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![]() ![]() American slasher film written by Kevin Williamson and directed by Wes Craven. The film stars David Arquette, Neve Campbell, Courteney Cox, Matthew Lillard, Rose Mc. Gowan, Skeet Ulrich, and Drew Barrymore. Released on December 2. MagWeb presents Angela Rippon biography, filmography, height, photos & latest twitter comments. Sidney's Chair (short) - Thanks: 1995: Comments.Scream follows the character of Sidney Prescott (Campbell), a high school student in the fictional town of Woodsboro, California, who becomes the target of a mysterious killer known as Ghostface. Other main characters include Sidney's best friend Tatum Riley (Mc. Gowan), Sidney's boyfriend Billy Loomis (Ulrich), Billy's best friend Stu Macher (Lillard), film geek Randy Meeks (Jamie Kennedy), deputy sheriff Dewey Riley (Arquette), and news reporter Gale Weathers (Cox). The film combined comedy and . The film was considered unique at the time of its release for featuring characters who were aware of real world horror films and openly discussed the clich. The script, originally titled Scary Movie, was bought by Dimension Films and was retitled by the Weinstein Brothers just before filming was complete. The production faced censorship issues with the Motion Picture Association of America and obstacles from locals while filming on location. The film went on to financial and critical acclaim, earning $1. US in unadjusted dollars. It received several awards and award nominations. The soundtrack by Marco Beltrami was also acclaimed, and was cited as . These sequels drew decreasing financial and critical success, as they exploited clich. The international legacy of Hollywood legend Sidney Poitier is humorously tackled in this short about two teens gate-crashing his London film. The Art of Being Persuaded: Rhetoric and Effeminacy in Philip Sidney's Old Arcadia: 3: PETER G. 1995 CHAIR: Arthur F Kinney (U of Massachusetts. Add a Plot » Director: Roberto Bangura. Writer: Roberto Bangura (screenplay) Stars: Dee Anderson, Dave Atkins. Scream's success spawned a series of sequels, though only Scream 2, released in 1. In the years following the release of Scream, the film was accused of inspiring and even inducing violent crimes and murders. ![]() ![]() High school student Casey Becker receives a flirtatious phone call from an unknown person, asking her, . He reveals that her boyfriend Steve Orth is being held hostage. After Casey fails to answer a question correctly about horror films, Steve is murdered. When Casey refuses to cooperate with the caller, she is attacked and murdered by a masked killer. Her parents come home to find her body hanging from a tree. The following day, the news media descend on the town and a police investigation begins. Meanwhile, Sidney Prescott struggles with the impending one- year anniversary of her mother's murder by Cotton Weary. While waiting at home for her friend, Tatum Riley, Sidney receives a threatening phone call. After she hangs up she is attacked by the killer. Sidney's boyfriend, Billy Loomis, arrives shortly after, but after he drops his cell phone, Sidney suspects him of making the call and flees. Billy is arrested and Sidney spends the night at Tatum's house. Billy is released the next day. Suspicion has shifted to Sidney's father, Neil Prescott, as the calls have been traced to his phone. School is suspended in the wake of the murders. After the students have left the school, Principal Himbry is stabbed to death in his office. Tatum's boyfriend, Stu Macher throws a party to celebrate the school's closure. The party is attended by Sidney, Tatum, their friend Randy Meeks, and multiple other students. Reporter Gale Weathers attends uninvited to cover the situation, as she expects the killer to strike. Tatum's brother deputy sheriff. Dewey Riley also looks out for the murderer at the party. Tatum is killed during the party after having her head crushed by the garage door. Billy arrives to speak to Sidney privately, and the two ultimately consummate their relationship. Dewey and Gale investigate a nearby abandoned car. Many party attendees are drawn away after hearing news of Himbry's death; Sidney, Billy, Randy, Stu, and Gale's cameraman Kenny remain. After having sex, Sidney and Billy are attacked by the killer, who seemingly murders Billy. Sidney escapes the killer and seeks help from Kenny, but he gets his throat slit by the killer. Gale and Dewey, having discovered that the car belongs to Neil Prescott, return to the house. They believe Neil is the killer and has come to the party to continue his spree. Gale attempts to leave the scene in her van but drives off the road and crashes to avoid hitting Sidney. Meanwhile, Dewey is stabbed in the back while investigating in the house, and Sidney takes Dewey's gun. Stu and Randy appear and accuse each other of being the killer. Sidney retreats into the house, where she finds Billy wounded but still alive. She gives Billy the