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Pink Floyd – The Wall
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For the Pink Floyd album, see The Wall. For other works related to the Pink Floyd album, see Wall (disambiguation).
Pink Floyd – The Wall
Theatrical release poster
Directed by
Alan Parker
Gerald Scarfe
(animation)
Produced by
Alan Marshall
Screenplay by
Roger Waters
Based on
The Wall
by Pink Floyd
Starring
Bob Geldof
Music by
Pink Floyd
Bob Ezrin
Michael Kamen
Cinematography
Peter Biziou
Edited by
Gerry Hambling
Production
company
Metro-Goldwyn-Mayer
Distributed by
MGM/UA Entertainment Company
Release date
23 May 1982 (1982-05-23) (Cannes)
15 July 1982 (1982-07-15) (United Kingdom)
Running time
95 minutes[1]
Country
United Kingdom
Language
English
Budget
$12 million
Box office
$22.2 million[2]
Pink Floyd – The Wall is a 1982 British live-action/animated musical drama film directed by Alan Parker with animated segments by political cartoonist Gerald Scarfe, and is based on the 1979 Pink Floyd album of the same name. The film centers around a confined rocker named Pink, who, after being driven into insanity by the death of his father and many depressive moments during his lifetime, constructs a metaphorical (and sometimes physical) wall to be protected from the world and emotional situations around him. When this coping mechanism backfires he puts himself on trial and sets himself free. The screenplay was written by Pink Floyd vocalist and bassist Roger Waters.
Like its musical companion, the film is highly metaphorical and symbolic imagery and sound are present most commonly. However, the film is mostly driven by music, and does not feature much dialogue. Gerald Scarfe drew and animated 15 minutes of animated sequences, which appear at several points in the film. It was the seventh animated feature to be presented in Dolby Stereo. The film is best known for its disturbing surrealism, animated sequences, sexual situations, violence and gore. Despite its turbulent production and the creators voicing their discontent about the final product, the film has since fared well generally, and has established cult status.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Concept
3.2 Development
3.3 Filming
4 Release
4.1 Box office and critical reception
4.2 Themes and analysis
4.3 Home media
4.4 Awards
5 Documentary
6 Soundtrack
7 References
8 External links
Plot[edit]
Pink is a rock star, one of several reasons behind his apparent depressive and detached emotional state. He is first seen in an unkempt hotel room, motionless and expressionless, watching television while the Vera Lynn recording of "The Little Boy that Santa Claus Forgot" plays. It is later revealed that Pink's father, a British soldier, was killed in action while defending the Anzio bridgehead during World War II, in Pink's infancy.
In a flashback, Pink is a young English boy growing up in the early 1950s. Throughout his childhood, Pink longs for a father figure. He discovers a scroll from "kind old King George" and other relics from his father's military service and death, placing a bullet on the track of an oncoming train. At school, he is caught writing poems in class and humiliated by the teacher. To the tune of "Another Brick in the Wall (Part 2)", Pink imagines a surrealistically oppressive school system in which children fall into a meat grinder. The children then rise in rebellion and destroy the school, carrying the Teacher away to an unknown fate. Pink is also negatively affected by his overprotective mother. Such traumatic experiences are represented as "bricks" in the metaphorical wall he constructs around himself that divides him from society.
As an adult, Pink eventually marries, but he and his wife soon grow apart. While he is in the United States on tour, Pink learns that his wife is having an affair. He turns to a willing groupie, whom he brings back to his hotel room only to trash it in a fit of violence, terrifying the groupie out of the room.
Pink slowly begins to lose his mind to metaphorical "worms". He shaves all his body hair and, while watching The Dam Busters on television, morphs into a neo-Nazi alter-ego. Pink's manager, along with the hotel manager and some paramedics, discover Pink unresponsive and inject him with drugs to enable him to perform.
Pink fantasizes that he is a dictator and his concert is a neo-Nazi rally. His followers proceed to attack ethnic minorities, and Pink holds a rally in suburban London, singing "Waiting for the Worms". The scene is intercut with images of animated marching hammers that goose-step across ruins. Pink then stops hallucinating and screams "Stop!" He then takes refuge in the toilets at the concert venue, reciting poems.
In a climactic animated sequence, Pink, depicted as a small, almost inanimate rag doll, is on trial, and his sentence is "to be exposed before [his] peers." The judge gives the order to "tear down the wall". Following a prolonged silence, the wall is smashed.
Several children are seen cleaning up a pile of debris after an earlier riot, with a freeze-frame on one of the children emptying a Molotov cocktail.
