Poltergeist released June 4, 1982

Poltergeist

Poltergeist is an American horror film, directed by Tobe Hooper, produced by Steven Spielberg, and released by Metro-Goldwyn-Mayer on June 4, 1982. It is the first and most successful of the Poltergeist film trilogy, and was nominated for three Academy Awards.

The franchise is often said to be cursed, because several people associated with it, including stars Dominique Dunne and Heather O’Rourke, died prematurely. “The Poltergeist Curse” has been the focus of an E! True Hollywood Story.

The film was ranked as #80 on Bravo’s 100 Scariest Movie Moments and the Chicago Film Critics Association named it the 20th scariest film ever made.The film also appeared on American Film Institute’s 100 Years… 100 Thrills, a list of America’s most heart-pounding movies.

Trivia:

The hands which pull the flesh off the investigator’s face in the bathroom mirror are Steven Spielberg’s.


The weird way the family members descend the stairs at the beginning of the film was created by having the actors walk backward up the stairs and playing the film in reverse. The same effect was used later in the movie during the scene showing video playback of the ghosts.

 


Steven Spielberg worked on Poltergeist (1982) and E.T.: The Extra-Terrestrial (1982) literally back to back. Principal photography on Poltergeist ended in August of 1981, then Spielberg took a few weeks off and began work on E.T. Spielberg also supervised the visual effects for both films simultaneously (which were produced at Industrial Light & Magic under the supervision of Richard Edlund and Dennis Muren). Once post production work on Poltergeist began in early 1982, Spielberg was in total control. He was responsible for the editing of the film (Spielberg’s usual editor Michael Khan edited this film while Carol Littleton edited E.T), the final sound mixes and loops, the supervision of the visual effects, and the selection of Jerry Goldsmith as the composer of the score. Poltergeist and E.T opened to theaters nationwide only a week between each other during the summer of 1982, Poltergeist on June 4th and E.T. one week later on June 11th. Spielberg later said “If E.T. was a whisper, Poltergeist was a scream”.

 


The sign at the Holiday Inn reads, Welcome Dr. Fantasy and Friends. Dr. Fantasy is a nickname for producer Frank Marshall.

 


Heather O’Rourke, who played the little girl Carol-Anne, and Dominique Dunne, who played the teenage daughter, are buried in the same cemetery: Westwood Memorial Park in Los Angeles. Dunne was strangled into brain-death by her boyfriend in 1982, the year of the film’s release. Six years later, O’Rourke died of intestinal stenosis.

 


The film was originally given a R rating, but the filmmakers protested successfully and got a PG rating (the PG-13 rating did not exist at the time).

 


When writers Michael Grais and Mark Victor first met with Steven Spielberg, they were being hired to write the film that eventually became Always (1989). When Spielberg happened to mention he also had an idea for a ghost story, Grais and Victor said they’d rather write the ghost story than Always and that’s how they got this job.

 


The crawling steak was done by using a real steak which was laid over a slot cut between the tiles in the counter top. Two wires were fastened to the bottom of the steak and a special effects operator, hidden under the counter, simply moved the wires to make the steak crawl like a caterpillar. A similar operation was done when Diane presents to Steven the chairs that move across the room by themselves. A wire was fastened to one of the chair’s legs under the set. An operator first wobbled the chair with the wire, then dragged the chair across to its destination.

 


Shirley MacLaine was offered a starring role in the film, but backed out in order to make Terms of Endearment (1983).

 


The shot of the chairs that position themselves in the amazing balancing act on the table was all done in one take. As the camera panned along with JoBeth Williams, who was getting some cleaning materials, several crew members quickly set an already organized pyramid of chairs on the table, then took the single chairs away before the camera scrolled back. See Goofs entry.

 


The Rams (then Los Angeles Rams) vs. Saints football game seen near the beginning of the film, is taken from a Monday Night Football game in 1980.

 


The scene in which Diane opens the bedroom door and is met with a fearsome scream was the first to be filmed.

