Music Video of the Day: Sweet Dreams by THE HORRORTOUR Project (2014, dir. Alessandro Benna)


Freddy had to show up eventually.

A year after THE HORRORTOUR Project did their cover of Pet Sematary, they did a cover of Sweet Dreams by Eurythmics in memory of Freddy Krueger.

Born 1984. Died 2010. He was killed by a bad screenwriter. I know Eric Heisserer had help from Wesley Strick and director Samuel Bayer, but I prefer to put the blame on him. He’s the one responsible for Final Destination 5 (2011), screwing up a John Carpenter movie and Alien at the same time (The Thing, 2011), miscasting and poor writing 101 (Hours, 2013), a glitchy reworking of A Nightmare On Elm Street (Lights Out, 2016), and the series finale of Star Trek: TNG (Arrival, 2016). He also has another movie called Van Helsing, The Road 2 (Bird Box), and Arrival II: Field Of Fire (Extinction, 2018) coming up. I’m not exactly a fan of his work.

Just like their version of Pet Sematary, the song didn’t do it for me, but I like the video. It has some neat parts.

Freddy appearing bedside

The Italian versions of A Nightmare On Elm Street since this is part of that Dario Argento tour. There’s even a copy of Tobe Hooper’s Night Terrors.

Freddy left her a present?

That isn’t Freddy. I’m not sure who that’s supposed to be. I should know.

I love that they used the Vincent Price laugh from the end of Thriller. Not even The Number Of The Beast by Iron Maiden got Vincent Price to read the opening for their song. They didn’t want to pay his fee. I wonder how this video got the rights to use the Thriller laugh.

They quickly flash to this just before the ending credits.

Somebody watched Mahakaal (Indian A Nightmare On Elm Street).

Again, I can’t recommend their cover, but the video is worth checking out.

Enjoy!

Music Video of the Day: The Number Of The Beast by Iron Maiden (1982, dir. David Mallet)


Times sure have changed. The appearance of Eddie at the end as Frankenstein was edited out of this video originally because it was scaring viewers. This was 1982. I can understand something like One by Metallica. Being trapped in your own body, screaming in your mind with the only possibilities for escape being the mortality of your own body or someone who assists your suicide. That’s scary. Frankenstein? Just because Frankenstein’s head is that of Eddie? Really?

Nothing else in the video bothered people?

The Werewolf?

Goathead?

Max Schreck?

I Was A Teenage Frankenstein?

Godzilla?

The movie Haxan?

The Crimson Ghost?

A reference to Dr. Mabuse?

War Of The Colossal Beast?

Giant bat?

The Devil?

etc.

Nope! Remove Frankenstein. Everything else is fine. At least that’s what this site that is cited by Wikipedia says.

Enjoy!

Music Video of the Day: Christine by John Carpenter (2017, dir. John Carpenter)


I’m not really a horror person. It wasn’t until a few years ago that I started digging into the genre. I only got to Christine (1983) a couple of days ago. I sought it out simple to write about this music video. Up till then, all I knew about it was that it had a killer car and that there is an episode of Quantum Leap where Sam Beckett gives Stephen King the idea for it.

Quantum Leap S3:E5 – The Boogieman

Quantum Leap S3:E5 – The Boogieman

Quantum Leap S3:E5 – The Boogieman

Quantum Leap S3:E5 – The Boogieman

Quantum Leap S3:E5 – The Boogieman

Quantum Leap S3:E5 – The Boogieman

Quantum Leap S3:E5 – The Boogieman

The episode title is The Boogieman and there is a little tie-in with Halloween I want to mention that is within Christine. If you remember, Christine takes place in 1978 between September and December.

Christine (1983, dir. John Carpenter)

It means that within the Carpenter universe, the events of Halloween I & II happened while Christine was going on.

Getting to the video, I knew that Carpenter did movie scores. But I didn’t know that he’s gone into music, complete with a music video for his theme to Christine. It’s pretty cool.

It of course starts off with the “Show me” scene.

Christine (1983, dir. John Carpenter)

I’d like to think that this is Carpenter acknowledging that his movie really didn’t start until the hour mark. The film clocks in at about 110 minutes.

Carpenter himself drives the car, and soon comes across a broken down yellow car called The Thing with a woman waiting next to it.

That is brilliant. Absolutely brilliant. Let me explain.

Obviously it is referencing Carpenter’s film The Thing (1982). That’s a given. Now let me remind you of the ending of Christine.

