King Legacy SCRIPT 13 11

Friday the 13th: The Final Chapter (1984) continues where Part III leaves off, with Jason (Ted White) found by the police and taken to the local morgue after removing the axe. Upon arrival, Jason awakens to kill the coroner and a nurse before returning to Crystal Lake. A group of friends rent a house on Crystal Lake and fall victim to Jason's rampage. After killing the teens, Jason seeks out Trish (Kimberly Beck) and Tommy Jarvis (Corey Feldman), who live next door. While distracted by Trish, Jason is attacked and ultimately killed by Tommy.[8] Friday the 13th: A New Beginning (1985) follows Tommy Jarvis (John Shepherd), who was committed to a mental health institution after the events of The Final Chapter and grew up constantly afraid that Jason (Tom Morga) would return. Roy Burns (Dick Wieand) uses Jason's persona to become a copycat killer at the halfway home to which Tommy has moved. Tommy, supervisor Pam (Melanie Kinnaman), and a young boy named Reggie (Shavar Ross) manage to defeat Roy. They eventually learn that Roy had a son who was murdered by one of the patients at the institution, triggering Roy to take on Jason's likeness and kill everyone there.[9] Friday the 13th Part VI: Jason Lives (1986) begins with Tommy (Thom Mathews) visiting Jason's grave after being released from another mental institution. Tommy inadvertently resurrects Jason (C. J. Graham) with a piece of the fence surrounding the cemetery acting as a lightning rod. Jason immediately heads back to Crystal Lake and kills the people working at the new summer camp. Tommy eventually chains Jason to a boulder that he tosses into the lake, where he leaves Jason who is revealed to be alive.[10]

The original Friday the 13th was produced and directed by Sean S. Cunningham, who had previously worked with filmmaker Wes Craven on The Last House on the Left (1972). Cunningham, inspired by the success of John Carpenter's Halloween (1978), wanted Friday the 13th to be shocking, visually stunning, and \"[make] you jump out of your seat\". Distancing himself from The Last House on the Left, Cunningham wanted Friday the 13th to be more of a \"roller coaster ride\".[1] The first film was meant to be \"a real scary movie\", and at the same time make audiences laugh. The concept for Friday the 13th began as nothing more than a title. A Long Night at Camp Blood was the working title Victor Miller used while he drafted a script, but Cunningham believed in his \"Friday the 13th\" moniker and rushed to place an advertisement in International Variety. Worrying that someone else owned the rights to the title and wanting to avoid potential lawsuits, Cunningham thought it would be best to find out immediately. Cunningham commissioned a New York advertising agency to develop his visual concept of the Friday the 13th logo, which consisted of big block letters bursting through a pane of glass.[17] In the end, Cunningham believed there were \"no problems\" with the title, but distributor George Mansour contends that there was an issue: \"There was a movie before ours called Friday the 13th: The Orphan. Moderately successful. But someone still threatened to sue. It is unknown whether Phil [Scuderi] paid them off, but the issue was eventually resolved.\"[18]

When Jason Takes Manhattan failed to perform successfully at the box office, Sean Cunningham decided that he wanted to reacquire the rights to Friday the 13th from Paramount and start working with New Line Cinema on Freddy vs. Jason, as New Line owned the Nightmare on Elm Street franchise. The concept of a fight between Freddy and Jason was not new, since Paramount had approached New Line about filming a crossover years before the latter had gained the licensing rights to Friday the 13th. At that time, both companies wanted the license to the other's character so that they could control the making of the film. Negotiations on the project were never finalized, which led Paramount to make The New Blood. After Jason Takes Manhattan was released in 1989, the rights reverted to Scuderi, Minasian, and Barsamianto, who sold them to New Line. Before Cunningham could start working on Freddy vs. Jason, Wes Craven returned to New Line to make New Nightmare. This effectively put Freddy vs. Jason on hold, but allowed Cunningham the chance to bring Jason back into the spotlight with Jason Goes to Hell.[26] The ninth installment \"turned a healthy profit\", though it was only intended to open the door for a crossover with Freddy Krueger rather than to start a new series for New Line.[27] Ultimately, the film series would go through another sequel before that would happen.

