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Directed by | |||
| Wes Craven | |||
Writing credits(WGA) | ||
| Kevin Williamson | (written by) | |
Produced by | |||
| Stuart M. Besser | .... | co-executive producer | |
| Dixie J. Capp | .... | co-producer | |
| Cathy Konrad | .... | producer | |
| Marianne Maddalena | .... | executive producer | |
| Nicholas Mastandrea | .... | associate producer (as Nicholas C. Mastandrea) | |
| Bob Weinstein | .... | executive producer | |
| Harvey Weinstein | .... | executive producer | |
| Cary Woods | .... | producer | |
Original Music by | |||
| Marco Beltrami | |||
Cinematography by | |||
| Mark Irwin | (director of photography) | ||
Film Editing by | |||
| Patrick Lussier | |||
Casting by | |||
| Lisa Beach | |||
Production Design by | |||
| Bruce Alan Miller | |||
Art Direction by | |||
| David Lubin | |||
Set Decoration by | |||
| Michele Poulik | |||
Costume Design by | |||
| Cynthia Bergstrom | |||
Makeup Department | |||
| Howard Berger | .... | special makeup effects supervisor | |
| Kamar Bitar | .... | special makeup effects coordinator | |
| Karen Bradley | .... | makeup artist | |
| Lynn Marie Curreri | .... | hair stylist | |
| Theodore Haines | .... | special makeup effects crew (as Theodore J. Haines) | |
| Bill Hunt | .... | special makeup effects crew | |
| Garrett Immel | .... | special makeup effects crew | |
| Robert Kurtzman | .... | special makeup effects supervisor | |
| Melanie Levitt | .... | makeup artist | |
| Robert Maverick | .... | special makeup effects crew | |
| Gregory Nicotero | .... | special makeup effects supervisor (as Greg Nicotero) | |
| Barbara Olvera | .... | key hair stylist | |
| Kris Ravetto | .... | makeup artist | |
| Christina Raye | .... | hair stylist | |
| Carol Schwartz | .... | key makeup artist | |
| Christine Stahl | .... | special makeup effects crew | |
| Ramon Velazco | .... | special makeup effects crew | |
| Shawn Finch | .... | additional hair stylist (uncredited) | |
| Louis Kiss | .... | special makeup effects artist (uncredited) | |
Second Unit Director or Assistant Director | |||
| Daniel K. Arredondo | .... | second second assistant director | |
| Heather French | .... | dga trainee | |
| Nicholas Mastandrea | .... | first assistant director (as Nicholas C. Mastandrea) | |
| Lucille OuYang | .... | second assistant director | |
Art Department | |||
| Charlene Barr | .... | art department production assistant | |
| Braxton Bragg | .... | carpenter | |
| Robert Burg | .... | painter | |
| James Burke | .... | stand-by greensman | |
| Victoria Carlson | .... | stand-by painter | |
| Robert J. Carlyle | .... | construction coordinator (as Robert Carlyle) | |
| Debra Echard | .... | additional set decorator | |
| Josh Ian Elliott | .... | on-set dresser (as Josh Elliot) | |
| David Erickson | .... | painter | |
| William A. Fobert | .... | construction general foreperson | |
| Wendy Gayner | .... | painter | |
| Lori Harrison | .... | property buyer | |
| Lori Harrison | .... | set dresser | |
| Bernie Honigman | .... | painter | |
| John Paul 'J.P.' Jones | .... | property master (as John 'J.P.' Jones) | |
| Richard Lambert | .... | lead person | |
| Gerald Lehtola | .... | art department coordinator | |
| Kenny Montante | .... | local lead person (as Ken Montante) | |
| Carrie Nardello | .... | painter | |
| Scott Newell | .... | carpenter | |
| Teresa Nielsen | .... | paint foreperson | |
| Nanci Noblett | .... | set designer | |
| Katsuhiko Okada | .... | carpenter | |
| Leslie Turnbull | .... | painter | |
| John 'Skip' Weaver | .... | assistant property master | |
| Art Williams | .... | carpenter | |
| Dwight Williams | .... | local construction coordinator | |
| Skip Crank | .... | props (uncredited) | |
| Phillip Thoman | .... | lead greensman (uncredited) | |
| Gary Thomas | .... | storyboard artist (uncredited) | |
Special Effects by | |||
| Mark R. Byers | .... | special effects foreman (as Mark Byers) | |
| Frank Ceglia | .... | special effects supervisor | |
Stunts | |||
| Noby Arden | .... | stunt performer | |
| Christine Anne Baur | .... | stunt performer (as Christine Baur) | |
| Clay Boss | .... | stunt performer | |
| Anthony Cecere | .... | stunt coordinator | |
| Christopher Doyle | .... | stunt performer | |
| Dane Farwell | .... | stunt performer | |
| Frank Lloyd | .... | stunt performer | |
| Kathy Marshall | .... | stunt performer | |
| Allen Robinson | .... | stunt performer | |
| Lynn Salvatori | .... | stunt performer | |
| Lee Waddell | .... | stunt performer | |
| Deborah Alexander | .... | stunt double (uncredited) | |
Casting Department | |||
| Barbara Harris | .... | adr voice casting | |
| Nancy Hayes | .... | extras casting | |
| Nancy Hayes | .... | local casting | |
| Sarah Katzman | .... | casting assistant | |
| Merv Ladd | .... | extras casting | |
| Merv Ladd | .... | local casting | |
Costume and Wardrobe Department | |||
| Ricki Fournier | .... | costumer | |
| Mathew Hooey | .... | costume supervisor | |
| Patricia Kazmierowski | .... | costumer | |
| Gary J. Saldutti | .... | costume supervisor | |
Editorial Department | |||
| Lynn Dupre | .... | apprentice editor | |
| Peter Devaney Flanagan | .... | first assistant editor | |
| Paul Kieran | .... | assistant editor | |
| Ryan Krayser | .... | post-production assistant | |