The ending of Christine happens in a building within a junkyard. The guy who has become obsessed with Christine is behind the wheel. His two friends have a bulldozer that they intend to stop Christine with.

Christine (1983, dir. John Carpenter)

They end up doing just that.

Christine (1983, dir. John Carpenter)

Christine (1983, dir. John Carpenter)

It was no coincidence that a bulldozer destroyed Christine. Remember Killdozer from 1974?

Killdozer (1974, dir. Jerry London)

Killdozer (1974, dir. Jerry London)

In that film, a bulldozer is given life by a rock that falls from space, and it proceeds to go on a rampage. Christine is effectively stopped by Killdozer.

It goes further than that though. In Killdozer, they realize near the end of the film that they can’t destroy the machine. They say that they have to destroy “the thing”. They do it via electrocution. They lure it on to some material that they electrify to destroy “the thing” inside the bulldozer, thus stopping Killdozer.

Killdozer (1974, dir. Jerry London)

Killdozer (1974, dir. Jerry London)

That is the same ending as The Thing From Another World (1951). They electrocute The Thing in that as well.

The Thing From Another World (1951, dir. Christian Nyby & Howard Hawks)

The Thing From Another World (1951, dir. Christian Nyby & Howard Hawks)

That movie is what Carpenter remade as The Thing.

By having that car be there in a music video for Christine with “The Thing” written on the side and having it be painted yellow, ties Christine, The Thing, Killdozer, and The Thing From Another World together. Perfect!

You might recall that this electrocution thing came up in It Follows (2014) as the pool scene.

The rest of the video has Christine chasing after a woman played by Rita Volk from the TV show Faking It. In the grand tradition of films like Christine and Killdozer, she continues to run right in the path of the car even though nothing is preventing her from getting out of the way.

Carpenter stops the car, and opens the door for her. I’m not sure why he is dressed like that. I’m sure it’s also a reference to something. I just don’t know what.

Then they drive off.

There is a big list of credits on the YouTube page. Some of the people involved with this video worked on Carpenter’s feature films. I’ll list them at the end.

If you want to see some behind-the-scenes stuff, then hopefully that video is still below.

Enjoy!

Director: John Carpenter
Producer: Sandy King
Production Manager: Justin Moritt
1st Asst. Director: Tony Adler
Director of Photography: Eduardo Fierro
Production Designer: David Redier-Linsk
Editor: Patrick McMahon
Optical effects: Scott Gregory
Location Manager: Jennifer Dunne
Stunt Co-ordinator/Driver of Christine: Jeff Imada
Stylist: Sophie Gransard-Davies
Hair Stylist: Christian Marc
Make-up Artist: Samuel Paul
Storm King Special Projects Coordinator: Ross Sauriol
Office co-ordinator: Sean Sobczak
Post-Productions Services: Warner Bros.
Christine courtesy of Bill Gibson
VW Thing car courtesy of DC Motors of Anaheim Hills, CA
Christine Girl wardrobe courtesy of Joe’s Jeans.
Starring: Rita Volk and John Carpenter

Music Video of the Day: Hellraiser by Motörhead (1992, dir. Clive Barker)


Kirsty: I only know what it does. It hurts.

Oh, Kirsty. Yes, Hellraiser III was awful. Yes, it is sad that it’s the movie that got Motörhead’s version of Hellraiser. But it could have been worse. It could have been Hellraiser: Hellworld (2005) that got this song. That would have been truly painful.

Hellraiser: Hellworld (2005, dir. Rick Bota)

Hellraiser: Hellworld (2005, dir. Rick Bota)

In 1992 they finally got around to making a third film in the Hellraiser franchise. It really has nothing to do with the first two films. Once you’ve seen Pinhead create a cenobite with a face made of CDs, there’s no going back. If you’ve only seen the first two films, then stop there. You can watch this music video to get one, if not the only good thing about the third film–this song.

According to The Official Clive Barker website, this is what Barker said the concept for the video was:

We open on Motorhead’s performance, set a large, cavernous space. Dante-esque, dimly lit with pools of light on the band members and their instruments. As the camera moves around the space, various creatures are revealed, oily bodies shining through their ragged bits of clothing, prosthetic pieces (a claw, a beak etc.,) and bandages, stylized make-up all showing that they are THE DAMNED. All of this is shot in shadowy black and white. We also see Props from “Hellraiser 3” (the baby, signage, etc.), which become match dissolves to footage from the film itself.

