Mick strawn on nightmare on elm street 3 and 4 and behind the screams basic electricity quizlet


We chatted Strawn up about his experience working on the Nightmare franchise and so much more. It was a true pleasure to get the chance to talk with the man who is responsible for creating so many of the iconic images and scenes in so many movies we love. We also got the low-down on his new book Behind the Screams. The following is a clean verbatim of the interview:

Wicked Horror: One of the biggest things that hit me while reading Behind the Screams was, I was describing to my girlfriend what the book was about, and I explained it’s about your experience on the scenes, and the work you did. I explained, verbatim, “the fourth one– best way to describe it, was the MTV music video of the franchise”. I turn the page, and that’s exactly what was said, and I couldn’t believe that’s how it was said!

Mick Strawn: Well, it’s part of the reason I will eventually do one for 3. All the stories that you hear, they’re the same stories that you hear, what’s interesting is all the behind the scenes of building– of putting these together. Because, Nightmare on Elm Street 3 and 4 were the most interesting films I ever did in the background [Laughs]. gas station I mean, all the rest of the stuff that goes into them was so complicated, and so indicative of the time. I was thinking, those stories are the ones that need to come out.

Mick Strawn: [Laughs] In front of the house, yeah. It was the amazing single shot. And one thing you always tried to do back then — we knew how difficult stuff was. And the audience did, too. They were thinking how you did that, as much waiting for the surprise itself. Which is not a modern way of thinking. But, back then you tried to blow them away in one shot. That’s what we did. 4 gas giants And the idea of the shot was, we set up the Elm Street house. In fact, in the very beginning, when we see the house from the outside, that is our built facade. You had no backing on it — and we built that house, and we built a track over it, that was on a couple of huge stands on each side. And hanging over it was a facade of another house, and it was supposed to be Kristen’s house. and we put the whole thing on rollers. And then we built a very obvious Elm Street hallway, with a door that shuts down — all the way out on the sidewalk and across the street. The idea is that — [Kristen] comes out — she hears something outside of her room, and comes downstairs and out onto her front porch. thitima electricity sound effect And, the camera is sitting at her eye line, and she hears a clicking. The camera goes up over her head — now, when it’s over her head, we move her house out of the way. And the camera slams down almost to the ground looking up at her, and behind her is the Elm Street house. That was done in real time. And, she looks behind her and she starts to run forward. And the camera’s in front of her as she’s running, and she and the camera run into the hallway, and the door slams down behind her. And it’s the Elm Street door.

Mick Strawn: Right. We knew that — at the point that we shot it. I don’t want to say, and I kind of know why it didn’t work. I was told, and I know why- let’s just say that it didn’t work out [laughs]. So, now they wanted to kill her character off. So, we did that [the opening shot] on stage. gas chamber jokes We had the version of the house, that was the living room inside, and the copy of the living room on the other side. That was on stage, as well as another version of the house that was built upside down. And there were hallways everywhere. That was part of the fun working on the Nightmare on Elm Street house was to build hallways everywhere. And, after the third, we still had a lot of hallway left.

Mick Strawn: I can give the things that were absolutely my ideas. The look of the junkyard was my idea. The idea of the truck hitting nothing was all my idea from the beginning. The church, the concept of how to shoot the church was my concept, and it was from my dealing with Tales from the Darkside. And, the funny thing is that, you don’t know how little there is in the church, as far as a set. electricity symbols ks3 What it is, is a bunch of pieces floating in the air, and you [the viewer] put it together in your head as being a space. We had that stone frame around the door, and that was standing as one piece itself. The distances are bigger than you think, and there’s a lot less in there. When you’re watching that fight, the only thing you’re seeing is a few columns. And the out frame of Gothic style windows, but those are just pieces of plywood painted and hung in the space.

Mick Strawn: It was [laughs]. It was hard to comprehend from the beginning- from the point of view of working with Screaming Man George. Cause I had the liaison with him in order to build the sets. He was a creative genius, and he did something really interesting. But the thing was, he was not very good at explaining it to people. electricity electricity lyrics But there’s a story in the book about mixing the goo, about how I almost lost an employee to it! [In mixing the goo] he turned the drill on, and the energy of the rod and the drill sent all 50 gallons of the goo up the rod, and the drill and around his arms, and most of his neck.

Mick Strawn: I love the junkyard. I do. It’s just something you wouldn’t — it was just so visually stunning to be around. And, it was just junky cars. The first time [ Part 3] it was very small. And, I was walking away thinking “Boy, I’d love to do this set again. Do it very big,” and, here it comes! And, you see, some of my favorites are probably not of the other people’s favorites. I also love the snake sequence from Nightmare 3. gasco abu dhabi contact But, the truth, there is a set that was so cool when it was done — the metal staircase [from Part 3] that was in forced perspective. That was an amazingly difficult to make.

Mick Strawn: We had a lot of trouble with Andras’ scene. Because that was just a throw away in the end. His sequence was one of the most complicated at one point. It wasn’t written that way [how it’s seen], it was written several different ways. At one point in the elevator, he’s in the elevator, and we mounted it in the air, and had put a bottom on it that was made out of tempered glass. And the idea was, he was going to be in the elevator, and we were going to break the glass. And there was going to be a new hell for him to deal with. But, for some reason, it kept changing, and then finally, we shot the sequence of him just getting out of the elevator, and we had to figure out what to do with him. grade 9 current electricity test And, he wasn’t standing in a dojo, because that concept wasn’t even there. We didn’t know where he was going to go. And, I have to hand it to Andras, because he had little rolls to his character. Cool, charisma — the nerd with swagger.

Mick Strawn: Oh, absolutely! Both Nightmare 3 and 4, just crazy, crazy hours. And, I have this thing of not going to sleep on the set. I do not want to pull up a cot and wake up here again. You have to remember, I was the head of one of the busiest departments that could be. And, I was a main player in how the effects worked, and how everything else looked.