Cast[edit]
Bob Geldof as Pink
Kevin McKeon as Young Pink
David Bingham as Little Pink
Christine Hargreaves as Pink's mother
Eleanor David as Pink's wife
Alex McAvoy as Teacher
Bob Hoskins as Rock-and-roll manager
Michael Ensign as Hotel manager
James Laurenson as Pink's father
Jenny Wright as American groupie
Margery Mason as Teacher's wife
Ellis Dale as English doctor
James Hazeldine as Lover
Ray Mort as Playground father
Robert Bridges as American doctor
Joanne Whalley, Nell Campbell, Emma Longfellow, and Lorna Barton as Groupies
Philip Davis and Gary Olsen as Roadies
Production[edit]
See also: The Wall
Concept[edit]
In the mid-1970s, as Pink Floyd gained mainstream fame, Waters began feeling increasingly alienated from their audiences:
Audiences at those vast concerts are there for an excitement which, I think, has to do with the love of success. When a band or a person becomes an idol, it can have to do with the success that that person manifests, not the quality of work he produces. You don't become a fanatic because somebody's work is good, you become a fanatic to be touched vicariously by their glamour and fame. Stars—film stars, rock 'n' roll stars—represent, in myth anyway, the life as we'd all like to live it. They seem at the very centre of life. And that's why audiences still spend large sums of money at concerts where they are a long, long way from the stage, where they are often very uncomfortable, and where the sound is often very bad.[3]
Waters was also dismayed by the "executive approach", which was only about success, not even attempting to get acquainted with the actual persons of whom the band was comprised (addressed in an earlier song from Wish You Were Here, "Have a Cigar"). The concept of the wall, along with the decision to name the lead character "Pink", partly grew out of that approach, combined with the issue of the growing alienation between the band and their fans.[4] This symbolised a new era for rock bands, as Pink Floyd "explored (... ) the hard realities of 'being where we are'", drawing upon existentialists, namely Jean-Paul Sartre.[5]
Development[edit]
The iconic "marching hammers"
Even before the original Pink Floyd album was recorded, a film was intended to be made from it.[6] However, the concept of the film was intended to be live footage from the album's tour, with Scarfe's animation and extra scenes.[7] The film was going to star Waters himself.[7] EMI did not intend to make the film, as they did not understand the concept.[8]
Director Alan Parker, a Pink Floyd fan, asked EMI whether The Wall could be adapted to film. EMI suggested that Parker talk to Waters, who had asked Parker to direct the film. Parker instead suggested that he produce it and give the directing task to Gerald Scarfe and Michael Seresin, a cinematographer.[9] Waters began work on the film's screenplay after studying scriptwriting books. He and Scarfe produced a special-edition book containing the screenplay and art to pitch the project to investors. While the book depicted Waters in the role of Pink, after screen tests, he was removed from the starring role[10] and replaced with punk musician and frontman of the Boomtown Rats, Bob Geldof.[7] In Behind the Wall, both Waters and Geldof later admitted to a story during casting where Geldof and his manager took a taxi to an airport, and Geldof's manager pitched the role to the singer, who continued to reject the offer and express his contempt for the project throughout the fare, unaware that the taxi driver was Waters' brother, who promptly proceeded to tell Waters about Geldof's opinion.
Since Waters was no longer in the starring role, it no longer made sense for the feature to include Pink Floyd footage, so the live film aspect was dropped.[11] The footage culled from the five Wall concerts at Earl's Court from 13–17 June 1981 that were held specifically for filming was deemed unusable also for technical reasons as the fast Panavision lenses needed for the low light levels turned out to have insufficient resolution for the movie screen. Complex parts such as "Hey You" still had not been properly shot by the end of the live shows.[12] Parker also managed to convince Waters and Scarfe that the concert footage was too theatrical and that it would jar with the animation and stage live action. After the concert footage was dropped, Seresin left the project and Parker became the only director connected to The Wall.[13]
Filming[edit]
One of the masks worn by children in the classroom scenes; displayed at the Pink Floyd: Their Mortal Remains exhibition
Parker, Waters and Scarfe frequently clashed with each other during production, to the point where the director described the filming as "one of the most miserable experiences of my creative life."[14] Scarfe declared that he would drive to Pinewood Studios carrying a bottle of Jack Daniel's, because "I had to have a slug before I went in the morning, because I knew what was coming up, and I knew I had to fortify myself in some way."[15]
During production, while filming the destruction of a hotel room, Geldof suffered a cut to his hand as he pulled away the Venetian blinds. The footage remains in the film. Also, it was discovered while filming the pool scenes that Geldof did not know how to swim. Interiors were shot at Pinewood Studios, and it was suggested that they suspend Geldof in Christopher Reeve's clear cast used for the Superman flying sequences, but his frame was too small by comparison; it was then decided to make a smaller rig that was a more acceptable fit, and he simply lay on his back.[16]
The war scenes were shot on Saunton Sands in North Devon, which was also featured on the cover of Pink Floyd's A Momentary Lapse of Reason six years later.[17]
Release[edit]
The film was shown "out of competition" during the 1982 Cannes Film Festival.[18]
The premiere at Cannes was amazing – the midnight screening. They took down two truckloads of audio equipment from the recording studios so it would sound better than normal. It was one of the last films to be shown in the old Palais which was pretty run down and the sound was so loud it peeled the paint off the walls. It was like snow – it all started to shower down and everyone had dandruff at the end. I remember seeing Terry Semel there, who at the time was head of Warner Bros., sitting next to Steven Spielberg. They were only five rows ahead of me and I'm sure I saw Steven Spielberg mouthing to him at the end when the lights came up, 'what the fuck was that?' And Semel turned to me and then bowed respectfully. 'What the fuck was that?,' indeed. It was like nothing anyone had ever seen before – a weird fusion of live-action, story-telling and of the surreal.