Back in our black and white cavern a roadie sits in a large Overstuffed chair toward the back of the space, smoking, watching the band’s performance. Suddenly light streams in when a door crashes open. We switch to color as Pinhead makes his grand entrance, rim-lit, a delicate presence. The demons begin to writhe madly to the music. The band’s performance builds as Pinhead moves across the floor, throwing the roadie out of his chair and out of frame. Pinhead takes the seat and gulps virgin’s blood from smoking cup. From Pinhead’s point of view we watch the band.

We cut to a scene of Lemmy and Pinhead in two chairs at a gaming table. Intercutting with performance footage and Hellraiser III footage, we see Lemmy and Pinhead playing cards, drinking, Serious competitors having fun. The demons writhe behind Pinhead, the band stands behind Lemmy as the tension builds between the two.

Doug Bradley added the following in 2005 concerning Lemmy:

The card game finished with me getting the Ace of Spades, so the idea is that Lemmy wins the game but at the price of losing his soul. But that was funny, when we were playing that card game there was a decanter on the table, just as a prop, and Lemmy had a word with one of his people, the decanter disappeared but it came back again full of amber liquid which Lemmy proceeded to drink his way through while we shot that scene, like you and I would drink orange juice, while the dark pope of Hell sat on the other side of the table demurely sipping Evian water…

The attraction of this music video is when Lemmy and Pinhead play cards.

However, there are a few other things I enjoy about the video.

While the footage of the band playing is boring, I do like the reverse shot where Pinhead is at a Motörhead concert.

Why is this person wearing something similar to the jaw-breaking device from the Saw movies?

A bit of a Queen music video is going on here.

I normally don’t go for unintegrated movie footage in videos of this sort, but I appreciate that Barker left in one particular sequence from the movie. There is a scene where the cheap cenobites that Pinhead made chase Terry Farrell’s character onto a street to do a scene similar to the one from Superman II (1980).

Superman II (1980, dir. Richard Lester & Richard Donner)

And yes, Henry Cavill was in Hellraiser: Hellworld where he got killed off by Lance Henriksen, not Pinhead, since, like the other movies after IV, Hellworld was a different movie that had elements of Hellraiser grafted onto it. Pinhead doesn’t actually exist in the movie until the very end of the film.

During that street destruction scene, there are at least two places that get their signs destroyed.

Larry was a character from the first Hellraiser movie played by Andrew Robinson who would go on to be on Star Trek: Deep Space Nine with Terry Farrell in 1993–one year after this movie came out.

If you have the misfortune to watch Hellraiser III, then you might notice that the statue Pinhead is in with what I remember to be trapped souls is just a tad similar to something from A Nightmare On Elm Street 3: Dream Warriors (1987). In that movie, Freddy Krueger explains that he has gotten stronger by capturing children’s souls which he then shows as part of his flesh. I’m sure the similarities weren’t lost on the people involved in both franchises. Elm Street started back up the same year as the Hellraiser franchise started. Also, makeup artist Kevin Yagher, who did makeup on Elm Street 2, 3, and 4, would go on to direct Hellraiser IV as Alan Smithee.

Barker could have just as easily used footage from the club parts of the movie instead of Farrell running on the street. Instead, he left in those shots.

Other than those things, it’s just the song and the card playing scene, which yes, is similar to The Seventh Seal (1957) with its game of chess with Death. There’s nothing else particularly interesting. You’re watching to see Lemmy turn up a joker and the ace of spades.

Enjoy!

Music Video of the Day: Pet Sematary by THE HORRORTOUR Project (2013, dir. Alessandro Benna & Pupi Oggiano)


This is the last Pet Sematary video. I promise! It’s a good one to go out on.

Okay, the best I can tell here is that there is a special tour that is held in Torino, Italy from time to time that takes people on tours of locations that were used in Dario Argento films, or Dario Silver if you run his name through Google Translate. I guess this was commissioned for that tour by a group that might have only existed for a couple of videos. The former lead-singer of T3CHN0PH0B1A, H.J. Mazend sings lead vocals. They also appear to have covered Sweet Dreams by Eurythmics in 2014.

While I don’t particularly care for the cover version, I do like the video since it remembers that jokes and references made up Pet Sematary II: The Quickening.

I see that Bruce Campbell’s girlfriend’s hand is there along with Ghostface and Jason (bottom left).

Sid Vicious. A reference to the fact that he apparently strangled cats. There’s all kinds of stories about him. Why he is shown as being born in 1960 and dying in 1987 is beyond me. Although, the picture on the gravestone isn’t. You can watch the video to see that.