| Mike Mertens | .... | color timer (as Michael Mertens) | |
| Yvonne Valdez | .... | second assistant editor | |
| Tina Anderson | .... | post-production assistant (uncredited) | |
Music Department | |||
| Pete Anthony | .... | orchestrator (as Peter Anthony) | |
| Marco Beltrami | .... | conductor | |
| William Boston | .... | orchestrator (as William A. Boston) | |
| Tim Boyle | .... | score mixer | |
| Julian Bratolyubov | .... | music preparation | |
| Ed Gerrard | .... | music consultant | |
| Jeff Rabhan | .... | music supervisor (as Jeffrey Rabhan) | |
| Rose Thomson | .... | background vocals | |
| Ken Watson | .... | orchestra contractor | |
| E. Gedney Webb | .... | music editor | |
Transportation Department | |||
| Pete Brocco | .... | driver | |
| Bruce Callahan | .... | driver | |
| Kevin Carstenson | .... | driver | |
| Jeff Coffman | .... | driver | |
| Ben Davis | .... | driver | |
| Steve Earle | .... | driver | |
| Don Feeney | .... | driver | |
| Mike Ford | .... | driver | |
| Scotty Goudreau | .... | driver | |
| David Joseph | .... | driver | |
| Rose Malley | .... | driver | |
| John Martin | .... | driver | |
| John Mattson | .... | driver | |
| Glenn Midcap | .... | driver | |
| Brian Joseph Moore | .... | driver (as Brian Moore) | |
| John Peters | .... | driver | |
| Dan Porteous | .... | driver | |
| Carsten Rabehl | .... | driver | |
| Derek Raser | .... | transportation coordinator | |
| Susan Rice | .... | driver | |
| Mike Sawyer | .... | driver | |
| Ken Skinner | .... | driver | |
| Rick Suggett | .... | driver | |
| Geoff Teagardin | .... | driver | |
| J.T. Thayer | .... | transportation captain | |
| Earl Thielen | .... | driver | |
| Tracy Thielen | .... | driver | |
| Henry Travers | .... | driver | |
| Chuck Visconte | .... | driver | |
| Jill Wattles | .... | driver | |
| Gene Hubert | .... | driver (uncredited) | |
Thanks | |||
| Sheree Green | .... | special thanks | |
| Frank Okun | .... | special thanks | |
| Les Perry | .... | special thanks | |
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| News articles | IMDb Crime section | IMDb USA section |
Scream With the countless number of teen slasher movies doing the rounds, it is too easy to watch scream and see simply another school serial killer movie that has just rolled off the factory production line. However, it was Wes Craven's 'Scream' that started the whole revival of the horror genre and re-invented the teen horror. Through no fault of its own, but rather a succession of bland rip-offs, not to mention a very successful spoof (Scary Movie), Scream's original impact has been severely dulled. Were Scream released today it would no doubt be moderately successful but would be instantly forgettable. But back in 1996 the teen horror market was wide open. The teenagers of the 90s were bored of traditional horror movies featuring haunted houses, vampires or deformed monsters. They had seen them all. So Wes Craven, having reinvigorated the horror genre once before with 'Nightmare on Elm Street', set out to do it again. This time, along with Kevin Williamson, who would go on to be creator of Dawson's Creek, created a new kind of horror one that you could laugh at as well as scream at.
What made Scream so successful is that it was never patronising, and displayed a strong sense of ironic self-awareness. It took every horror cliché in the book and turned them upside down. For the kids that had seen too many movies, there was now a movie for them. The characters did not follow the clichés, but in fact talked about them, and talked about what would happen if they were in a movie. This sense of irony may seem tired now, but when Scream came out it was new and exciting. There was rarely a need to scream 'don't go upstairs' or suchlike in Scream, because the characters themselves were saying that! The idea of the killer being amongst the students adds a fresh dimension to the film, as fear gives way to paranoia at not being able to trust anyone. The subversions of the accepted horror clichés, in particular in the opening ten minutes (I'm not going to give anything away for those who have not seen it) also contribute to making Scream a truly shocking movie. It was this sense of innovation that made Scream such a breath of fresh air for the horror genre, and it is only a shame that Craven's genius has been ripped off so many times that his work has dated far too quickly. Craven and Williamson have also created a new horror star but it was not a particular character but just a costume with an iconic mask. The Scream mask has become just as symbolic, perhaps even more so, than that of Michael Myers or Jason Vorhees.
For any serious horror movie fans, Scream is essential viewing, if only to witness the film that started it all. The 'movie within a movie' idea was terrific, and would be taken even further in the sequel. The frequent references to classic horror movies, and reversals of accepted horror clichés, especially in the opening ten minutes) are also fun to watch out for. There is even a wonderful moment where one boy climbs in the bedroom window of his girlfriend a scene that would be taken and used as one of the foundation for Williamson's successful teen series Dawson's Creek.
The iconic mask, the one-liners, and the unique self-awareness when it comes to horror clichés make Scream a true original accept no imitations.