Freddy’s Funhouse: Digging into Robert Englund’s Unmade Treatment for ‘Nightmare on Elm Street 3’

Freddy mania didn’t take off until the late ‘80s. It was in that period between Dream Warriors and The Dream Master that he broke through into the mainstream and cemented his place as a major cinematic icon. But the horror fans, those people not nearly connected with one another in the ‘80s as they are today, the ones who would rent every horror film they could get their hands on, who collected tapes and T-shirts and posters—in other words, Fangoria readers—they loved it. The magazine had championed Wes Craven from its debut, and while they were a little skeptical in their initial set report on A Nightmare on Elm Street, they celebrated the freshness it brought to a slasher formula that the magazine was never shy about calling stale and tired. The magazine played a massive role in promoting the burgeoning series, championing Elm Street—and Freddy as a character, in particular—by the time the first sequel was in development.

The original film spread by word of mouth. By 1985, many had caught up with the first movie. People knew what A Nightmare on Elm Street was, even if Freddy hadn’t become a massive icon yet. So, for some, those Fangoria fans especially, the two year wait between Freddy’s Revenge and Dream Warriors was excruciating. Fangoria, to their credit, smartly played to that and kept Freddy content running in the interim. One of the best examples of that coverage, easily, was an interview by Carr D’Angelo in The Bloody Best of Fangoria #6 with Robert Englund in the downtime between Nightmare 2 and Nightmare 3, just before the third movie was finally gearing up to enter production, in which he broke down his own rejected treatment for the sequel.

Englund’s treatment had been written before Wes Craven came aboard to write his wild first draft with Bruce Wagner, which over the course of many rewrites evolved into the fan-favorite Dream Warriors we all know and love. While Craven’s original script is a totally different beast from the movie we got, it’s still telling—for the most part—the same basic story.

That is definitely not the case with Robert Englund’s treatment for A Nightmare on Elm Street 3: Freddy’s Funhouse.

While it’s been reported a couple of times (he mentioned it in an interview last year that he had written it at one point) all that he really said about it at that time was that it had been planned to revolve around Tina’s sister. This Fango interview seems to be the only time Englund actually went into detail about what his treatment entailed.

Titled Freddy’s Funhouse, Englund’s third movie would have indeed revolved around Tina’s sister, but that would only have been the jumping off point for a much more ambitious and inventive story. According to Englund, the treatment began with the sister “being away at school and having horrible dreams about the specific carnage that happened to her sister. It bothers her so much that she decides to find out the truth about this whole thing.”

Naturally, her traumatic dreams bring her home to Springwood and to Elm Street, where the movie would have apparently taken on the more traditional look and feel of an Elm Street flick. Like the second movie, Nancy’s house would still be a key component and is—in fact—the genesis for the title. “The title of my script was Freddy’s Funhouse,Englund noted in the interview, “because Freddy has booby-trapped the Nightmare house’s dreamscape. It’s like Freddy’s own demented art direction mindset of the house’s interior—like a carnival’s funhouse, madhouse or spookhouse, but with all the debris and detritus of the prior movies lying around.”

With that in mind, though it’s not booby-trapped, it’s worth noting that Dream Warriors did wind up heavily featuring a nightmare version of the house from the first two films.

Englund, who has always been a fan of the idea of a prequel going back to explore Krueger’s days as the Springwood Slasher, naturally included some of that into his treatment as well. “The film would open with her going through all the microfilm at the local library, and the newspaper clippings pertaining to both Nightmare on Elm Street and Nightmare on Elm Street 2, as well as some local news station footage of Freddy on the City Hall steps with his lawyers after he got off from the very first case. So you would see me playing Freddy as this disgusting janitorial Lee Harvey Oswald-type. I liked that sense of summation. Maybe we’ll still do something like that.”

Englund wanted his story to reflect the unnerving phenomena that had sparked the inspiration for Nightmare on Elm Street as a whole. Thinking back on the series, it’s actually incredible that no one has ever actually done that in any of the later sequels, or even tie-in novels or comics. Although, on the other hand, it introduces another disturbing element to the series to start making actual references to real-life instances of sleep-related deaths.

The actor also noted in the interview that he just wanted to go bananas with the third act. “The story was OK but I didn’t have an ending. I got it right up to the ending, but I didn’t know where it would go, so I opted for a David Cronenberg type of ending. I think that’s one of the things that hurt me, although the producers really loved one of my ideas. I had the characters coming out of the dreams, waking each other up and writing down everything they had seen so that when they went back into the dreamscape, they could hide weapons to use against Freddy.”

