Wesley Earl "Wes" Craven (born August 2, 1939) is an American film director, writer, producer, actor, perhaps best known as the director of many horror films, particularly slasher films, including the famed A Nightmare on Elm Street, Wes Craven's New Nightmare, and he also co-wrote A Nightmare on Elm Street 3: Dream Warriors with Bruce Wagner, featuring the iconic Freddy Krueger character and has directed the entire Scream series, featuring Ghostface. Some of his other films include, The Hills Have Eyes, The Last House on the Left, The Serpent and the Rainbow, The People Under the Stairs, Vampire in Brooklyn, Red Eye, and My Soul to Take.
Craven was born in Cleveland, Ohio, the son of Caroline (née Miller) and Paul Craven. He had a strict Baptist upbringing. Craven earned an undergraduate degree in English and Psychology from Wheaton College in Illinois, and a masters degree in Philosophy and Writing from Johns Hopkins University. Prior to landing his first job in the film industry as a sound editor for a post-production company in New York City, Craven briefly taught English at Westminster College and was a humanities professor at Clarkson College of Technology (now Clarkson University) in Potsdam, New York. He left the academic world for the more lucrative role of pornographic film director. In the documentary Inside Deep Throat, Craven says on camera he made "many X-rated films" under pseudonyms, learning his directing craft. While his role in Deep Throat is undisclosed, most of his early known work involved writing, film editing or both. In 1972 Wes Craven directed his first feature film The Last House on the Left.
Plot
Jay and Silent Bob Strike Back is a tale of adventure on the open road. When Dante and Randal (of Clerks fame) get a restraining order to keep the punchy Jay and his hetero life-mate, Silent Bob, from selling drugs in front of the Quick Stop convenience store, their lives are suddenly empty. They find new purpose when their friend, Brodie, informs them a movie is being made featuring two infamous characters based on their likenesses. After visiting one of the creators of the Bluntman and Chronic, Holden McNeil, they set out to get what fat movie cash they deserve and hopefully put an end to people slandering them on the Internet. Along the way, they learn the rules of the road from a hitchhiking George Carlin, ride with a group of gorgeous jewel thieves, and incur the wrath of a hapless wildlife marshal for liberating an orangutan named Suzanne. The quest takes them from New Jersey to Hollywood where a showdown involving the police, the jewel thieves, and the Bluntman and Chronic filmmakers will decide the fate of Suzanne, Jay, Silent Bob, and their good names.
Keywords: 1970s, 2000s, angel-on-shoulder, animal-abuse, animal-experimentation, bitch, braces, breaking-the-fourth-wall, burglary, c4-explosives
Hollywood had it coming
Someone is making their life story into a movie, and they haven't been paid. So they're on their way to Hollywood to get even.
Scooping the Money!
Scooping the Monkey
Strike Back... August 24th 2001
Jay: Yo lunchbox, hurry it up.
Sissy: Y'know, I don't get you, Justice. You used to be into all this girl stuff. Stealing, boning, blowing shit up, and now you're like this little priss with a conscience. It's really a fucking drag.
Jay: I am the master of the C.L.I.T. Remember this fucking face. Whenever you see C.L.I.T., you'll see this fucking face. I make that shit work. It does whatever the fuck I tell it to. No one rules the C.L.I.T like me. Not this little fuck::[referring to Silent Bob]::Jay: , none of you little fucks out there. I AM THE C.L.I.T. COMMANDER! Remember that, commander of all C.L.I.T.s! When it comes down to business, this is what I do. I pinch it like this. OOH you little fuck. Then I rub my nose with it.
Whillenholly: Fire a warning shot into his bulbous ass.::Sheriff: One rectal breach comin' up.
Holden: If the buzz is any indicator, that movie's gonna make some huge bank.::Jay: What buzz?::Holden: The Internet buzz.::Jay: What the fuck is the Internet?::Holden: The Internet is a communication tool used the world over where people can come together to bitch about movies and share pornography with one another.