gun; he lets Randy into the house and shoots him. Billy reveals he has feigned his injuries and is actually the killer; Stu is his accomplice. Billy and Stu discuss their plan to kill Sidney and frame her father, whom they have taken hostage, for their murder spree. The pair also admits to killing her mother, Maureen. Billy says he was motivated to seek revenge on Maureen because she was having an affair with Billy's father, which drove his mother away. Gale, thought dead by the killers, intervenes, and Sidney takes advantage of this to turn the tables on her attackers, killing Stu. Randy is revealed to be wounded but alive. Billy attacks Sidney but she shoots him through the head, killing him. As the sun rises and police arrive, a badly injured Dewey is taken away by ambulance and Gale makes an impromptu news report about the night's events. Production. The treatment remained as a short story while Williamson worked on another script, Teaching Mrs. Tingle, a thriller that he would eventually sell but that would languish in development hell for many years. He hoped to entice buyers with the potential for a franchise. Excerpts from the soundtrack appear in the film. Paris warned him that the level of violence and gore in his script would make it . Following the script's purchase by Miramax, Williamson was required to remove much of the gorier content, such as graphic depictions of the internal organs of gutted murder victims . However, once Craven was secured as director, he was able to bring much of the excised content back. Craven insisted the scene should remain, as he felt it developed the character and her relationship with her deceased mother. Williamson later confirmed that he was glad that Craven proved him wrong about the scene. Dimension Films head Bob Weinstein realized while reviewing the script that there were thirty pages (approximately thirty on- screen minutes) without a murder, so he instructed Williamson to have another character killed. Williamson included the death of the character Principal Himbry (Winkler) based on this input and in doing so inadvertently resolved a problem in the script's finale. Williamson had struggled to find a reason for several extraneous characters to leave a party scene so that the killer could attack, finally determining that the announcement of the discovery of Himbry's corpse would serve to remove the non- essential characters who are so upset that they leave the party before (and enabling) the start of the murders. Concerning the killers' motives, Williamson felt it was essential for the audience to learn why the antagonists had become killers, but he also felt it was potentially scarier if they had no motivation. Opinions at the studio were split between those who believed a motive was needed for resolution and those who felt the action was scarier without one. As there were two killers, Williamson decided to do both: Billy Loomis had the motive of maternal abandonment, while the second killer, Stu Macher, jokingly suggests . Dimension had previously released several horror films and intended to focus on that genre. Konrad brought the script to Bob Weinstein's assistant, Richard Potter. Believing it had potential, he brought it to Weinstein's attention. Studios began to drop out of the bidding as the price of the script increased, and the final two bidders were Oliver Stone, who was at the time working under Cinergi Pictures, and the Weinsteins of Dimension Films. Williamson said he chose Dimension because he believed they would produce Scary Movie immediately and without significantly censoring the violence in the script. However, by the time Craven read the script, it had already been sold. Craven was already busy developing a remake of The Haunting and was considering distancing himself from the horror genre. He was growing weary of the inherent misogyny and violence. Weinstein approached other directors, including Robert Rodriguez, Danny Boyle. Romero, and Sam Raimi. Williamson said that they . When production of The Haunting collapsed, Craven was freed from that commitment and found himself in need of a project. When he heard an established actress wanted to be involved, Craven reasoned that Scary Movie might be different from other films of the genre he had previously undertaken, and he contacted Weinstein to accept the job. As the film neared completion, the Weinstein brothers changed the film's title from Scary Movie to Scream. Bob Weinstein considered Scary Movie to be an unsuitable title as, in addition to the horror and violence, the film contained elements of satire and comedy; Weinstein wished for that to be better conveyed by the title. The change was effected so late into production that congratulatory gifts bore the original name. Williamson and Craven immediately disliked the new title, and considered it . Both later remarked that the change turned out to be positive, and that Weinstein had been wise to pick the new title. Following a highly successful screening of the film in front of a test audience and Miramax executives, Craven was offered a two- picture contract for sequels to Scream. After the case was settled out of court . Maddalena confirmed that the studio was free to use the Scream brand for future films. The genre was considered unsuitable for bigger names as the films had lower budgets and often attained negative critical response. She approached the production team herself to request a role. Barrymore, a member of the Barrymore family of actors and granddaughter of actor John Barrymore, had become a star in her own right following her appearance in E.