That is actually a great idea, the notion of using a dream journal as a way of fighting back against Freddy. Even now, the concept of a dream journal is sort of the last dream-related thing that the franchise has yet to find a way to exploit. Englund noted that the producers loved this aspect in particular, saying that they said, “’Ooh, we love it,’ so they’ll probably borrow that idea.”

The idea did not make it into Dream Warriors, nor any of the later Elm Street films. However, an incredibly similar concept does come into play in a major way in Bill and Ted’s Excellent Adventure, which was indeed produced by one of the Nightmare producers, Michael S. Murphey. So it’s still entirely possible that Englund could have been right about that.

Ultimately, it sounds like the producers weren’t sold on Englund’s idea for Freddy’s Funhouse in general, though it’s hard to say exactly what kept it from being made. On an obvious level, it does sound like it probably would have been expensive, so if there’s anything that kept it from happening, it’s likely that. Even at the time of the interview, Englund had absolutely no hard feelings about the producers passing on the story because, as he said, “Wes Craven coming back to write it sure makes me happy.”

One of the most fascinating things about this treatment in general is the idea of Englund writing it before “Mainstream Freddy” took off. The Krueger of the first two movies is still very dark, very far from the comedic, easily digestible villain who would start appearing on MTV and have his own hotline around the time of Nightmare 4. The idea of Englund working with that early, sinister, shadowed Freddy on a creative level is kind of fascinating.

While Englund’s treatment boasts some great ideas, we can’t be too sad it never saw the light of day because we eventually got A Nightmare on Elm Street 3: Dream Warriors, the most celebrated sequel of the franchise and probably one of the most beloved horror sequels of all time. Still, it’s impossible not to be excited at the prospect of an Elm Street sequel conceived by the man in the sweater himself. Even if it never happened, it’s fantastic to see Englund’s love (and ownership) of the character was established so early on, and so deeply that he wanted to try his hand at telling one of these stories himself.

That Time Freddy Krueger Went to Haddonfield

No, we’re not talking about a fan film or a comic book crossover—this actually happened!

Even the most studied fans of the Nightmare on Elm Street and Halloween movies are probably unaware of Robert Englund’s connection to both franchises. Everybody knows that Englund is synonymous with the Springwood Slasher aka Freddy Krueger, but the actor actually spent some time in Haddonfield on the set of John Carpenter’s Halloween in 1978, though very much behind the scenes—and only for a single day.

Here’s what he told Access Online:

“It’s so funny, I actually had a roommate, back when they did the original Halloween… the John Carpenter one. And he conned me into going to Pasadena one day, with garbage bags full of dead leaves. And we were working on the set of the original Halloween, throwing the dead leaves around. So it looked like Autumn… it looked like Fall back in the Midwest.”

Englund was able to reprise Freddy recently on an episode of the sitcom The Goldbergs.

While a new Nightmare on Elm Street movie remains elusive, a sequel to 1978’s Halloween has been slaying the box office since its release on October 19th. If you’ve yet to check it out for yourself, give the synopsis and trailer a look-see below.

Synopsis:
It’s been 40 years since Laurie Strode survived a vicious attack from crazed killer Michael Myers on Halloween night. Locked up in an institution, Myers manages to escape when his bus transfer goes horribly wrong. Laurie now faces a terrifying showdown when the masked madman returns to Haddonfield, Ill. — but this time, she’s ready for him.

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That Time Robert Englund & Dokken Did Cocaine Off Freddy Krueger’s Glove

The Youtubers at Consequence of Sound have just put together an interesting video retrospective of the iconic villain from the A Nightmare on Elm Street franchise: How Freddy Krueger Went From Child Killer to MTV Rock Star. While most of it is an analytical examination of the marketing tactics used to create Freddy’s unique brand, there’s an especially interesting reveal about the video shoot for Dokken’s “Dream Warriors”.

The song was written for A Nightmare on Elm Street 3: Dream Warriors and Englund participated in the video in full Krueger makeup. Between takes, however, the boys parties it up like true agents of rock and roll excess; guitarist George Lynch recounted snorting lines of cocaine off of The Springwood Slasher’s bladed glove!

Give the video a spin below for more juicy details and interesting factoids. After that, you can check out the video for Dokken’s “Dream Warriors”. Just remember kids: Freddy’s glove was designed for murder—not drugs, m’kay.

