Nightmare On Elm Street Quotes

One, two, I’m coming for you, three, four, you better lock your door.’” -Nightmare on Elm Street -Fool me twice by Mandy Hubbard

The first monster that an audience has to be scared of is the filmmaker. Wes Craven Director, A Nightmare on Elm Street

For my number-one favorite kill, I almost went with Johnny Depp being eaten alive and then regurgitated by his own bed in A Nightmare on Elm Street, but the winner, by a finger blade’s width, has to be the death of that feisty Tina (Amanda Wyss), who put up such a fight while I thrashed her about on the ceiling of her bedroom. Freddy loves a worthy adversary, especially if it’s a nubile teenaged girl. A close second goes to my hearing-impaired victim Carlos (Ricky Dean Logan) in Nightmare 6. In these uber-politically-correct times, it’s refreshing to remember what an equal opportunity killer Freddy always was. Not only does he pump up the volume on the hearing aid from hell, but he also adds a nice Latino kid to his body count. Today they probably wouldn’t even let Freddy force-feed a fat kid junk food. Dream death number three is found in a sequence from Nightmare 3. Freddy plays puppet master with victim Phillip (Bradley Gregg), converting his arm and leg tendons into marionette strings, then cutting them in a Freddy meets Verigo moment. The kiss of death Profressor Freddy gives Sheila (Toy Newkirk) is great, but not as good as Al Pacino’s in The Godfather, so my fourth pick is Freddy turning Debbie (Brooke Theiss) into her worst nightmare, a cockroach, and crushing her in a Roach Motel. A classic Kafka/Krueger kill. For my final fave, you will have to check out Freddy vs. Jason playing at a Hell’s Octoplex near you. Here’s a hint: the hockey-puck guy and I double team a member of Destiny’s Child. Yummy! Now where’s that Beyonce…

But something about the interesting plot bothered me: one of the major rules that Wes had established on A Nightmare on Elm Street had been broken - Freddy was taken out of the dreams. In Nightmare 2, Freddy would be allowed to manifest outside of the dreamscape. It didn’t hurt the quality of the script, but it messed up the continuity. On the plus side, I thought the bisexual-slash-homoerotic subtext was edgy and contemporary, and I appreciated how the plot investigated both the social-class system and the rise of suburban malaise. This may sound pretentious and over-analytical, but I believe that Freddy represented what looked to be a bad future for the post-boomer generation. It’s possible that Wes believed the youth of America were about to fall into a pile of shit - virtually all the parents in the Nightmare movies were flawed, so how could these kids turn out safe and sane? - and he might have created Freddy to represent a less-than-bright future.

Romance can be as simple as leaving a note on the refrigerator that says “I love you” or giving an unexpected hug. It can include heroic gestures like helping your partner do his taxes or scouring the tile in her skanky-looking shower or taking a whole day to organize a lover’s Nightmare-on-Elm-Street closet.

You carried your infant daughter in one arm, and walked with me, a child six years of age, tired, trudging beside you. You left that nightmare behind. And you left behind other things, too. The elm trees that lined your street. The familiar scent of autumn. The baker's smile when he handed you the fresh bread, the song of the peddlers in the street, the sound of strangers around you talking, haggling, buying, singing, speaking, fighting in a language you understood. Your friends. Your career. Your home. Your dreams. Your family. Your memories. Pots, pans, the fine silver spoons and forks. Photographs. Heirlooms. Your favorite dresses. Your father's grave. The colorful wares of the markets at the new year. Streets you knew by name. Cab drivers who recited poetry. The halls of your old university. You left whatever you couldn't fit into a single suitcase behind you and closed the door of your home for the last time, the dishes washed, the beds made, the curtains drawn, thinking, "Perhaps, perhaps we will come back," and you shut the door, and left, without knowing if you'd ever find home again.

I ordered Pad See Ew from the Thai place, ate half of it, watched the 1995 remake of Sabrina starring Harrison Ford, took another shower, downed the last of my Ambien, and found the porn channel again. I turned the volume down low, shifted my body away from the screen so that the grunts and moans could lull me. Still, I didn’t sleep. Life could go on forever like this, I thought. Life would, if I didn’t take action. I fingered myself on the sofa under the blanket, came twice, then turned the TV off. I got up and raised the blinds and sat in a daze for a while and watched the sun go down—was it possible?—then I rewound Sabrina and watched it again and ate the rest of the Pad See Ew. I watched Driving Miss Daisy and Sling Blade. I took a Nembutal and drank half a bottle of Robitussin. I watched The World According to Garp and Stargate and A Nightmare on Elm Street 3: Dream Warriors and Moonstruck and Flashdance, then Dirty Dancing and Ghost, then Pretty Woman.

As with the first Nightmare, we shot a couple of interesting scenes that didn’t make it into the final cut, most notably one featuring a female Freddy. One of the kids in the hospital has a Freddy dream in which he’s being seduced by a sexy nurse. The nightmare evolves into a kinky S&M fantasy, but becomes less M and more S when the ropes that bind the kid to the bed become Freddy tongues, and the nurse’s face morphs into Freddy’s, but her topless torso, which features a pair of perfect Playboy breasts, remains smooth and inviting… that is, for a moment. All of a sudden, the veins in her areolas come to life and turn into Freddy-like burn scars and snake up her cleavage, past her neck, and onto her face. (I’m pretty sure Kevin enjoyed the four hours it took to apply makeup to those tits.) This troubling, erotic transformation didn’t make the final cut for some reason. Occasionally I find myself signing bootleg stills from the missing sequence. Especially in Europe. Ooh la la!

The last week of shooting, we did a scene in which I drag Amanda Wyss, the sexy, blond actress who played Tina, across the ceiling of her bedroom, a sequence that ultimately became one of the most visceral from the entire Nightmare franchise. Tina’s bedroom was constructed as a revolving set, and before Tina and Freddy did their dance of death, Wes did a few POV shots of Nick Corri (aka Rod) staring at the ceiling in disbelief, then we flipped the room, and the floor became the ceiling and the ceiling became the floor and Amanda and I went to work. As was almost always the case when Freddy was chasing after a nubile young girl possessed by her nightmare, Amanda was clad only in her baby-doll nightie. Wes had a creative camera angle planned that he wanted to try, a POV shot from between Amanda’s legs. Amanda, however, wasn’t in the cameramen’s union and wouldn’t legally be allowed to operate the cemera for the shot. Fortunately, Amy Haitkin, our director of photography’s wife, was our film’s focus puller and a gifted camera operator in her own right. Being a good sport, she peeled off her jeans and volunteered to stand in for Amanda. The makeup crew dapped some fake blood onto her thighs, she lay down on the ground, Jacques handed her the camera, I grabbed her ankles, and Wes called, “Action.” After I dragged Amy across the floor/ceiling, I spontaneously blew her a kiss with my blood-covered claw; the fake blood on my blades was viscous, so that when I blew her my kiss of death, the blood webbed between my blades formed a bubble, a happy cinematic accident. The image of her pale, slender, blood-covered legs, Freddy looming over her, straddling the supine adolescent girl, knife fingers dripping, was surreal, erotic, and made for one of the most sexually charged shots of the movie. Unfortunately it got left on the cutting-room floor. If Wes had left it in, the MPAA - who always seemed to have it out for Mr. Craven - would definitely have tagged us with an X rating. You win some, you lose some.

The hateful heart is crumbled by screaming faces.

The Bachelor meets Nightmare on Elm Street,