 


The scene in which Marty hallucinates in the bathroom was the last to be filmed.

 


Both of the terrors that plague Robbie came from Steven Spielberg’s own fears as a child, a fear of clowns and a tree outside his window.

 


Steven Spielberg and Tobe Hooper wanted virtually unknown actors to play the Freelings because they wanted to add a realism to the family that would off-balance the ghost story. They felt that if the audience watched well-known stars, then it would take away from the realistic feel of the characters.

 


The swirling, flickering lights coming from the closet during the rescue scene were achieved using a very simple effect by having an aquarium full of water in front of a spotlight. Then a fan blew on the surface of the water to make it swirl.

 


The house used to film this movie is located in Simi Valley, California where it still stands today. The family who owned it when this movie was filmed still live there today.

 


In addition to the two times that the Beast appeared in the movie (the face that appeared in the closet and the creature that guarded the kid’s door), the script had it appearing during the scene where the family and investigators are looking at the tape of the manifestation. The giant ghost that they saw visually slowly resolved itself into the image of a face of a cruel old man: the man we know in the later films as ‘Reverend Henry Kane.’

 


A common translation of the German word “Poltergeist” is “rumbling spirit”.

 


During all the horrors that proceeded while filming Poltergeist (1982), only one scene really scared Heather O’Rourke: that in which she had to hold onto the headboard, while a wind machine blew toys into the closet behind her. She fell apart; Steven Spielberg stopped everything, took her in his arms, and said that she would not have to do that scene again.

 


The movie’s line “They’re here!” was voted as the #69 movie quote by the American Film Institute (out of 100).

 


Drew Barrymore was considered for the role of Carol Anne, but Steven Spielberg wanted someone more angelic. It was Barrymore’s audition for this role, however, that landed her a part in E.T.: The Extra-Terrestrial (1982).

 


In reality, Craig T. Nelson and JoBeth Williams are only 14 and 11 years older than Dominique Dunne, who plays their teen-aged daughter.

 


Stephen King was briefly approached to write the screenplay. It would have been the first written by King directly for the screen, but the parties could not agree on the terms.

 


Footage from this movie was used in a 2008 DirecTV commercial.

 


When Steve Freeling first meets with the university paranormal specialists, he states that his wife, Diane Freeling, was “32″ at the time, and their eldest daughter, Dana, was “16″. Thus, Diane was only sixteen years-old when she gave birth to Dana.

 


Though on-screen credit goes to Tobe Hooper, a wealth of evidence suggests that most of the directorial decisions were made by Steven Spielberg. In fact, Spielberg had wanted to direct the film himself, but a clause in his contract stated that while still working on E.T.: The Extra-Terrestrial (1982), Spielberg could not direct another film. Members of the cast and crew, including Executive Producer Frank Marshall and actress Zelda Rubinstein, have stated that Spielberg cast the film, directed the actors, and designed every single storyboard for the movie himself. Based on this evidence, the DGA opened a probe into the matter, but found no reason that co-director credit should go to Spielberg.

 


[WILHELM SCREAM] When the TV plays Go for Broke! (1951), one of the soldiers screams.

 


On top of the master bedroom television set sits an Atari Video Computer System console with its two joysticks; later known as the Atari 2600.

 

Star Trek 3: The Search for Spock

Star Trek III: The Search for Spock is a 1984 motion picture released by Paramount Pictures. The film is the third feature based on the Star Trek science fiction franchise. After the death of Spock (Leonard Nimoy) during the events of Star Trek II: The Wrath of Khan, the crew of the USS Enterprise returns to Earth. When James T. Kirk (William Shatner) learns that Spock’s spirit, or katra, is held in the mind of Leonard McCoy (DeForest Kelley), Kirk and company steal the Enterprise to return Spock’s body to his home planet. The crew must also contend with hostile Klingons, led by Kruge (Christopher Lloyd), bent on stealing the secrets of a powerful terraforming device.