Cunningham's \"frustration\" with the delayed development of the Freddy vs. Jason project forced him to create another sequel in an effort to keep the franchise in the minds of audiences. Based on Jason Takes Manhattan's concept of taking Jason away from Crystal Lake, the 10th film would put the titular character in space.[28] The film suffered from the loss of its biggest supporter, President of Production Michael De Luca, when he resigned from his position. Lack of support forced the finished film to sit for two years before finally being released on April 26, 2002, and it would go on to become the lowest-grossing film in the franchise at the domestic box office. It also held the distinction of having the largest budget of any of the previous films at that time.[29] After more than 15 years of off-and-on development, and approximately $6 million spent in 18 unused scripts from more than a dozen screenwriters, New Line finally produced a Freddy and Jason crossover for 2003. One of the biggest hurdles for the film was developing a story that managed to bring the two horror icons together. Potential stories varied widely, from Freddy having molested and drowned Jason as a child, to a cult of Freddy worshipers called the \"Fred Heads\".[30]

In January 2007, Platinum Dunes producers Andrew Form and Brad Fuller outlined their intended goal to bring a Friday the 13th reboot to life. New Line approached Fuller and Form to create a reboot, but because Paramount still owned certain copyrights to the first film, the reboot would not be able to use anything from the original. Paramount, who wanted to be included in the development of a reboot, approached the producers and gave them license to use anything from the original films, including the title. With Paramount on board, Fuller and Form decided they wanted to use pieces from the early films. Fuller said, \"I think there are moments we want to address, like how does the hockey mask happen.\"[31] Shannon and Swift, writers of Freddy vs. Jason, were brought on to pen the script for the new film,[32] with Marcus Nispel, director of The Texas Chainsaw Massacre remake of 2003, hired in November 2007 to direct.[33]

When Harry Manfredini began working on the musical score for the 1980 film, the decision was made to play the music only alongside the killer so as not to trick the audience into believing that the killer was around during moments that they were not supposed to be.[34] Manfredini explains that the lack of music for certain scenes was deliberate: \"There's a scene where one of the girls [...] is setting up the archery area [...] One of the guys shoots an arrow into the target and just misses her. It's a huge scare, but if you notice, there's no music. That was a choice\".[34] Manfredini also noted that when something was about to happen, the music would cut off so that the audience would relax a bit, which allowed the scare to become more effective.

Since Mrs. Voorhees, the killer in the original Friday the 13th, does not show up until the final reel of the film, Manfredini had the job of creating a score that would represent the killer in her absence.[34] Manfredini was inspired by the 1975 film Jaws, where the shark is not seen for the majority of the film, but the motif created by John Williams cued the audience as to when the shark was present during scenes and unseen.[35] While listening to a piece of Krzysztof Penderecki music, which contained a chorus with \"striking pronunciations\", Manfredini was inspired to recreate a similar sound for Friday the 13th. He came up with the sound \"ki ki ki, ma ma ma\", based on the line \"Kill her mommy!\", which Mrs. Voorhees recites repeatedly in the final reel. The \"ki\" comes from \"kill\", and the \"ma\" from \"mommy\". To achieve the unique sound he wanted for the film, Manfredini spoke the two words \"harshly, distinctly, and rhythmically into a microphone\" and ran them into an echo reverberation machine.[34] Manfredini finished the original score after a few weeks and recorded it in a friend's basement.[35] Victor Miller and assistant editor Jay Keuper have commented on how memorable the music is, with Keuper describing it as \"iconographic\". Manfredini makes note of the mispronunciation of the sounds: \"Everybody thinks it's cha, cha, cha. I'm like, 'Cha, cha, cha' What are you talking about\"[36]

Manfredini did not score The New Blood and Jason Takes Manhattan because of prior film engagements, but his scores from previous films were reused.[34] While Manfredini was working on Sean Cunningham's DeepStar Six, producer Iain Paterson hired Fred Mollin, who was scoring Friday the 13th: The Series, to finish composing the music to The New Blood. Manfredini's original music only filled half the film.[41] Mollin returned to fully score Jason Takes Manhattan, and worked with Steve Mizer to write an original song reminiscent of Robert Plant for the opening credits.[42] Manfredini would score the next two entries in the series before being replaced on Freddy vs. Jason.[43] The official reason for Manfredini's replacement was because New Line wanted to take the series in a \"new direction\", but Manfredini contends that the final cut of Freddy vs. Jason was \"just the same thing\".[34] 781b155fdc