Synopsis:
Consequence of Sound dives into the evolution of Freddy Krueger from movie screen’s most gruesome child killer to the 1980’s biggest rockstar. From MTV spots to an NES game, Wes Craven’s character was bigger than Jesus, and remains a pop culture phenomenon to this day.

Are you a fan of Freddy Krueger? What do you think of Consequence of Sound’s video? Sound off in the comments below or on Facebook, Twitter, and/or Instagram!

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“Destroyed” Fresh Prince Video A NIGHTMARE ON MY STREET Surfaces on YouTube!

Three days ago, we were excited to share some images that surfaces of the supposedly destroyed Fresh Prince video A Nightmare on My Street. Today, we’re learning that rumors of the video’s demise have been greatly exaggerated—kind of. While the original print is no doubt lost to history, a recording recently surfaced on YouTube!

Related Article: Images Unearthed of Banned (Supposedly Destroyed) NIGHTMARE ON MY STREET Fresh Prince Video

Full disclosure: The video, uploaded by YouTuber Nancy Thompson (no doubt an alias) is objectively shitty. The tracking is a disaster and there’s even a point where someone switches the channel, giving us a peek at an episode of Growing Pains. Still, it includes an intro that isn’t part of the audio track—and it’s a ton of fun to watch!

To recap:

Back in the late 1980s, Will Smith’s hip-hop duo, DJ Jazzy Jeff and Fresh Prince, recorded an unauthorized theme-song for A Nightmare on Elm Street.

Despite the fact that A Nightmare on My Street reached #15 on Billboard’s Hot 100, New Line was none too pleased with an unauthorized track and video sullying up the Nightmarefilmography.  A contentious legal battle ensued before all parties settled out-of-court.  An interesting review of the entire case can be seen at the website Leagle: HERE.

Under the terms of the settlement, DJ Jazzy Jeff & Fresh Prince were allowed to keep A Nightmare on My Street on their album; they were even permitted to release the track as a single.  A disclaimer was added to all future pressings: “[This song] is not part of the soundtrack…and is not authorized, licensed, or affiliated with the Nightmare on Elm Street films.”

Without further ado, give the video for A Nightmare on My Street below!

Are you a fan of DJ Jazzy Jeff and Fresh Prince? What do you think of the video for A Nightmare on My Street? Sound off in the comments below or on Facebook, Twitter, and/or Instagram!

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Remake Fever: What the ‘Friday the 13th’ and ‘A Nightmare On Elm Street’ Franchises Should Learn From ‘Halloween’s Success

With the astronomical $76.2M opening weekend debut of Blumhouse’s Halloween (2018) fresh in everyone’s mind, horror fans and Hollywood suits alike are now pondering what this could mean for the other two long dormant 80s horror franchises.

There’s already a glimmer of hope on the horizon for the Friday the 13thfranchise: on Monday Bloody Disgusting broke the news that LeBron James (!) is producing a new Jason film in the wake of a court decision that reverted the rights to the original film’s characters back to screenwriter Victor Miller. The same day Freddy Krueger actor Robert Englund teased his willingness to revisit the character for one final film while promoting his guest appearance on the ABC family comedy The Goldbergs. In the space of 72 hours, there’s been big news for all three of the 80s most prolific horror franchises.

And yet…we’ve been in this position before.

Flashback to February 2009. Rob Zombie had already debuted the Dimension-backed first installment of his polarizing revisionist take on Michael Myers in 2007 and he was preparing to shoot the August 2009 sequel. At this point, Michael Bay, Andrew Form and Brad Fuller’s production company Platinum Dunes was three films into their remake frenzy, including 2003’s The Texas Chainsaw Massacre, 2005’s The Amityville Horror and 2007’s The Hitcher. On February 13, Friday the 13th was released in theatres; a little over a year later on April 30, Platinum Dunes released the 2010 remake of A Nightmare on Elm Street.

The situation we find ourselves in 2018 is not new: we’re on the cusp of another cycle of remakes. The question is not whether we will see Jason or Freddy again; it is when and in what form? As industry insiders closely follow Halloween’s box office, however, they would do well to consider history. If new installments of our favorite 80s monsters are on the horizon, now is the time to investigate where the previous attempts to reboot Jason and Freddy back in 2009/2010 went wrong in order to ensure the same mistakes aren’t made.