Alan Parker[19]
The film's official premiere was at the Empire, Leicester Square[20] in London, on 14 July 1982. It was attended by Waters and fellow Pink Floyd members David Gilmour and Nick Mason, but not Richard Wright,[20] who was no longer a member of the band. It was also attended by various celebrities including Geldof, Scarfe, Paula Yates, Pete Townshend, Sting, Roger Taylor, James Hunt, Lulu and Andy Summers.[21]
Box office and critical reception[edit]
So it's difficult, painful and despairing, and its three most important artists came away from it with bad feelings. Why would anybody want to see it? Perhaps because filming this material could not possibly have been a happy experience for anyone—not if it's taken seriously.
Roger Ebert[22]
The film opened with a limited release on 6 August 1982 and entered at No. 28 of the US box office charts despite only playing in one theatre on its first weekend, grossing over $68,000, a rare feat even by today's standards. The film then spent just over a month below the top 20 while still in the top 30. The film later expanded to over 600 theatres on 10 September, achieving No. 3 at the box office charts, below E.T. the Extra-Terrestrial, and An Officer and a Gentleman. The film eventually earned $22 million before closing in early 1983.[2]
The film received generally positive reviews. Reviewing The Wall on their television programme At the Movies in 1982, film critics Roger Ebert and Gene Siskel gave the film "two thumbs up". Ebert described The Wall as "a stunning vision of self-destruction" and "one of the most horrifying musicals of all time ... but the movie is effective. The music is strong and true, the images are like sledge hammers, and for once, the rock and roll hero isn't just a spoiled narcissist, but a real, suffering image of all the despair of this nuclear age. This is a real good movie." Siskel was more reserved in his judgement, stating that he felt that the film's imagery was too repetitive. However, he admitted that the "central image" of the fascist rally sequence "will stay with me for an awful long time." In February 2010, Roger Ebert added The Wall to his list of "Great Movies," describing the film as "without question the best of all serious fiction films devoted to rock. Seeing it now in more timid times, it looks more daring than it did in 1982, when I saw it at Cannes ... It's disquieting and depressing and very good."[22]
It was chosen for the opening night of Ebertfest 2010. Rotten Tomatoes currently ranks the film with a critics' review rating of 70% (based on 20 reviews). Danny Peary wrote that the "picture is unrelentingly downbeat and at times repulsive ... but I don't find it unwatchable – which is more than I could say if Ken Russell had directed this. The cinematography by Peter Biziou is extremely impressive and a few of the individual scenes have undeniable power."[23] Waters has expressed deep reservations about the film, saying that the filming had been "a very unnerving and unpleasant experience ... we all fell out in a big way." As for the film itself, he said: "I found it was so unremitting in its onslaught upon the senses, that it didn't give me, anyway, as an audience, a chance to get involved with it," although he had nothing but praise for Geldof's performance.[24] David Gilmour stated (on the "In the Studio with Redbeard" episodes of The Wall, A Momentary Lapse of Reason and On an Island) that the conflict between him and Waters started with the making of the film. Gilmour also stated on the documentary Behind The Wall (which was aired on the BBC in the UK and VH1 in the US) that "the movie was the less successful telling of The Wall story as opposed to the album and concert versions." Although the symbol of the crossed hammers used in the film and not related to any real racist group, it was adopted by white supremacist group the Hammerskins in the late 1980s.[25] It earned its creators two British Academy Awards; 'Best Sound' for James Guthrie, Eddy Joseph, Clive Winter, Graham Hartstone & Nicholas Le Messurier;[26] and 'Best Original Song' for Waters.[26]
Themes and analysis[edit]
It has been suggested that the protagonist stands in some way for Waters. Beyond the obvious parallel of them both being rock stars, Waters lost his father while he was an infant and had marital problems, divorcing several times.[27]
Romelo and Cabo place the Nazism and imperialism related symbols in the context of Margaret Thatcher's government and British foreign policy especially concerning the Falklands issue.[28]
Home media[edit]
Pink Floyd – The Wall was released on VHS in 1983 (MV400268), 1989 (M400268), 1994 (M204694) by MGM/UA Home Entertainment, and 1999 (CV50198) by Columbia Music Video.