Paramount commissioned the film after positive critical and commercial reaction to The Wrath of Khan. Nimoy directed, the first Star Trek cast member to do so. Producer Harve Bennett wrote the script starting from the end and working back, and intended the destruction of the Enterprise to be a shocking development. Bennett and Nimoy collaborated with effects house Industrial Light & Magic (ILM) to develop storyboards and new ship designs; ILM also handled the film’s many special effects sequences. Aside from a single day of location shooting, all of the film’s scenes were shot on Paramount and ILM soundstages. Composer James Horner returned to expand his themes from the previous film.

The Search for Spock opened June 1, 1984. In its first week of release, the film broke Indiana Jones and the Temple of Doom‘s gross records, making $16 million from almost 2,000 theaters across the United States. It went on to gross $76 million at the domestic box office, toward a total of $87 million worldwide. Critical reaction to The Search for Spock was mixed. Reviewers generally praised the cast and characters, while criticism tended to focus on the plot; the special effects were conflictingly received. Roger Ebert called the film a compromise between the tones of the first and second Star Trek films. The Search for Spock was released on multiple home video formats, including VHS, DVD, and Blu-ray high definition discs. Nimoy went on to direct The Search for Spock‘s sequel, Star Trek IV: The Voyage Home.

Trivia:

The villains of the film were originally intended to be Romulans, but upper studio management wanted Klingons to be used since they were better-known enemies. By the time the decision was made, the Romulan ship was already built and they did not want the expense of replacing it. However, since the TV show had already established that the Klingons and Romulans had shared technologies and ships in the past (for exactly the same real-world cost-cutting reasons), the idea of Klingons using a Romulan-style vessel was not a problem.


Although not mentioned on-screen, the novelization establishes that Saavik was half Vulcan and half Romulan. A scene cut from the previous film, Star Trek: The Wrath of Khan (1982), also established this but can not be considered canon. Leonard Nimoy seemed to have directed Robin Curtis to portray Saavik as a full Vulcan.

 


Leonard Nimoy does the turbolift voice in the scene when Scotty says “Up your shaft”, while exiting the Starship Execelsior. The end credits lists the voice under the alias Frank Force.

 


Production was endangered by the great fire at Paramount. William Shatner helped fight the fire and rescue a crewmember before firefighter reinforcements arrived. Shatner said that his motivation for doing so was purely to save a day on the shooting schedule, as he had a make a deadline to be available for shooting on a new season of “T.J. Hooker” (1982).

 


When the Enterprise enters space dock at the beginning of the movie, just before Uhura comments on the Excelsior’s appearance (“Would you look at that!”), another docked ship can be seen, in shadow, at the upper left corner of the screen. This ship is one of the alternative models that was considered for use as the Excelsior. This alternate model also makes several appearances in “Star Trek: The Next Generation” (1987), usually as a wrecked ship or piece of space junk.

 


The shot of the Enterprise approaching Spacedock is later re-used in various episodes of “Star Trek: The Next Generation” (1987) with the Enterprise-D overlapping the original Enterprise (Another cost-saving method often used with Star Trek).

 


Grace Lee Whitney, who played Janice Rand, Kirk’s yeoman in season one of “Star Trek” (1966) and returned as transporter chief in Star Trek: The Motion Picture (1979), makes a cameo appearance during the Enterprise’s docking sequence. She is the red haired officer in the spacedock lounge who shakes her head in disapproval as she sees the ship’s damage.

 


Tribbles, a popular creature from the “Star Trek” (1966) episode ‘The Trouble with Tribbles’, make a cameo appearance during the bar sequence where McCoy tries to hire a ship.

 


Gary Faga plays the security guard who Kirk knocks out; he also played the airlock technician that Spock gave the Vulcan nerve pinch to in Star Trek: The Motion Picture (1979).