Let’s dig in…

Production

By 2009 it had been six years since horror audiences saw the two icons butt heads in the oft-delayed cross-over film Freddy vs Jason. While this was not the longest time gap in between films for either franchise (there were nine years between 1993’s Jason Goes To Hell and 2002’s Jason X, and nine between 1994’s Wes Craven’s New Nightmare and 2003’s Freddy vs Jason), 2009’s Friday would attempt something new: it was the first attempt to reboot the franchise as an origin story.

Platinum Dunes was clearly taking a page from their successful Texas Chainsaw Massacre playbook, which revitalized that long-dormant franchise. The TCM remake adopted a desaturated yellow colour scheme, a gritty aesthetic and a liberal dose of gory violence. Bay, Form and Fuller had the good sense to bring back Tobe Hooper and writer Kim Henkel as co-producers; Daniel Pearl as cinematographer; and John Larroquette reprised his role as the film’s ominous narrator.

Friday 2009 shares the same director as TCM Marcus Nispel – and brings back Freddy vs Jason writers Damian Shannon & Mark Swift (despite near universal disdain for FvJ‘s script). It also repurposes part of the iconic Friday the 13th score. The yellow colour filter is swapped out for blue, but TCM’s lean/mean mentality towards kills and gore remains intact. Example A: that sleeping bag kill in the early section of the film is still brutal nearly a decade later.

NOES 2010 leans even further into these ideas. The most substantial difference is that Friday’s script is an amalgamation of what Shannon and Swift consider the best parts of the first four films of the franchise (which explains why the film plays like three films spread across different time periods). NOES’ script was initially going to follow suit, but eventually, the decision was made to focus exclusively on Wes Craven’s original film, shifting the film into explicit remake territory. Importantly, while the film had Englund’s support for recasting the role of Freddy, Craven was publicly vocal about his lack of consultation on the new film.

Reception

Horror is arguably one of the genres that is most immune to reviews. As sweeping generalizations go, there is a perception that horror fans are less discerning about the quality of the films that they will support, including films with poor reviews. While this isn’t a hard and fast rule, there is a long and storied history of horror films with low critical aggregate scores that have done well and over-performed at the box office.

It is important to raise this point because it highlights a disconnect between the way horror fans engage with films, which is particularly relevant for the Friday and Nightmare franchises. Consider that by the time of the 2009/2010 remakes, these franchises had a combined 18 films between them over 29 years, as well as hundreds of millions of dollars of box office revenue (to say nothing of lucrative licensing and merchandising deals).

We can consider two points of entry when examining the “success” (or lack thereof) of 2009’s Friday and 2010’s NOES: critic reviews and audience scores/box office. On Rotten Tomatoes, Friday is rated 25% Rotten, while NOES fares even worse at 15% Rotten (for comparison TCM sits at 36%, Freddy vs Jason is 41%, and Zombie’s Halloween is 26%). Critics from traditional (read: non-horror) outlets criticized both films for failing to distinguish themselves from their predecessors, for replicating sequences from the original source material and for relying too heavily on “shock” cuts (ie: jump scares). One obvious distinguishing factor that made Friday go over a little better with critics is the inclusion of humour, while NOES is criticized for being unnecessarily dark and gloomy.

Horror critics weren’t much more favourable:

Friday the 13th:

  • BC’s review praises the physicality and presence of Derek Mears as Jason, likens the violence to the “torture porn” trend that was popular with Saw films at the time, and struggles to engage with the opening sequence that functions too much like an extended prologue

A Nightmare On Elm Street:

  • David Harley’s review suggests the new film moves briskly and follows the same story with some slight modern updates, but they (and the characters) don’t resonate. Harley’s verdict is that the film fails to offer anything innovative
  • Jeff Otto’s review laments the lack of character development, the speed with which characters (and by proxy the audience) know everything and Jackie Earle Haley’s diminutive status, which hampers his ability to scare and intimidate

Cinemascores (exit polls collected over opening weekend) reinforced the audience preference for Friday (B-) over NOES (C+) although the final domestic grosses were nearly identical (approximately ~$65M). The gross, however, is extremely underwhelming when opening weekend figures are considered: Friday opened to $40M while NOES opened slightly lower with $32.9M. The incredibly small difference between opening weekend and final gross for both films indicates that they were both extremely front-loaded (hardcore fans rushed out), but neither film had legs (repeat viewers). Considering Friday’s $19M and NOES’ $35M budget (the latter is quite high for horror) and the subdued response from fans, New Line ultimately pulled the plug on sequel options.