The DVD was released in 1999 (UPC: 074645019895) and 2005 (UPC: 074645816395) by Columbia Music Video.
Awards[edit]
List of awards
Award
Category
Recipient(s)
Result
BAFTA Film Award Best Original Song Roger Waters For the song "Another Brick in the Wall" Won
BAFTA Film Award Best Sound James Guthrie
Eddy Joseph
Clive Winter
Graham V. Hartstone
Nicolas Le Messurier Won
Saturn Award Best Poster Art Gerald Scarfe Nominated
Documentary[edit]
A documentary was produced about the making of Pink Floyd – The Wall entitled The Other Side of the Wall that includes interviews with Parker, Scarfe, and clips of Waters, originally aired on MTV in 1982. A second documentary about the film was produced in 1999 entitled Retrospective that includes interviews with Waters, Parker, Scarfe, and other members of the film's production team. Both are featured on The Wall DVD as extras.
Soundtrack[edit]
Pink Floyd - The Wall
Soundtrack album by Pink Floyd
Released
Unreleased
Recorded
1981–1982
Genre
Progressive rock
Pink Floyd soundtracks chronology
Obscured by Clouds
(1972)Obscured by Clouds1972 Pink Floyd - The Wall
(1982) La Carrera Panamericana
(1992)La Carrera Panamericana1992
Singles from Pink Floyd - The Wall
"When the Tigers Broke Free"
Released: 26 July 1982
Song changes from album:
Track
Changes
"When the Tigers Broke Free" 1 New song, edited into two sections strictly for the film, but later released as one continuous song.[29] The song was released as a single in 1982 and was later included on the 2001 compilation Echoes: The Best of Pink Floyd and on the 2004 re-release of The Final Cut.
"In the Flesh?" Extended/re-mixed/lead vocal re-recorded by Geldof.[29]
"The Thin Ice" Extended/re-mixed[29] with additional piano overdub in second verse, baby sounds removed.
"Another Brick in the Wall, Part 1" Extra bass parts, which were muted on the album mix, can be heard.
"When the Tigers Broke Free" 2 New song.[29]
"Goodbye Blue Sky" Re-mixed.[29]
"The Happiest Days of Our Lives" Re-mixed. Helicopter sounds dropped, teacher's lines re-recorded by Alex McAvoy.[29]
"Another Brick in the Wall, Part 2" Re-mixed[29] with extra lead guitar, children's chorus part edited and shortened, teacher's lines re-recorded by McAvoy and interspersed within children's chorus portion.
"Mother" Re-recorded completely with exception of guitar solo and its backing track. The lyric "Is it just a waste of time?" is replaced with "Mother, am I really dying?", which is what appeared on the original LP lyric sheet.[29]
"What Shall We Do Now?" A full-length song which begins with the music of, and a similar lyric to "Empty Spaces". This was intended to be on the original album, and in fact appears on the original LP lyric sheet. At the last minute, it was dropped in favour of the shorter "Empty Spaces" (which was originally intended as a reprise of "What Shall We Do Now"). A live version is on the album Is There Anybody Out There? The Wall Live 1980–81.[29]
"Young Lust" Screams added and phone call part removed. The phone call part was moved to the beginning of "What Shall We Do Now?"
"One of My Turns" Re-mixed. Groupie's lines re-recorded by Jenny Wright.
"Don't Leave Me Now" Shortened and remixed.
"Another Brick in the Wall, Part 3" Re-recorded completely[29] with a slightly faster tempo.
"Goodbye Cruel World" Unchanged.
"Is There Anybody Out There?" Classical guitar re-recorded, this time played with a leather pick by guitarist Tim Renwick[30], as opposed to the album version, which was played finger-style by Joe DiBlasi.
"Nobody Home" Musically unchanged, but with different clips from the TV set.
"Vera" Unchanged.
"Bring the Boys Back Home" Re-recorded completely with brass band and Welsh male vocal choir extended and without Waters' lead vocals.[20]
"Comfortably Numb" Re-mixed with Geldof's scream added. Bass line partially different from album.
"In the Flesh" Re-recorded completely with brass band and Geldof on lead vocals.[29]
"Run Like Hell" Re-mixed and shortened.
"Waiting for the Worms" Shortened but with extended coda.
"5:11 AM (The Moment of Clarity)" Geldof unaccompanied on lead vocals. The song is taken from The Pros and Cons of Hitch Hiking, a concept album Waters wrote simultaneously with The Wall, and later recorded solo. Geldof sings the lyrics to the melody of "Your Possible Pasts", a song intended for The Wall that later appeared on The Final Cut.