 


This is the first Star Trek ‘episode’ to be directed by a member of the Star Trek cast. Leonard Nimoy also directed Star Trek IV: The Voyage Home (1986) and William Shatner directed Star Trek V: The Final Frontier (1989). This would later become commonplace on the various Trek TV series: Jonathan Frakes directed Star Trek: First Contact (1996) and Star Trek: Insurrection (1998) as well as fourteen television episodes over three Star Trek series. LeVar Burton directed twenty-nine episodes over four Star Trek series. Other Star Trek actors who went on to direct their castmates were Patrick Stewart, Michael Dorn, Gates McFadden, Avery Brooks, Rene Auberjonois, Alexander Siddig, Andrew Robinson, Robert Duncan McNeill, Roxann Dawson, Robert Picardo and Tim Russ.

 


The self-destruct codes for the U.S.S. Enterprise apparently haven’t been changed in decades, as they are identical to those in the original series episode “Let That Be Your Last Battlefield”.

 


Nicholas Meyer, director of Star Trek: The Wrath of Khan (1982) was originally asked to direct, but refused because he thought that Spock’s death should have remained final. He later directed the final film of the original series, Star Trek VI: The Undiscovered Country (1991).

 


The Excelsior was supposed to debut in Star Trek: The Wrath of Khan (1982) and be identified as newly-promoted Captain Sulu’s first command. This plot line was dropped and Excelsior saved for this film. Sulu would finally take command of her in Star Trek VI: The Undiscovered Country (1991). The ship design would be reused for the USS Enterprise-B in the Star Trek: Generations (1994).

 


The USS Grissom bridge was the USS Enterprise bridge redressed with pink chairs, and the bar where Dr. McCoy tries to charter spaceflight is the redressed Enterprise sickbay.

 


As in the previous Star Trek film (Star Trek: The Wrath of Khan (1982)), the movie includes the famous “Space, the final frontier” monologue, spoken by Spock. As in the previous film, the words have been changed slightly, referring to seeking out “new life forms” instead of just “new life”. This was the final use of this modified version of the monologue.

 


The few Klingon phrases that James Doohan introduced in Star Trek: The Motion Picture (1979) was used by Marc Okrand as the basis for the Klingon language in this film. Okrand’s Klingon language became a fully realized fictional language, and would be the basis for all future Klingon dialogue in future movies and television shows (as well as an obsession to become fluent in for hardcore Star Trek fans.)

 


The spacedock orbiting Earth is supposed to be five miles tall – making it easily observable from the surface. The actual model itself was 6 feet tall.

 


Chekov makes a remark in Russian to Scotty about the security breach in Spock’s quarters. Translated, he is saying, ‘I’m not crazy! There it is.’.

 


The uniforms worn by the security guards are the same uniforms from Star Trek: The Motion Picture (1979), but they’re worn with the new red Starfleet uniforms, and a dark green turtleneck, which represents the security division.

 


This film marks the first appearances of the Excelsior class vessel, the Oberth class vessel (namely the USS Grissom), and the Klingon bird-of-prey. The models were reused as other, similar ships in numerous episodes of “Star Trek: The Next Generation” (1987) and “Star Trek: Deep Space Nine” (1993).

 


James Goldstone was considered to direct the movie before Leonard Nimoy asked to direct.

 


The USS Grissom is evidently named after real life astronaut Gus Grissom, who was killed after the Apollo 1 spacecraft itself was destroyed on 27 January 1967.

 


Edward James Olmos was Leonard Nimoy’s original choice for the role of Kruge. However, executive producer Harve Bennett preferred Christopher Lloyd. Nimoy finally cast Lloyd because he came off more operatic and physically intimidating.

 


One of the boys who plays young Spock, had to wear brown colored contact lenses to match the color of Leonard Nimoy’s eyes as the boy’s natural eye color was blue.

 


In the scene where Kirk meets Admiral Morrow for a drink to discuss taking the Enterprise back to the Genesis Planet, an abstract hanging sculpture can be seen on the wall behind Morrow. The sculpture is in fact one of the miniatures of the Epsilon IX station from Star Trek: The Motion Picture (1979), which was made of acid-etched brass.