I think this might be a reference to Priscilla Presley. It would fit since Presley’s death was a breaking point between generations. According to The New York Times, in 1979, Priscilla was at a turning point when Elvis’ father Vernon passed away. The estate was in jeopardy because it cost so much to maintain everything, but their was no Elvis to go out and do a new tour or make a movie. She reflected upon that in the 1989 article I linked to above.

In 1979, the Ramones made their feature film debut in Rock ‘n’ Roll High School, and in 1989, they did the song for Pet Sematary. After that, it looks like things went downhill for the Ramones over the next seven years till they broke up in 1996.

That’s my best guess as to the meaning behind these dates–Elvis having rising from his grave as the Ramones were beginning to die off.

It would explain the final scene where we see a guy that has come back from the dead pick up the woman mourning at Priscilla’s grave and caring her away.

Enjoy!

Music Video of the Day: Pet Sematary by Plain White T’s (2012, dir. ???)


Thank you, Pet Sematary. People’s obsession with covering you have helped to knock off three days in October with a single song–so far.

I had no idea that Plain White T’s still existed. All I remember is Hey There Delilah. That song was played to death when I was in college. It appears they did some other stuff. I never would have thought that they would cover a Ramones song, but then again, I know people had a similar reaction when Green Day did Good Riddance (Time Of Your Life), so whatever. I still think Plain White T’s is an odd choice. Tom Higgenson’s vocals don’t fit. They do a fine job of making the song kid friendly, but it just sounds wrong to me.

The video is okay. I like that, while still being a band-performs-with-cutaways-to-movie-footage video, it does integrate them visually. It’s not jarring when they cut between the two. Unfortunately, they don’t integrate the band into the movie in some fashion. That would be a tall order since Frankenweenie (2012) is animated. The best they do is have the family from the movie watch a reenactment of the last shot from the original Ramones video.

Oh, well. They can’t all be Freddy Krueger having a nightmare about Dokken or Lemmy playing cards with Pinhead.

Enjoy!

Music Video of the Day: Pet Sematary by Michelle Darkness (2007, dir. ???)


Did you think that Pet Sematary by Ramones didn’t have enough gothic/doom metal in it? As in any? If that’s you, then here’s a cover version by the lead singer of End Of Green, Michelle Darkness. Apparently people love covering this song. And here I thought that there was only the Plain White T’s version for Frankenweenie. At least this seems to be the only other legit video. The others appear to be pieced together with footage from the two movies.

The video reminds me of something I would have expected from Marilyn Manson with a spritz of Nine Inch Nails back in the day.

I have nothing else to say. Enjoy!

Music Video of the Day: Pet Sematary by Ramones (1989, dir. Bill Fishman)


You can hardly tell this was done by the same director who made the video for I Wanna Be Sedated by Ramones.

I Wanna Be Sedated by Ramones (1988)

I Wanna Be Sedated by Ramones (1988)

This song was obviously made for the movie Pet Sematary (1989). It’s the following guy that we have to thank for this song existing:

King is apparently a big fan of the Ramones. According to Wikipedia, King invited them to his home where he proceeded to hand a copy of the book to Dee Dee who went into the basement, and came out an hour later with the lyrics for the song. Impressive. Sure the song would go on to win the Razzie Award for Worst Original Song, but I’m assuming he both read the book and wrote the lyrics in an hour. I find that to be impressive. Still, I can understand why it won that award. All you have to do is play I Wanna Be Sedated back-to-back with this song, and it’s night and day.

The video was shot at Sleepy Hollow Cemetery in the New York village of the same name. The band plays on a hydraulic platform instead of sitting at a table while things go on around them.

Those things include Debbie Harry and Chris Stein of Blondie, and members of The Dead Boys. I couldn’t find any of them for sure. You’d think Debbie Harry would stand out, but the video quality is so bad. My best guess is that she is the one on the left.

In the end, they’re buried.

Despite the fact that Mary Lambert of music video fame directed the film, as well Pet Sematary 2: Judgement Day, the video was directed by Bill Fishman. He appears to have done around 50-60 music videos total, with the most recent one being in 2014 for The Decemberists. He directed a couple of videos for the Ramones.

Enjoy!

Music Video of the Day: Dracula’s Tango (Sucker For Your Love) by Toto Coelo/Total Coelo (1982, dir. ???)