"Stop" Re-recorded completely[29] with Geldof unaccompanied on lead vocals. (The audio in the background of this scene is from Gary Yudman's introduction from The Wall Live at Earl's Court.)
"The Trial" Re-mixed.
"Outside the Wall" Re-recorded completely[29] with brass band and Welsh male voice choir. Extended with a musical passage similar to "Southampton Dock" from The Final Cut.[31][32]
The only songs from the album not used in the film are "Hey You" and "The Show Must Go On". "Hey You" was deleted as Waters and Parker felt the footage was too repetitive (eighty percent of the footage appears in montage sequences elsewhere)[14] but available to view as a bonus feature on the DVD release under the name "Reel 13".[33]
A soundtrack album from Columbia Records was listed in the film's end credits, but only a single containing "When the Tigers Broke Free" and the rerecorded "Bring the Boys Back Home" was released. "When the Tigers Broke Free" later became a bonus track on the band's 1983 album The Final Cut, an album Waters intended as an extension to The Wall. Guitarist David Gilmour, however, dismissed the album as a collection of songs that had been rejected for The Wall project, but were being recycled. The song, in the edit used for the single, also appears on the 2001 compilation album Echoes: The Best of Pink Floyd.
Chart positions
Year
Chart
Position
2005 Australian ARIA DVD Chart #10
References[edit]
Jump up ^ "PINK FLOYD - THE WALL (AA)". British Board of Film Classification. 23 June 1982. Retrieved 16 August 2015.
^ Jump up to: a b Box Office Information for Pink Floyd – The Wall. Box Office Mojo. Retrieved 1 January 2014.
Jump up ^ Curtis, James M. (1987). Rock Eras: Interpretations of Music and Society, 1954–1984. Popular Press. p. 283. ISBN 0-87972-369-6.
Jump up ^ Reisch, George A. (2007). Pink Floyd and Philosophy: Careful With That Axiom, Eugene!. Open Court Publishing Company. pp. 76–77. ISBN 0-8126-9636-0. Retrieved 10 July 2013.
Jump up ^ Reisch, George A. (2009). Radiohead and philosophy. Open Court Publishing Company. p. 60. ISBN 0-8126-9700-6. Retrieved 10 July 2013.
Jump up ^ Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. p. 225.
^ Jump up to: a b c J.C. Maçek III (5 September 2012). "The Cinematic Experience of Roger Waters' 'The Wall Live'". PopMatters.
Jump up ^ Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. p. 244.
Jump up ^ Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. pp. 244–245.
Jump up ^ Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. pp. 245–246.
Jump up ^ Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. p. 246.
Jump up ^ Pink Floyd's The Wall, page 83
Jump up ^ Pink Floyd's The Wall, page 105
^ Jump up to: a b Pink Floyd's The Wall, page 118
Jump up ^ "Interview: Gerald Scarfe". Floydian Slip. November 5–7, 2010. Retrieved June 22, 2016.
Jump up ^ Geldof, Bob. Is That It?. Weidenfeld & Nicolson.
Jump up ^ Storm Thorgerson and Peter Curzon. Mind Over Matter: The Images of Pink Floyd. page 102. ISBN 1-86074-206-8.
Jump up ^ "Festival de Cannes – From 16 to 27 may 2012". Festival-cannes.com. Retrieved 7 January 2012.
Jump up ^ Scarfe, Gerald. The Making of Pink Floyd: The Wall. Da Capo Press. p. 216.
^ Jump up to: a b c Mabbett, Andy (2010). Pink Floyd – The Music and the Mystery. London: Omnibus,. ISBN 978-1-84938-370-7.
Jump up ^ Miles, Barry; Andy Mabbett (1994). Pink Floyd the visual documentary ([Updated ed.] ed.). London :: Omnibus,. ISBN 0-7119-4109-2.
^ Jump up to: a b "Pink Floyd: The Wall (1982)". Chicago Sun-Times.
Jump up ^ Danny Peary, Guide for the Film Fanatic (Simon & Schuster, 1986) p.331
Jump up ^ Pink Floyd's The Wall, page 129
Jump up ^ "The Hammerskin Nation". Extremism in America. Anti-Defamation League. 2005. Retrieved 8 September 2011.
^ Jump up to: a b "Past Winners and Nominees – Film – Awards". BAFTA. Retrieved 26 December 2010.
Jump up ^ "Roger Waters: Another crack in the wall | The Sunday Times". www.thesundaytimes.co.uk. Retrieved 2015-12-25.
Jump up ^ "Roger Waters' Poetry of the Absent Father: British Identity in Pink Floyd's "The Wall" on JSTOR". JSTOR 41055246. Missing or empty |url= (help)
^ Jump up to: a b c d e f g h i j k l m Bench, Jeff (2004). Pink Floyd's The Wall. Richmond, Surrey, UK: Reynolds and Hearn,. pp. 107–110p. ISBN 1-903111-82-X.
