The Untold Truth Of Wes Craven

Wes Craven: a name synonymous with not just one film, but an entire cinematic legacy. Craven is best known for being the mastermind behind a true pillar of many '80s kids' nightmares — namely, the main antagonist of the "A Nightmare on Elm Street" franchise, the man of your dreams, Freddy Krueger. There has already been so much written about the production of the first "Elm Street" movie regarding its casting and its special effects. However, we thought it more prudent to examine the man behind the nightmares.

This is because Wes Craven was a truly fascinating individual, with a fitting backstory which informed his creative aspirations. He went from growing up as part of a highly strict Baptist family to being regarded as one of horror cinema's finest minds. The man certainly left behind an indelible impression through his actions and his filmography. After his passing in 2015, many spoke out about their appreciation for Craven and his influence on the genre. It's a kind sentiment we look to replicate today by spotlighting some lesser known facts about the legendary Wes Craven.

Everyone has to get their start somewhere. Wes Craven got his in the 1970s, working on adult films in New York City. He never officially directed any adult films under his own name, but in a documentary titled "Inside Deep Throat," Craven stated that any work he had done was under an ever-changing pseudonym. Referring to a 1975 adult movie called "The Fireworks Woman," Craven told the Village Voice in a 2004 interview, "I might have directed that one. But apart from that one, I didn't make any others." In addition to this alleged early directing credit is the fact that he seemingly made an uncredited onscreen cameo during the movie.

These raunchy affiliations are in stark contrast to Craven's strict upbringing during his childhood. But it would be these early years in the seedy adult entertainment business that prepared Craven for his future artistic calling.

It's hard to imagine someone as prolific as Wes Craven hanging it up early due to controversy. Unfortunately, with the release of "The Last House on the Left" in 1972, that's almost what happened. Craven directed the film under the assumption that it would only see release in a few select cinemas. This was not uncommon for horror films at the time as many "grindhouse" movies saw only limited releases in small numbers of specialty theaters. It was this assumption that instilled in Craven "the freedom to be outrageous," confident in the film's limited status.

However, that was far from the case. The film's unrelenting violence was witnessed by a substantial audience in an atypically broad release, which made it an easy target for critics and the general public alike. The experience following the release was so unpleasant that Craven chose to distance himself from the horror genre, choosing instead to write comedies and dramas. This hiatus ended when a colleague told Craven about the advantage of filming on location in the Nevada deserts. It served as the motivation for Craven to move forward with "The Hills Have Eyes" in 1977.

"Scream" is an important landmark in horror due to its popularization of "meta horror" — horror films that are self aware, where the characters within are aware of the genre's various tropes and cliches. Much of this came from the Kevin Williamson-penned screenplay, which was elevated by Craven's impeccable direction. He is so synonymous with the first film that it's almost impossible to imagine anyone but him at the helm. It might shock you to know that during development, while the film was under the working title "Scary Movie," Craven almost passed on it.

When interviewed on "Inside Story: Scream" for the Biography Channel (via We Minored In Film), Craven was adamant that he had grown disillusioned with horror and the genre's inherent misogyny, questioning whether or not he wanted to continue. His tune changed when a young fan told him, "The movies you've been doing have been getting softer and softer." This was the catalyst that Craven needed to call back Dimension Films and jump on board to direct the project. Some $103 million at the box office, several sequels, and an MTV television series later, Craven's decision definitely paid off.

It's ironic that Craven's childhood was bereft of comic books, considering he'd later go on to make one himself. "Coming of Rage" was originally conceived by Craven as a joke that eventually became the logline for the story: "A vampire, a werewolf and a zombie all walk into a bar."

The idea was hatched after Craven met with writer Steve Niles, the scribe behind the "30 Days of Night" graphic novel. The two creatives found common ground with each other, and before long, began the long road to publication. What would eventually hit store shelves in 2015 would end up being a five-issue mini-series from Liquid Comics, in which these three distinct monsters end up as a trio of fugitives. As relayed by Craven in his description of the series, it also showed "how the central character, Ritchie, lost his innocence." Additionally it showed how Ritchie would become "one of the most powerful vampires in the world." "Coming of Rage" is also noteworthy for being Wes Craven's last major project before his passing in August of 2015.

As we've noted, Craven's upbringing played an immense role in his life and creative trajectory. Growing up in a traditional Baptist home deprived him of many things, not the least of which was cinema. From his childhood to even his young adulthood, going to the movies — along with dancing and drinking — was off limits. His college education would expand his views of the world, which only disillusioned him further from his faith. While Craven distanced himself from these strict values, he still wrestled with the ideas instilled in him by them. The concept of the familial environment and the darkness hidden within the family persisted throughout a majority of his diverse filmography.

A key example would be the children paying for the sins of their parents in "A Nightmare on Elm Street." Additionally, in "The Last House on the Left," we see a kind suburban couple turn into vicious killers when their family is attacked. A director's upbringing and worldview can have a profound effect on the execution of that filmmaker's work. For Craven, his upbringing showed him the dangers of repression and trying to shut out the darkness of the world.

Yes, you read that correctly. The man who conceived of many of horror cinema's most iconic figures and memorable moments was an avid birdwatcher. It's admittedly hard to picture the man who dreamed up Freddy Krueger doing something as quiet and peaceful as birdwatching. Then again, when your nine-to-five job consists of murders, dream killers, desert cannibals and more, it might be best to find solace in a calming hobby

It's a hobby that, once again, has roots in Craven's upbringing, as he and his mother would watch birds. In an interview with Audubon, Craven not only explained his hobby's origin, but explained its presence in his films as well. He noted that the sounds of birds factored heavily into the sound design for "The Last House on the Left." It's very clear from the interview that Craven legitimately loved birds and nature, encouraging younger people to try the hobby as well. This lends credence to the idea that horror master Wes Craven was, at his core, a kind man.