 


When Dr. McCoy declares his full name, the “H” stands for Horatio. Horatio Hornblower was Gene Roddenberry’s model for Captain Kirk. David Andrew McCoy is his father’s full name, according to the novelization of Star Trek V: The Final Frontier (1989).

 


As explained by William Shatner in Star Trek 25th Anniversary Special (1991) (TV), there was tight security on the set to minimize theft, as incurred on Star Trek II. Picture ID badges, codes and the works were used so much that Shatner quipped it was like Paramount’s real-life “Mission: Impossible” (1966).

 


The chirping on the Tricorder (especially when Sulu scans after the Enterprise is destroyed) comes from an audio remote control device for the Radio Shack (“Realistic” label) answering machine. The remote control was able to be used away from home, over the phone to signal the answering machine (through electronic chirping sounds) to play back massages or carry out other functions.

 


Christopher Lloyd, who is most famous for playing Doc Brown, inventor of the time machine in the Back to the Future (1985) trilogy, plays the Klingon captain who’s ship is taken over by Kirk and his crew. In the next movie, Star Trek IV: The Voyage Home (1986), Kirk ironically uses this same ship to travel back to the 1980s, near the 1985 date that Brown first used his famous DeLorean time traveler.

 


Christopher Lloyd, who played the Klingon Captain Kruge, also played Jim Ignatalski on the classic television show “Taxi” (1978). In one particular episode, a television executive is in his cab and Jim says he loved the show Star Trek. Jim added that he didn’t like the leader of the Klingons because the writers had him say things a “real Klingon just wouldn’t say.”

 


When the crew is standing on the bluff supposedly watching the flaming Enterprise hulk, they were in fact watching a tennis ball mounted on an overhead boom microphone. The shot had to taken many times because not everyone was watching it at the same time.

 


When Kirk calls out to Kruge, the Klingon commander has his head in his hands. According to the original storyline, Kruge is not mourning the loss of his troops, he’s humiliated because Kirk was more cunning than he was. Through Kirk’s apparent suicide, Kruge has been beaten and shamed.

 


The young Spock was voiced by Frank Welker. Welker and Nimoy would go on to share the role of Megatron/Galvatron in The Transformers: The Movie (1986). Welker would also provide numerous voices in Transformers: Revenge of the Fallen (2009), directed by Nimoy’s cousin, Michael Bay. Nimoy himself was offered the title role as well, but it is not yet known if he accepted.

 


It was Director/Star Leonard Nimoy who conceived the distinctive design of the Klingons’ Bird Of Prey. At a preproduction meeting with Industrial Light And Magic, Nimoy posed his arms and hands to demonstrate the vessel’s wings as they ultimately would appear in the final film. The DVD documentary, “Space Docks and Birds Of Prey”, revealed that the physique of a bodybuilder in the “crab” pose, emphasizing the trapezius muscles, was also the basis for the ship’s aggressive stance. Finally, the script, at the time when it was received by ILM, established that the Bird Of Prey was definitely a Romulan vessel, commandeered by Kruge. With that back story in mind, the feather-like pattern on the ship’s underside was a direct tribute the original Bird Of Prey as it first appeared in the 1966 original series episode “Balance of Terror”. Though the final version of Star Trek 3 (and subsequent star trek films and TV episodes) refer to the ship as purely of the Klingon fleet, the Romulan plumage-detail was never lost.

 


Marc Okrand had to update the grammar and vocabulary of the Klingon language several times when actors would get the line wrong and it was deemed easier to re-write the language than re-shoot the scene.

 


In a June 2009 interview, Christopher Lloyd said that the role of Klingon Commander Kruge was among one of his favorite roles he ever portrayed in his acting career.

 


Close to the end of the film, after landing on Vulcan. While Spock’s body is being carried up the long staircase to begin the fal tor pan ritual, the “maidens” carrying Spock are not actually touching him. They are actually holding their hands above him, effectively levitating his body to the alter.