Jump up ^ Marty Yawnick (June 28, 2016). "Is There Anybody Out There? - Hear David Gilmour's version". The Wall Complete. Retrieved 2017-07-05.
Jump up ^ Pink Floyd: The Wall (1980 Pink Floyd Music Publishers Ltd., London, England, ISBN 0-7119-1031-6 [USA ISBN 0-8256-1076-1])
Jump up ^ Pink Floyd: The Final Cut (1983 Pink Floyd Music Publishers Ltd., London, England.)
Jump up ^ Pink Floyd's The Wall, page 128
External links[edit]
Pink Floyd portal
1980s portal
Wikiquote has quotations related to: Pink Floyd – The Wall
Pink Floyd – The Wall on IMDb
Pink Floyd – The Wall at Box Office Mojo
Pink Floyd – The Wall at Rotten Tomatoes
A Complete Analysis of Pink Floyd – The Wall by Bret Urick
Original screenplay by Roger Waters
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The Wall
Songs
Side one
"In the Flesh?"
"The Thin Ice"
"Another Brick in the Wall (Part 1)"
"The Happiest Days of Our Lives"
"Another Brick in the Wall (Part 2)"
"Mother"
Side two
"Goodbye Blue Sky"
"Empty Spaces"
"Young Lust"
"One of My Turns"
"Don't Leave Me Now"
"Another Brick in the Wall (Part 3)"
"Goodbye Cruel World"
Side three
"Hey You"
"Is There Anybody Out There?"
"Nobody Home"
"Vera"
"Bring the Boys Back Home"
"Comfortably Numb"
Side four
"The Show Must Go On"
"In the Flesh"
"Run Like Hell"
"Waiting for the Worms"
"Stop"
"The Trial"
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It (miniseries)
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It
Promotional artwork
Genre
Horror
drama
Based on
It
by Stephen King
Written by
Lawrence D. Cohen
Tommy Lee Wallace
Directed by
Tommy Lee Wallace
Starring
Harry Anderson
Dennis Christopher
Richard Masur
Annette O'Toole
Tim Reid
John Ritter
Richard Thomas
Tim Curry
Narrated by
Tim Reid
Theme music composer
Richard Bellis
Country of origin
United States
Original language(s)
English
No. of episodes
2
Production
Producer(s)
Mark Basino
Allen S. Epstein
Jim Green
Cinematography
Richard Leiterman
Editor(s)
David Blangsted
Robert F. Shugrue
Running time
192 minutes (original version)[1]
187 minutes (DVD/Blu-ray version)
193 minutes (2002 DVD/Blu-ray version)
Production company(s)
Lorimar Productions
DawnField Entertainment
The Konigsberg & Sanitsky Company
Greeb & Epstein Productions
Distributor
Warner Bros. Television
Release
Original network
ABC
Original release
November 18 – November 20, 1990
It (also known as Stephen King’s It) is a 1990 American supernatural horror drama miniseries directed by Tommy Lee Wallace and adapted by Lawrence D. Cohen from the Stephen King novel of the same name. It is the first of two adaptations of the novel; the second being the 2017 film adaptation and its upcoming 2019 sequel.
The story revolves around a predatory shapeshifter which has the ability to transform itself into its prey's worst fears, allowing it to exploit the phobias of its victims. It mostly takes the form of a sadistic, wisecracking clown called Pennywise. The protagonists are The Lucky Seven, or The Losers Club, a group of outcast kids who discover Pennywise and vow to destroy him by any means necessary. The series takes place over two different time periods, the first when the Losers first confront Pennywise as children in 1960, and the second when they return as adults in 1990 to defeat him a second time after he resurfaces.
It features an ensemble cast, starring Richard Thomas, John Ritter, Annette O'Toole, Harry Anderson, Dennis Christopher, Tim Reid and Richard Masur as the seven members of the Losers Club, and Tim Curry as Pennywise. The child counterparts of the Losers that appear in part one are played by Jonathan Brandis, Seth Green, Emily Perkins, Brandon Crane, Adam Faraizl, Marlon Taylor and Ben Heller. Michael Cole, Jarred Blancard, Gabe Khouth, Chris Eastman, Olivia Hussey, Frank C. Turner, Tony Dakota, Ryan Michael, Tom Heaton and Chelan Simmons also play supporting roles.
Originally conceived as a four-part eight-hour series, ABC enlisted writer Lawrence D. Cohen to adapt the 1,138-page King novel. Cohen's script condensed the source work into a two-part, three-hour mini-series that retained the core elements of the novel, but Cohen was forced to abandon numerous subplots by virtue of the novel's length and the network's time-slot restrictions. Production on It began in early 1990, and the series was filmed over a period of three months in New Westminster, British Columbia in mid-1990.