Lessons Learned

A cursory glance at the key distinctions between Blumhouse’s Halloween, Friday 2009 and NOES 2010 reveal several lessons to be learned:

1) Sequels sell better than remakes: Halloween is a continuation of the original franchise, not a hard reboot (which is sometimes seen as a cynical cash grab by horror fans). Consider this: Zombie’s Halloween remake opened to $31M and ultimately earned $80M, which is slightly better than (but still in line with) Friday and NOES. It appears that there may be a financial ceiling on remakes/reboots.

2) Make the film an event: The fervor surrounding the release of Halloween has dominated horror water cooler talk for nearly the entire year. Not only does the film celebrate the 40th anniversary of John Carpenter‘s original film, it brought back original actress Jamie Lee Curtis to the franchise for the first time in 20 years (still not counting Resurrection). The same argument can be applied to two other franchise entries: 1998’s Halloween: H20 (which played to many of the same strengths to the tune of $55M) and Freddy vs Jason (which capitalized on years of pent-up demand to see the icons face off and ultimately grossed $114M). Even Halloween 2007 was able to capitalize on the odd and unusual choice of Rob Zombie’s involvement to help garner extra attention.

Compare this with Friday and NOES, both of which had much more muted, anxious, and trepidatious reactions from fans. Neither franchise brought back key players such as Kane Hodder or Robert Englund and, in NOES’ case, actually irked Craven, which did not sit well with loyal fans.

3) Reviews matter: Although there are plenty of horror films that have performed admirably without the benefit of strong reviews, Halloween has been able to appeal to a broader audience thanks to its 80% Fresh rating on Rotten Tomatoes and sparkling endorsement from horror critics. The B+ Cinemascore also indicates that audiences who see the film are mostly liking what they see.

4) Reputation matters: One intriguing new development that was not in play when the Friday and NOES remakes were made is the power of Blumhouse. The production company has been around since 2000, but didn’t break out until 2009 with the release of Paranormal Activity. Since then Blumhouse has developed a reputation for producing good to great films on small budgets, which ensures high profitability. Their association with well-liked genre auteurs such as James Wan, Leigh Whannell, and Oscar winner Jordan Peele has generated audience goodwill and faith in the brand, which undoubtedly helped to sell Halloween as a reverent property that fans could trust to deliver the goods.

5) Be selective with the homages: One of the consistent complaints in nearly all of the reviews for both Friday 2009 and NOES 2010 is their slavish devotion to previous installments. This is especially apparent in A Nightmare on Elm Street, which lifted whole sequences from Craven’s original film and then failed to differentiate, modernize or improve upon them. Friday the13th‘s cheeky playfulness — incorporating elements of the first four films — likely would have been better received if they were spread out throughout the film, rather than starting the film with a series of false starts. Compare this with the (mostly) appreciative response to the Blumhouse Halloween‘s visual references to its predecessors, even those it has disavowed in its retconned timeline; several reviews applaud its efforts to pay homage without literally recreating the original set pieces.

6) Make it timely: This lesson is apt to be the most controversial. Halloween has generated a fair amount of press due to its political and cultural relevancy in the era of #MeToo. The film’s focus on female trauma, recovery and (to a certain extent) vengeance against a male oppressor has been a persistent theme in reviews, media interviews and think piece articles published in the wake of the film’s release. This has undoubtedly helped to raise the film’s profile and may have encouraged audiences who were uninterested in seeing the film to make an effort to support it. Attempting to anticipate trends years in advance can be dangerous and films run the risk of being out of touch, overly topical, appearing disingenuous or turning off potential audiences.

Whether future iterations of Friday The 13thand A Nightmare On Elm Street will heed these lessons is uncertain, but it is clear that horror audiences are less welcoming to remakes of their favourite franchises, particularly those that eschew the actors and creators that helped make the originals so memorable. Warner Bros and New Line would do well to consider their scripts, their release dates and keep Hodder, Englund, Heather Langenkamp, John Saxon, Kevin Bacon, and Victor Miller on speed dial before they pull the trigger on a new film.


What are your thoughts? Do any of the lessons stated above stand out as reasons why Halloween succeeded where Friday 2009 and NOES 2010 failed?

[Video] The Fresh Prince’s Long Lost “Nightmare on My Street” Music Video Has Been Found!

The quality is rough, but this right here is Halloween 2018’s coolest treat.

