A semi-regular NMS feature examining “classic” movies trailers, through the magic of YouTube, with a keen eye towards whether the initial marketing message was prophetic or disconnected to the film’s ultimate pop cultural legacy.
Scream (1996):
In 1996, horror master Wes Craven (Nightmare on Elm Street, The Hills Have Eyes, Swamp Thing) decided to poke a little fun at the slasher-film genre by bringing us the first self-aware horror film, Scream. His film not only was successful at poking fun at the horror genre but was also considered a box office success, grossing $103 million domestically on a $15 million budget. The film has since spawned three sequels (one currently in pre-production), inspired horror movie satire Scary Movie, and introduced a new brand of horror film I like to call “smart horror.” This is a genre I perceive to be deemed “smart” for acting as a more sophisticated horror film which appeals to a much broader audience.
The trailer really helps to demonstrate what the “smart horror” genre is all about. First, the film is completely aware of how ridiculous its own genre is. During the trailer, we hear the main character, Sidney (Neve Campbell), tell her prank caller that she doesn’t see the point in horror films. As she details what she means by this, the trailer’s scenes show us those exact events happening. Her complaint about the “big breasted girl who can’t act who is always running up the stairs when she should be running out the front door” is quickly followed by images of her well endowed female, a costumed killer running up the stairs after a girl, and another female victim trying to get out of the front door.
The trailer is then followed by side character, Randy (Jamie Kennedy), detailing the rules of how to survive when you find yourself in a horror film. One of the film’s main characters is pointing out how absurdly formulaic the genre can be, all while inspiring viewers to see it! The trailer basically dares viewers to admit they want to see a film containing such predictable material. Touché, Craven!
Did the studios expect the trailer to be perceived as a bridge between mainstream and horror fans? I think they did. For example, look at the stars featured in the trailer: Drew Barrymore, known for her versatile acting career and also Courtney Cox, who at the time was on the popular hit sitcom, Friends. Both actresses are known for their mainstream products, but here are being relied on to sell fans on a horror film. I believe this was the studios way to get a whole new demographic to give the film a chance.
Additionally, the trailer repeatedly refers to “the rules” of horror films in attempt to comfort both sides of the audience. This reference helps to emphasize to horror fans that the filmmakers are well versed in the material they are dealing with, and that they plan to stick to the horror formula these fans have come to love. At the same time, the excessive details about what exactly those horror movie rules are (and this is just in the trailer) leads me to believe that they wanted non-horror fans to know that the genre isn’t just the blood and gore they write it off to be. Instead, it’s actually a complex genre where based on their own actions characters have the opportunity to survive. Horror movie fans need no explanation of the rules (I happen to be one, so I know this), so they were clearly intended to make the newbies feel at ease.
Scream’s third contribution to the “smart horror” genre was its ability to appeal to the general public’s sense of fear, turning the fantasy of a horror film into a rational fear you take home with you. No longer are the killers confined to the mirror like Candyman or hiding out in your dreams (Nightmare on Elm Street), now they’re at your front door murdering kids from your high school. In Scream’s trailer, we see the killer in the victim’s own house and in the high school bathroom; both locations I think we all typically feel safe in. By then following these scenes with a character detailing the rules of how to survive, filmmakers are preying upon the average viewer’s curiosity of how better to prepare themselves for situations like these.
The trailer not only forces your average person to question where they feel safe, but who they feel safe with, yet another rational fear brought on by the “smart horror” genre. In Scream’s trailer they create a villain who is simply labeled as someone an individual who has seen one too many scary movies. As Jamie Kennedy yells out, “everybody’s a suspect,” we get the sense that there is more to this movie than a fantasy creature looking to get revenge. The killer is a normal, human being; potentially one that sits among these teenagers as a friend. With the creation of Scream’s “smart horror” genre came a new breed of killer: someone who operates without an obvious motive or weakness. Suddenly horror is no longer a glorified brand of fantasy escape; it’s something that could happen to anyone.
The success of Scream proved Craven’s point that horror fans not only have a great sense of humor about the slasher-films they enjoy, but also that they are intelligent enough to appreciate one with irony and minimal gore. The film showed filmmakers and audiences that not only will horror fans go see a film with an actual plot, but also that the general public will watch horror as long as it has a compelling story to tell. No longer did the horror film market consist of slasher fans and the rest of us. Now both groups could find themselves sitting side by side in the theater. “Smart horror” gave us all something to appreciate about another genre of film, and Scream’s trailer gave us all the courage to give it a try.