Low Budget Horror Stories

Written by Stephen Schochet

Filmmakers have foundrepparttar horror genre to be a potentially low budget, high profit way of breaking intorepparttar 124160 business. Standing in a long line at a hardware store, Tobe Hooper imagined taking a chainsaw offrepparttar 124161 wall and cutting his way torepparttar 124162 front, inspiring his creation of The Texas Chainsaw Massacre (1974). George Romero found a local butcher in Pittsburgh to finance and provide blood and guts for his zombie thriller Night Of The Living Dead (1968). Wes Craven combined a nasty bully named Freddy that he knew in grade school with a frightening old hobo he saw hanging around his Cleveland neighborhood to createrepparttar 124163 dream killer Freddy Krueger for A Nightmare On Elm Street (1984). And producer Val Lewton was given credit for saving RKO studios (teetering on bankruptcy because ofrepparttar 124164 overspending Orson Welles) by producingrepparttar 124165 highly profitable Cat People (1944), keepingrepparttar 124166 budget way down by showing shadows rather than cats.

Low budgets can mean small paydays to horror actors. Universal Studios founder Carl Laemmle became disenchanted by movie stars demands for perks and high salaries. Horror movies were an antidote, ifrepparttar 124167 Invisible Man orrepparttar 124168 Mummy demanded too much you could hire someone else andrepparttar 124169 public wouldn't knowrepparttar 124170 difference. One casualty was Boris Karloff who endured having make-up applied by Jack Pierce for four hours a day to play Frankenstein's Monster. Although he lovedrepparttar 124171 creature Karloff, who foundedrepparttar 124172 screen actors union, complained publicly aboutrepparttar 124173 Frankenstein movies," I was only in three of them but I get blamed for all nine." He also said," I get allrepparttar 124174 fan mail but somebody else getsrepparttar 124175 check." Each Halloween Boris's resentment grew whenrepparttar 124176 neighborhood kids in Beverly Hills would ask him to go trick or treating.

Karloff's influence was felt in Berkshire, England duringrepparttar 124177 making of Hammer Film's The Curse Of Frankenstein (1957). Fearing that any resemblance torepparttar 124178 Universal's Monster would cause a lawsuit, make-up artist Philip Leakey worked hard to make Christopher Lee's creature gruesome and unique. Former cavalryman Lee became so angry at Leakey's painful experiments on his face, he threatened to run him through with his sword. The make-up man disappeared for several days delaying filming. Later a calmer Lee lamented to his co-star Peter Cushing who played Baron Frankenstein," Playingrepparttar 124179 creature is horrid. I have no lines." "You're lucky. I've readrepparttar 124180 script." replied Cushing. The film was horribly reviewed and highly profitable.

Who Lives In The Star Wars Galaxy?

Written by Stephen Schochet

It's hard to say where old Hollywood ended and new Hollywood began. People inrepparttar industry don't think of themselves as making history, they are just going to work. Butrepparttar 124159 day in 1967 that Jack Warner cleaned out his desk at Warner Bros. studio, George Lucas and Frances Ford Coppola arrived onrepparttar 124160 lot.

The two young filmmakers were very different in demeanor. Coppola a legend at UCLA film school was 27, a loud boisterous mixture of mogul and marxist, who prided himself in dressing like Fidel Castro. He impressed film executives at first with his bravado, but later would upset them with his reckless overspending. Five years younger, Lucas, who went to USC, was quiet and introspective. The only guys at Warners who were below 30 and wore beards, they hit it off instantly with Coppola takingrepparttar 124161 mentor role. Lucas had made a thirteen minute science fiction film project called THX 1138, a dark look at a computer controlled future. Coppola convinced his protégé to extend it into a full-length film and talked Warner Bros. into financing it.

Overrepparttar 124162 next few monthsrepparttar 124163 wily Coppola played both sides. "I'm telling you this kid Lucas is making a great film." Coppola toldrepparttar 124164 Warner brass. "Don't put pressure on yourself, they don't expect anything," He reassured Lucas. When they sawrepparttar 124165 completed THX 1138repparttar 124166 Suits were furious. "Francis what is this?" "I don't know, I've never seen it." repliedrepparttar 124167 bewildered producer. To Lucas's dismayrepparttar 124168 studio cut out parts from THX 1138 before they released it. "They're cuttingrepparttar 124169 fingers off my baby."

THX failed atrepparttar 124170 box office and Coppola was held financially liable for $300,000, butrepparttar 124171 two filmmakers were given another chance to make a low budget movie at Universal. Impressed byrepparttar 124172 success of Easy Rider (1969)repparttar 124173 old guard atrepparttar 124174 studio was reaching out to new talent, once again Coppola would produce and Lucas would direct. Lucas was encouraged by his wife Marsha to makerepparttar 124175 second project more positive. At USC he had studied anthropology learning thatrepparttar 124176 American male has a unique mating ritual, he drives around in cars trying to pick up girls. Lucas combined this observation, with his own love of classic cars, his small town upbringing in Modesto, CA and his appreciation for top 40 songs played onrepparttar 124177 radio by disc jockeys like Wolfman Jack. The result: American Graffiti.

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