Production
Written under the working title of A Nightmare on Elm Street 7: The Ascension, Wes Craven set out to make a deliberately more cerebral film than recent entries to the franchise—which he regarded as cartoonish and not faithful to his original themes. The basic premise of this film originated when Craven first signed on to co-write A Nightmare on Elm Street 3: Dream Warriors, but New Line Cinema rejected it then.
In New Nightmare, Freddy Krueger was portrayed closer to what Craven had imagined; darker and less comical. To correspond with this, the make-up and outfit of the character was different, with one of the most prominent differences being that he now wears a long, black trenchcoat. In addition, the signature glove was redesigned for a more organic look, with the fingers resembling bones and having muscle textures in between. While Robert Englund again plays the character, "Freddy Krueger" is credited as "Himself" in the end credits.
Craven had intended to ask Johnny Depp, whose feature film debut was in A Nightmare on Elm Street, to make an appearance as himself, but Craven was too timid to ask him. Upon running into each other after the film's release, Depp said he would have been happy to do it.
Nick Corri and Tuesday Knight, who co-starred in the original and fourth Nightmare movies respectively, can be briefly seen in the funeral scene. They have no speaking parts.
All of the earthquake sequences in New Nightmare were filmed a month prior to the 1994 Northridge earthquake in Los Angeles. The real quake struck only weeks before film was completed. Subsequently, a team was sent out to film footage of the actual quake damaged areas of the city. The cast and crew thought that the scenes that were filmed before the real quake struck were a bit overdone, but when viewed after the real quake hit, they were horrified by the realism of it.
Read more about this topic: Wes Craven's New Nightmare
Famous quotes containing the word production:
“Constant revolutionizing of production ... distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.”
—Karl Marx (1818–1883)
“The production of too many useful things results in too many useless people.”
—Karl Marx (1818–1883)
“It is part of the educator’s responsibility to see equally to two things: First, that the problem grows out of the conditions of the experience being had in the present, and that it is within the range of the capacity of students; and, secondly, that it is such that it arouses in the learner an active quest for information and for production of new ideas. The new facts and new ideas thus obtained become the ground for further experiences in which new problems are presented.”
—John Dewey (1859–1952)