLAUSE and the sound of a MARCHING BAND leading a familiar football charge almost drown out the sound of a thumping HEARTBEAT. BUMP-BUMP. BUMP-BUMP. BUMP-BUMP. And then, the long and piercing hiss of a RINGING IN SOMEONE'S EARS. FADE IN: EXT. PENNSBORO HIGH SCHOOL FOOTBALL STADIUM - NIGHT The beautiful green eyes of CLEO FORD (17), black girl, curly hair, shabby chic -- suddenly burst open. On the FIFTY YARD LINE. Cleo is out of breath...out of sorts...and totally unaware of her surroundings. She wears a wild homecoming dress with a pair of equally wild leggings. A full crowd of hometown spectators CHEER HER ON from the tall bleachers before her. Standing near Cleo, looking equally confused, is RANDY DYER (17), tall, thin, black eyes. A real burnout. He is in a simple basketball jersey and jeans. Randy stares over at -- STEPHEN "STEP" LOWERY (18), all star jock, football hero and class stud. Step is in his football uniform and leans on a crutch due to a broken right leg. But this is news to Step as he stares down at his cast with confusion. Step stares back at -- HARLEY BODEN (17), pink hair, Harley Davidson jacket over a pair of homemade denim shorts. Just like her hair, cut about three inches too short. Harley, Step and Randy all stare back at Cleo who is dead center of the action and the only one wearing proper homecoming attire. Cleo shakes her head, pleading ignorance as she stares back at the rowdy crowd in the stands growing rowdier by the second.
    [Show full text]
  • That Was a Bit Mental: Volume 1
    That Was A Bit Mental: Volume 1 Reviews of films that are slightly less than sane Chris Scullion To my beautiful wife Louise, for putting up with all the shite I’ve made her watch over the past four years. I love you x Table Of Contents Introduction 28 Days Later (2002) Alien Terminator (1995) Alien Undead (2010) Amityville 3D (1983) Attack Of The Super Monsters (1982) Axe (1977) Battle Royale (2000) Battle Royale II: Requiem (2003) Behind The Mask: The Rise Of Leslie Vernon (2006) Bless The Child (2000) Blood Car (2007) Blood Feast (1963) The Boneyard (1991) Bruce Lee Fights Back From The Grave (1976) Buffy The Vampire Slayer (1992) Cannibal (2010) Children Of The Corn (1984) Children Of The Corn II: The Final Sacrifice (1992) Child’s Play (1988) Child’s Play 2 (1990) Child’s Play 3 (1991) Bride Of Chucky (1998) Seed Of Chucky (2004) Creepshow 3 (2006) Crimewave (1985) Dangerous Worry Dolls (2008) Dead Silence (2007) Deadly Blessing (1981) Deadtime Stories: Volume 1 (2009) Dinoshark (2010) Drag Me To Hell (2009) Elvira’s Haunted Hills (2001) The Evil Dead (1981) Exam (2009) Exorcismus (2010) The Exorcist (1973) The Exorcist: The Version You’ve Never Seen (2000) The Exterminator (1980) The Eye (2002) Final Destination (2000) For Y’ur Height Only (1981) Friday The 13th (1980) Ghostwatch (1992) The Gingerdead Man (2005) Gingerdead Man 2: The Passion Of The Crust (2008) Gremlins (1984) Halloween (1978) Halloween (2007) Halloween III: Season Of The Witch (1982) Hell Comes To Frogtown (1988) Hobo With A Shotgun (2011) The Human Centipede (First
    [Show full text]