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The waiting- room was carpeted and stiffly furnished, something like a country parlor. The study had worn, unpainted floors, but there was a look of winter comfort about it. The doctor's flat- top desk was large and well made; the papers were in orderly piles, under glass weights. Behind the stove a wide bookcase, with double glass doors, reached from the floor to the ceiling. It was filled with medical books of every thickness and color. On the top shelf stood a long row of thirty or forty volumes, bound all alike in dark mottled board covers, with imitation leather backs. As the doctor in New England villages is proverbially old, so the doctor in small Colorado towns twenty- five years ago was generally young. Archie was barely thirty. He was tall, with massive shoulders which he held stiffly, and a large, well- shaped head. He was a distinguished- looking man, for that part of the world, at least. His nose was straight and thick, and his eyes were intelligent. He wore a curly, reddish mustache and an imperial, cut trimly, which made him look a little like the pictures of Napoleon III. His hands were large and well kept, but ruggedly formed, and the backs were shaded with crinkly reddish hair. He wore a blue suit of woolly, wide- waled serge; the traveling men had known at a glance that it was made by a Denver tailor. The doctor was always well dressed. Dr. Archie turned up the student's lamp and sat down in the swivel chair before his desk. He sat uneasily, beating a tattoo on his knees with his fingers, and looked about him as if he were bored. He glanced at his watch, then absently took from his pocket a bunch of small keys, selected one and looked at it. A contemptuous smile, barely perceptible, played on his lips, but his eyes remained meditative. Behind the door that led into the hall, under his buffalo- skin driving- coat, was a locked cupboard. This the doctor opened mechanically, kicking aside a pile of muddy overshoes. Inside, on the shelves, were whiskey glasses and decanters, lemons, sugar, and bitters. Hearing a step in the empty, echoing hall without, the doctor closed the cupboard again, snapping the Yale lock. The door of the waiting- room opened, a man entered and came on into the consulting- room. He wore a frock coat, a broad- brimmed black hat, a white lawn necktie, and steel- rimmed spectacles. Altogether there was a pretentious and important air about him, as he lifted the skirts of his coat and sat down. Can you step around to the. The Song of the Lark, 1. Kronborg will need you this evening. Kronborg coughed behind his hand, and contracted his brows. His face threatened at every moment to break into a smile of foolish excitement. He controlled it only by calling upon his habitual pulpit manner. Kronborg will be more comfortable if you are there. She has been suffering for some time. He wrote some instructions for his man on a prescription pad and then drew on his overcoat. Kronborg rose and they tramped through the empty hall and down the stairway to the street. The drug store below was dark, and the saloon next door was just closing. Every other light on Main Street was out. On either side of the road and at the outer edge of the board sidewalk, the snow had been shoveled into breast- works. The town looked small and black, flattened down in the snow, muffled and all but extinguished. Overhead the stars shone gloriously. It was impossible not to notice them. The air was so clear that the white sand hills to the east of Moonstone gleamed softly. Following the Reverend Mr. Kronborg along the narrow walk, past the little dark, sleeping houses, the doctor looked up at the flashing night and whistled softly. It did seem that people were stupider than they need be; as if on a night like this there ought to be something better to do than to sleep nine hours, or to assist Mrs. Kronborg in functions which she could have performed so admirably unaided. He wished he had gone down to Denver to hear Fay Templeton sing . They turned into another street and saw before them lighted windows; a low story- and- a- half house, with a wing built on at the right and a kitchen addition at the back, everything a little on the slant—roofs, windows, and doors. As they approached the gate, Peter Kronborg's pace grew brisker. His nervous, ministerial cough annoyed the doctor. He