It aired on ABC over two nights on November 18 and 20, 1990, attracting 30 million viewers in its premiere. Critics praised Tim Curry's performance as Pennywise. For his work on the miniseries, Richard Bellis received a Primetime Emmy Award for Outstanding Achievement in Music Composition for a mini-series or a Special (Dramatic Underscore).
Contents
[hide]
1 Plot
2 Cast
2.1 The Losers Club
2.2 Forms of It
2.3 The Bowers Gang
2.4 The Losers Club relatives
2.5 Derry townspeople
3 Production
3.1 Development
3.2 Casting
3.3 Filming
3.4 Special effects
4 Broadcast history
5 Reception
6 Home media
7 Musical score
7.1 Track listing
8 References
9 Works cited
10 External links
Plot[edit]
In Derry, Maine, in 1960, Bill Denbrough gives his younger brother Georgie a paper sailboat to take out onto the street to sail in the gutter. Georgie is unable to stop the boat from sailing down the storm drain, but encounters a strange clown in the drain who introduces himself as Pennywise. Pennywise then entices Georgie to reach into the drain to retrieve his boat, killing the boy by ripping his arm off offscreen. Months later, during the spring semester at their school, Bill befriends the overweight new kid Ben Hanscom. He introduces Ben to asthmatic Eddie Kaspbrak who lives with his overbearing mother, Beverly Marsh who lives with her abusive father who is also the school janitor, wise-cracking Richie Tozier, and Jewish Boy Scout, Stanley Uris. Besides being tormented by a gang of local bullies led by Henry Bowers, the group each experiences disturbing encounters with Pennywise. During one afternoon when he was going to practice his band instrument for the town parade, Bill and his friends encounter Mike Hanlon being pursued by Henry's gang. They chase the bullies off with rocks and befriend Mike, with Henry vowing to kill them all. The group, calling themselves "The Losers Club", come to realize that they are each being terrorized by the same entity. While looking through Mike's history scrapbook, they deduce Pennywise is a monster that surfaces every 30 years in Derry to feed on the town's children before returning to hibernation again. They also deduce that the creature, which they dub "It" since it is not human and has no gender, assumes the appearance of what they fear. Suddenly the book starts flipping pages by itself and the pictures start to move with Pennywise doing a cartwheel. He then climbs a lamppost threatening to “kill them all” and reaches through the book in attempt to grab one of the Losers. They throw the book on the ground and it returns to normal.
After discovering that It killed his brother, Bill leads the Losers into the sewers under Derry to kill It. They are followed by Henry and his friends, Victor Criss and Belch Huggins, who are intent on killing them. It kills Victor, who had separated to set an ambush on the Losers, and Belch, who helps Henry separate Stan from the others, sparing a horrified Henry while chasing Stan as he regroups with the Losers. Pennywise grabs Stan, only for the Losers to use It's ability to access their imaginations against him; Eddie imagines his inhaler is full of battery acid and uses it to melt the clown's face while Beverly uses a slingshot and a silver projectile, which the Losers imagine will kill It, to smash a hole in the clown's head. Pennywise evades the second projectile and escapes down a drain, seemingly dying. Bill makes the others promise to return and kill It should the creature ever come back. Henry, his hair whitened from fright and driven insane from seeing It's "Deadlights", later emerges from the sewers and is institutionalized when he takes credit for murdering his friends, as well as It's previous victims.
In 1990, Mike, now the town librarian, is investigating a string of missing children and killings and arrives at the crime scene of a murdered girl named Laurie Anne Winterbarger. Finding Georgie's picture and convinced that It is back, Mike proceeds to contact the others to fulfill their vow. Bill has become a bestselling horror novelist married to British actress Audra Phillips, Ben is an architect who has lost weight due to joining his high school track team, Beverly is a fashion designer abused by her husband Tom Rogan, Richie is a late night television comedian, Eddie runs a limousine service but still lives with his mother, and Stan is a married real estate broker. Prior to Mike's phone calls, the other Losers had completely forgotten each other along with their childhood traumas and memories of It. While the other five reluctantly agree to come, a fear-stricken Stan slits his wrists in his bathtub and writes "IT" on the wall in his own blood.