Banky: Stop the movie? What are you, crazy?::Jay: All these assholes on the internet are calling us names because of this stupid fucking movie.::Banky: That's what the internet is for. Slandering others anonymously. Stopping the flick isn't gonna stop that.::Jay: This isn't fair. We came to Hollywood, I fell in love. Fuckin', we got shot at, we stole a monkey, and I got punched in the motherfucking nuts by a guy named Cock-Knocker.::Banky: You know what? I feel for you boys, I really do, but Miramax - you know, Miramax Films - paid me a shitload of money for Bluntman and Chronic. So it occurs to me that people badmouthing you on some website, is NONE OF MY FUCKING CONCERN!::Silent Bob: Oh, but I think it is... We had a deal with you, on the comics remember, for likeness rights, and as we're not only the artistic basis, but also obviously the character basis, for your intellectual property, Bluntman and Chronic. When said property was optioned by Miramax Films, you were legally obliged to secure our permission to transfer the concept to another medium. As you failed to do that, Banky, you are in breach of the original contract, ergo you find yourself in a very actionable position.::Jay: Yeah.
Tricia Jones: [on "Bluntman and Chronic: The Movie"] Well! That was just another paean to male adolescence and its refusal to grow up.::Alyssa Jones: Yeah, sis. But it was better than "Mallrats". At least Holden had the good sense to leave his name off of it.::Tricia Jones: Why didn't Miramax option his other comic instead. You know, the one about you and him and your "relationship"?::Alyssa Jones: Oh, "Chasing Amy"? That would never work as a movie.
Jay: Do they say who's fuckin' playing us in the movie?::Holden: No, but it's Miramax. So I'm sure it'll be Ben Affleck and Matt Damon. They put those guys in a bunch of movies.::Jay: Who?::Holden: You know, those kids from Good Will Hunting?::Jay: You mean that fuckin' movie with Mork from Ork in it?::Holden: Yeah, I wasn't a big fan either... but Affleck was the bomb in "Phantoms".::Jay: Word, bitch, Phantoms like a motherfucker.
Jay: Affleck, you the *bomb* in Phantoms yo!
Chaka's Production Assistant: [after asked to get a new clean latte] Here's your coffee sir, booger-free.::Chaka Luther King: [slaps it out his hands] Get that shit the fuck out of here.
Plot
It's nearing the 10th Anniversary of the film 'A Nightmare on Elm Street' and one of the stars, Heather Langenkamp is being scared by a voice on a phone, sounding very similar to the film's villain, Freddy Krueger. When Heather's husband is killed in a car accident and is discovered with slash marks on him, Heather starts to wonder something. Especially when she discovers that Wes Craven is writing another 'Nightmare' film. Soon, she realizes that Freddy has now entered the real world, and the only way to defeat him is to become Nancy Thompson once again.
Keywords: 1990s, actor-playing-himself, alternate-reality, bed, blood, blood-spatter, car, character's-point-of-view-camera-shot, child-in-peril, child-killer
Dieses mal nützt es nichts wenn du wach bleibst. (This Time, staying awake won't save You)
From the creator of A Nightmare on Elm Street.
Miss Me?
This time the terror doesn't stop at the screen.
On October 14th, terror no longer stops at the screen
One, Two, Freddy's coming for you...
He's Back, And He's Scarier Than Any Witch!
This time, staying awake won't save you.
Freddy Krueger: Miss me?
Freddy Krueger: Hey, Dillon. Ever play skin the cat?
Heather Langenkamp: Every kid knows who Freddy is. He's like Santa Claus... or King Kong or...
Dylan Porter: God wouldn't take me.
Freddy Krueger: Meet your maker.
[phone rings]::Heather Langenkamp: Hello?::Freddy Krueger: 1, 2...::[Heather slams phone down, but answers ring again]::Freddy Krueger: FREDDY'S COMIN' FOR YOU.
Freddy Krueger: Come here, my piggy. I've got some gingerbread for you.
Chase Porter: [Trying to stay awake at wheel] Come on, come on, come on, come on, come oooooooonnnnnnnnn.
Robert Englund: [while walking Heather out of an interview] I think they'd like to see us together again.::Heather Langenkamp: In what, a romantic comedy?::Robert Englund: Just because it's a love story doesn't mean it can't have a decapitation or two.
Heather Langenkamp: Krueger, you bastard! Take Me!