Something like Nightmare On Elm Street, to me, was kind of an examination of levels of consciousness and the pain of facing the truth, and how easy it is to fall asleep, or want to fall asleep.
Wes CravenI think the important thing about staying creative and staying sharp and original is not to look back too much, and to kind of look to where your vision is going now. But I have felt over the years a definite progression or arc from feeling guilty about what I had done with the first one, because certainly there was all that fundamentalist guilt that came pouring back in. Feeling like I'd done something horrible, "I'm a despicable person and I'm perverse," and all these things, to a sense of the power and the necessity, in a sense, of horror films and dealing with dark material.
Wes CravenI came from a very strict background. [So if you want to make a scary movie] if you were raised as a fundamentalist, just pull all the skeletons out of your closet.
Wes Craven[I was] feeling like I'd done something horrible, "I'm a despicable person and I'm perverse," and all these things, to a sense of the power and the necessity, in a sense, of horror films and dealing with dark material.
Wes Craven