To my knowledge, this is the last Toto Coelo video out there. I can’t imagine why this song didn’t do as well as I Eat Cannibals and Milk From The Coconut. Some of these lyrics are priceless:

‘Cause your castle is a nightmare
You’ve got batty friends who live there
Oh please, just squeeze
I go insane don’t tap my windowpane

……

Got to get my teeth in you
Necking is the thing to do
Even though they never know it
Positive or not

You and I coagulate
Vitalize a dying rate
Vladimir my dear
You know I’m after every drop

Get into a different vein
R.I.P is all the same
I was bitten now I’m trying
Transylvania

You’re the coffin I’m the key
We tune up in harmony
I’ll do anything for you
Except for mania

Then you have the video. I love this video. There’s something goofy in almost every shot.

They also make sure to pound it into your head that the song has something to do with sex. It’s a little difficult to miss that when you watch the video.

The dance isn’t the best part, but it’s pretty great. You can find numerous videos of people doing their own dance to the song:

They even performed this live for the German TV Show WWF Club:

Something tells me this song is what people think the Twilight films are until they’re unfortunate enough to sit through them.

I have terrible taste. Enjoy!

Music Video of the Day: Hammer Horror by Kate Bush (1979, dir. Keith MacMillan)


Welcome to October on Through the Shattered Lens. I’ll try to do my best to find 31 October-related music videos.

It is about an actor and his friend. His friend is playing the lead in a production of The Hunchback of Notre Dame, a part he’s been reading all his lfe, waiting for the chance to play it. He’s finally got the big break he’s always wanted, and he is the star. After many rehearsals he dies accidentally, and the friend is asked to take the role over, which, because his own career is at stake, he does. The dead man comes back to haunt him because he doesn’t want him to have the part, believing he’s taken away the only chance he ever wanted in life. And the actor is saying, “Leave me alone, because it wasn’t my fault – I have to take this part, but I’m wondering if it’s the right thing to do because the ghost is not going to leave me alone and is really freaking me out. Every time I look round a corner he’s there, he never disappears.”

The song was inspired by seeing James Cagney playing the part of Lon Chaney playing the hunchback – he was an actor in an actor in an actor, rather like Chinese boxes, and that’s what I was trying to create.

At least that’s what you’ll get when you go to a page that includes an article which appears to have been sitting out there since 1990. It is from “Kate’s KBC article Issue 3 (November 1979)”. Back in the day, there was a fan magazine called The Kate Bush Club. The page linked to above contains that excerpt from it where Kate talks about the song and video.

Surprisingly, despite the title, that same article begins with Kate saying the following:

The song is not about, as many think, Hammer Horror films.

She goes on to describe the making of the video:

Making the video of Hammer Horror was the first time I had worked with a dancer. I wanted to do something different with it, using a dancer, and I was sitting in a hotel room in Australia when it suddenly came to me–the whole routine happened before my eyes–and the next morning at 9 a.m. the dancer turned up to start work. We’d never met before, and in ten minutes we were having to throw each other around. He was so inspiring that we did the video that same afternoon.

She continues for a bit after that:

I did it again in New Zealand, when we arrived late, so I went straight into the routine with a dancer I’d never met before who had learnt it from the video. It was the strangest experience–I got to the chorus and suddenly this total stranger appeared behind me doing the routine perfectly. I just couldn’t stop laughing, and we had to do about three takes.

In the show I wanted to use the same routine, but I couldn’t possibly sing it and dance at the same time, and I thought it was important not to mime it, as I wanted it to be a dance number, totally dedicated to dance, so I could let rip more. It was important that everyone should know that it wasn’t a cheat, so I decided to dance to a backing track, and it was the only number in the show that wasn’t live.

I’ve already done two videos that director Keith MacMillan worked on, but I haven’t talked too much about him.

Keith MacMillan appears to be his real name. When he directed music videos he used the name Keef. It encompassed himself as the director and John Weaver as a producer. However, he was a photographer and designed album covers as well. There, he used the pseudonym of Marcus Keef. One particularly noteworthy cover is the one he did for Black Sabbath’s debut album:

He did the cover of Paranoid as well. He worked with numerous artists, such as David Bowie and Rod Stewart. There’s a short article that features some of his work here.

This song was on Kate Bush’s second album called Lionheart.

I’m not sure if he did the cover art, but it wouldn’t surprise me based on looking at his other album covers. In addition, according to mvdbase, he directed all of her early music videos as part of Keef.

Enjoy!