Earlier this week, never-before-seen images from the set of The Fresh Prince and DJ Jazzy Jeff’s music video for the unofficial Elm Street song “Nightmare on My Street” surfaced, which was super exciting given the video itself had, at that point in time, never been seen.

Long story short, the song was at one point going to be featured in A Nightmare on Elm Street 4: The Dream Master, but New Line ultimately ended up pulling the plug and filing a lawsuit that spelled death for the music video. Reportedly, the video was destroyed.

Or was it…?

Thanks to the magical powers of YouTube, the long lost 1988 video has been found. Running nearly six minutes long, the video was directed by Scott Kalvert, seen here for the first time.

Miracles do happen. Enjoy.

Heather Langenkamp Wants to Play Nancy in New ‘Nightmare on Elm Street’ Movie

The Nightmare on Elm Street franchise – and its iconic villain Freddy Krueger – have been on the minds of horror fans a lot lately, thanks to Robert Englund reprising his signature role for an episode of The Goldbergs, then hinting he might just have it in him to do another movie. Now, Freddy’s original […]

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The Slasher genre is resurrected in 2018! The Boogymen are back!

The Slasher genre is resurrected in 2018! The Boogymen are back!

Slasher films defined my generation. Back in the glorious days of the 80’s, we wee-little horror tikes were graciously weaned off the blood and mayhem splattering (oh so marvelously) across cinema screens. From sea to shining sea there was a flowing fountain of blood spilling over and flooding right before our little eyes. Our senses […]

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Original NIGHTMARE ON ELM STREET “Final Girl” Heather Langenkamp Wants to Make Another Freddy Movie

The tremendous critical and box office success of Blumhouse’s Halloween no doubt has studios across Hollywood itching for the opportunity to invent or reboot the next great slasher flick. Halloween fever is likely to fast-track other potential remakes, including the long-brewing Nightmare on Elm Street reboot (or, more accurately, a re-reboot). Robert Englund had previously stated he’d never return for another Freddy flick, but after reprising the Springwood Slasher on a recent episode of The Goldbergs, he seems open to the idea—and he’s not the only original Elm Street star willing to give the franchise one last spin.

Related Article: THE GOLDBERGS Creator on Englund’s Return as Freddy

Heather Langenkamp played “final girl” Nancy Thompson in the original Nightmare (1984) and reprised the role in 1987’s A Nightmare on Elm Street 3: Dream Warriors. Now, she’s telling Entertainment Weekly that she’d love one last opportunity to go toe-to-toe with Freddy Krueger.

“I’m sitting here like any other scream queen in Hollywood, hoping that they revive their franchise. I’m not alone! I know of lots of other horror heroines who have this little bit of spring in their step thinking about the chance of perhaps being in [new versions of] the movies that they helped make famous as young people. It’s kind of crazy, but it’s definitely something I would love to do.”

Of course, bringing Nancy back from the dead will take some creative scripting—unless she returns as a sort of Dream Angel sent to foil Freddy’s next slaughter. It’s all just conjecture at this point, so who’s to say? In any case, we’ll keep our ears to the ground in order to bring you all Nightmare on Elm Street-related news as details emerge. Stay tuned!

Would you like to see Heather Langenkamp play Nancy once more in a new Nightmare on Elm Street movie? Sound off in the comments below or on Facebook, Twitter, and/or Instagram!

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Heather Langenkamp Says She’d Love to Play Nancy Thompson One More Time in ‘Elm Street’ Revival

Given the smash hit success of Halloween, we wouldn’t be surprised to see other horror franchises revived with a similar “sequel to the original” approach, and it’s always possible that A Nightmare on Elm Street could be one of those franchises. Recently, Robert Englund teased that he may have one more left in him, and Heather Langenkamp now says the same!

Chatting with EW, Langenkamp expressed that she’d love to reprise the role.

I’m sitting here like any other scream queen in Hollywood, hoping that they revive their franchise,” Langenkamp told the site. “I’m not alone! I know of lots of other horror heroines who have this little bit of spring in their step thinking about the chance of perhaps being in [new versions of] the movies that they helped make famous as young people.”

It’s kind of crazy, but it’s definitely something I would love to do,” she added.

At this time, however, Langekamp made sure to note that nothing is in motion.

I haven’t [heard anything about a new film],” she says. “I certainly keep up with friends at New Line Cinema, and so I would expect if Warner Bros. or New Line Cinema — whoever — would put something like that together, I would imagine that I would know. So, the fact that I don’t know leads me to believe that it’s probably not in the works.”