 

The Lawnmower Man released March 6, 1992

the lawnmowerman

The Lawnmower Man is a 1992 American film written by director Brett Leonard and producer Gimel Everett which is loosely based on the Stephen King short story of the same title. It stars Jeff Fahey, Pierce Brosnan, and Austin O’Brien and was released by New Line Cinema in 1992.

An earlier short film also titled The Lawnmower Man, a more faithful adaptation of the short story, was directed by Jim Gonis in 1987.

Trivia:

  • Early versions of the film claimed that they were related to a Stephen King work. King did write a short story called “The Lawnmower Man”, but it was completely different to the movie. King sued the film makers, and had his name removed from the film.
  • When Dr. Angelo stimulates Jobe’s brain using virtual reality, the symbols that fly at Jobe, at close inspection, are Kabbalistic mystical symbols with ancient Hebrew writing around them.
  • Jenny Wright did only the close-ups in the VR strobe scene because the strobe light made her sick. Her wide-angle shots were done using a double, and the close-ups to her face were done with a blue screen so that she didn’t have to move.
  • Jobe’s hair was initially going to be red, but was changed to bleached-blond because red hair didn’t look realistic on Jeff Fahey.
  • The first scene shot was one of the meetings between Pierce Brosnan’s character and government executives.
  • The shot of Dr. Angelo (Pierce Brosnan) releasing Jobe with a badly damaged head from the strobe was realized using a mannequin with a plaster head.
  • A remote-controlled lawnmower was specifically built for the movie.
  • The eight minutes of computer generated special effects took seven people eight months to complete on a budget of $500,000.
  • Dr Angelo’s line “I’ve decided to take my work back underground…” was used as a sample in the intro track for the Music For The Jilted Generation album by The Prodigy
  • Last feature of Jeremy Slate.

Monster on the Campus (1958) was a black and white, science fiction, horror film, released by Universal Pictures on a low budget. It was also known as Monster in the Night, and Stranger on the Campus. This film was the last of Universal’s science fiction monster films released before Island of Terror (1966).

[youtube=http://www.youtube.com/watch?v=D1VnWeMwd5o]

The film was directed by Jack Arnold (Creature from the Black Lagoon and The Incredible Shrinking Man) and from a script by David Duncan (The Time Machine).

Professor Donald Blake (Arthur Franz) has a collection of facial reconstructions depicting the ascent of man from the early hominids to modern man (or woman in this case, actress Joanna Moore). One of them is that of Piltdown Man, whose “discovery” in 1912 was exposed as a hoax in 1953, five years before the movie was released.

Cast
  Arthur Franz … Prof. Donald Blake
  Joanna Moore … Madeline Howard
  Judson Pratt … Lieutenant Mike Stevens
  Nancy Walters … Sylvia Lockwood
  Troy Donahue … Jimmy Flanders
  Phil Harvey … Sergeant Powell
  Helen Westcott … Nurse Molly Riordan
  Alexander Lockwood … Professor Gilbert Howard
  Whit Bissell … Dr. Oliver Cole
  Ross Elliott … Sergeant Eddie Daniels

Joanna Moore

House of Dracula released December 7, 1945

House of Dracula was an American horror film released by Universal Pictures Company in 1945. It was a direct sequel to House of Frankenstein and continued the theme of combining Universal’s three most popular monsters: Frankenstein’s monster, Count Dracula and The Wolf Man. Starring Lon Chaney Jr., John Carradine, Martha O’Driscoll, and Glenn Strange. 

  • This is the only film in which the character Lawrence Talbot sports a mustache.
  • Footage of Boris Karloff as the Frankenstein Monster from Bride of Frankenstein (1935) appears during a dream sequence, intermixed with footage of Glenn Strange in the same role.
  • John Carradine, Martha O'Driscoll and Lon Chaney, Jr., with his sons on the set of House of Dracula