drew off his glove and felt in his vest pocket. Very good for a rough throat. I was in something of a hurry. I neglected to put on my overshoes. The front hall was dark and cold; the hatrack was hung with an astonishing number of children's hats and caps and cloaks. They were even piled on the table beneath the hatrack. Under the table was a heap of rubbers and overshoes. While the doctor hung up his coat and hat, Peter Kronborg opened the door into the living- room. A glare of light greeted them, and a rush of hot, stale air, smelling of warming flannels. At three o'clock in the morning Dr. Archie was in the parlor putting on his cuffs and coat—there was no spare bedroom in that house. Peter Kronborg's seventh child, a boy, was being soothed and cosseted by his aunt, Mrs. Kronborg was asleep, and the doctor was going home. But he wanted first to speak to Kronborg, who, coatless and fluttery, was pouring coal into the kitchen stove. As the doctor crossed the dining- room he paused and listened. From one of the wing rooms, off to the left, he heard rapid, distressed breathing. He went to the kitchen door. I meant to ask you to look at her. She has a croupy cold. But in my excitement—Mrs. Kronborg is doing finely, eh, doctor? Not many of your patients with such a constitution, I expect. Two chubby little boys were asleep in a double bed, with the coverlids over their noses and their feet drawn up. In a single bed, next to theirs, lay a little girl of eleven, wide awake, two yellow braids sticking up on the pillow behind her. Her face was scarlet and her eyes were blazing. The doctor shut the door behind him. Archie reached for her hand and took out his watch. When he put her hand back under the quilt he went over to one of the windows—they were both tight shut—and lifted it a little way. He reached up and ran his hand along the cold, unpapered wall. He winked at her from the door before he shut it. Peter Kronborg was sitting in his wife's room, holding the bundle which contained his son. His air of cheerful. The Song of the Lark, 1. He beckoned Kronborg into the living- room and said sternly: —. Why didn't you call me before? It's pneumonia, and she must have been sick for several days. Put the baby down somewhere, please, and help me make up the bed- lounge here in the parlor. She's got to be in a warm room, and she's got to be quiet. You must keep the other children out. Here, this thing opens up, I see. I don't want to disturb her more than is necessary. The two men took up the mattress and carried the sick child into the parlor. The drug store won't be open. Keep the covers on her. Shake down the stove and put on a little coal, but not too much; so it'll catch quickly, I mean. Find an old sheet for me, and put it there to warm. Nobody was stirring yet, and the cold was bitter. He was tired and hungry and in no mild humor. And to feel no responsibility about the little girl. The baby would have got into the world somehow; they always do. But a nice little girl like that—she's worth the whole litter. Where she ever got it from—. She had moments of stupor when she did not see anything, and moments of excitement when she felt that something unusual and pleasant was about to happen, when she saw every- . The Song of the Lark, 1. She forgot, for the time being, all about the new baby. When she heard the front door open, it occurred to her that the pleasant thing which was going to happen was Dr. He came in and warmed his hands at the stove. As he turned to her, she threw herself wearily toward him, half out of her bed. She would have tumbled to the floor had he not caught her. He gave her some medicine and went to the kitchen for something he needed. She drowsed and lost the sense of his being there. When she opened her eyes again, he was kneeling before the stove, spreading something dark and sticky on a white cloth, with a big spoon; batter, perhaps. Presently she felt him taking off her nightgown. He wrapped the hot plaster about her chest. There seemed to be straps which he pinned over her shoulders. Then he took out a thread and needle and began to sew her up in it. That, she felt, was too strange; she must be dreaming anyhow, so she succumbed to her drowsiness. Thea had been moaning with every breath since the doctor came back, but she did not know it. She did not realize that she was suffering pain. When she was conscious at all, she seemed to be separated from her body; to be perched on top of the piano, or on the hanging lamp, watching the doctor sew her up. It was perplexing and unsatisfactory, like dreaming. She wished she could waken up and see what was going on. The doctor thanked God that he had persuaded Peter Kronborg to keep out of the way. He could do better by the child if he had her to himself. He had no children of his own. His marriage was a very unhappy one. As he lifted and undressed Thea, he thought to himself what a beauti- . The Song of the Lark, 1. |
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