The remaining six find themselves harassed by Pennywise once reaching Derry. They eventually meet at dinner, learning of Stan's suicide shortly after Mike calls his wife. Two other people also converge on the town: an older Henry, whom Pennywise frees to help him kill the Losers, and a worried Audra who ends up being abducted by It while exposed to the creature's Deadlights. Mike is hospitalized by Henry, who in turn is killed by his own knife during a scuffle with the other Losers. After Mike gives Bill the two pieces of silver he retrieved from the sewers, the five remaining Losers decide to destroy It for good. They descend into the sewers once again, with Pennywise appearing to them one last time relaying the message that they will never see It, just what their “little minds” can comprehend. Bill learns Audra is being held while overcoming It's attempt to induce further guilt. The Losers eventually reach It's inner sanctum, finding both a catatonic Audra and It's true form as a giant spider. Bill, Ben and Richie nearly get lost in It's Deadlights and Eddie is killed attempting to save his friends. Beverly mortally wounds It with her slingshot, and as It limps away the surviving Losers pursue and knock the creature down and rip its heart out, finally killing It. They remove the comatose Audra and Eddie's body from the sewers.
The Losers go their separate ways and move on with their lives as their memories of It fade away. A recovered Mike also has his memories begin to fade as he considers starting a new life elsewhere. Richie is cast in a film with an actor resembling Eddie, while Beverly and Ben are finally married and expect their first child. Bill is the last to leave Derry, using his last hour in town to coax Audra out of her catatonia by giving her a ride down the street on his childhood bicycle, Silver, which he had once used as a child to escape from It, and Audra finally recovers. The film ends with Bill and Audra kissing as a crowd looks on over the sound of Pennywise’s maniacal laugh.
Cast[edit]
The principal cast of It: From top left to top right, Tim Curry, Richard Thomas, Harry Anderson, and Dennis Christopher. From bottom left to bottom right, Tim Reid, John Ritter, Richard Masur and Jonathan Brandis.
The Losers Club[edit]
Richard Thomas as Bill Denbrough
Jonathan Brandis as Young Bill Denbrough
John Ritter as Ben Hanscom
Brandon Crane as Young Ben Hanscom
Annette O'Toole as Beverly Marsh
Emily Perkins as Young Beverly Marsh
Harry Anderson as Richie Tozier
Seth Green as Young Richie Tozier
Dennis Christopher as Eddie Kaspbrak
Adam Faraizl as Young Eddie Kaspbrak
Tim Reid as Mike Hanlon
Marlon Taylor as Young Mike Hanlon
Richard Masur as Stanley Uris
Ben Heller as Young Stanley Uris
Forms of It[edit]
Tim Curry as Pennywise the Dancing Clown
Steve Makaj as Captain Hanscom
Florence Paterson as Mrs. Kersh
The Bowers Gang[edit]
Michael Cole as Henry Bowers
Jarred Blancard as Young Henry Bowers
Gabe Khouth as Victor Criss
Chris Eastman as Belch Huggins
The Losers Club relatives[edit]
Olivia Hussey as Audra Phillips/Denbrough
Frank C. Turner as Alvin "Al" Marsh
Tony Dakota as George "Georgie" Denbrough
Steven Hilton as Zack Denbrough
Sheelah Megill as Sharon Denbrough
Ryan Michael as Tom Rogan
Caitlin Hicks as Patti Uris
Susan Astley as Aunt Jean
Claire Vardiel as Arlene Hanscom
Sheila Moore as Ms. Sonya Kaspbrak
Derry townspeople[edit]
Terence Kelly as Officer Nell
Jay Brazeau as Derry Cab Driver
Donna Peerless as Miss Douglas
Merrilyn Gann as Mrs. Winterbarger
Chelan Simmons as Laurie Anne Winterbarger
William B. Davis as Mr. Gedreau
Laura Harris as Loni
Garry Chalk as Coach
Kim Kondrashoff as Joey
Helena Yea as Rose
Venus Terzo as Cyndi
Charles Siegel as Nat
Noel Geer as Bradley
Amos Hertzman as "Chubby Kid"
Megan Leitch as Library aide
Boyd Norman as Gas station attendant
Suzie Payne as Female cabbie
Scott Swanson as Rademacher
Nicola Cavendish as Desk clerk
Tom Heaton as Mr. Keene
Paul Batten as Pharmacist
Russell Roberts as Greco
Bill Croft as Koontz
Deva Neil DePodesta as Bum
Katherine Banwell as Television announcer
Douglas Newell as Doctor
Gary Hetherington as Police deputy
Production[edit]
Development[edit]
George A. Romero initially planned to direct It, but left due to scheduling problems.
ABC had acquired the rights to a television mini-series of It, for what would be the first made-for-television film based on a Stephen King work since Salem's Lot (1979), directed by Tobe Hooper.[2] Lawrence D. Cohen, who had previously written the film adaptation of Carrie in 1976, was hired to write It.[2] According to both Stephen King and Cohen, King had little to no involvement in the writing of the miniseries.[2] George A. Romero had originally been signed on to direct the project, which at the time ABC had planned for an eight-to-ten-hour series that would run over four two-hour blocks.[2] Romero left the project due to scheduling conflicts, after which ABC condensed it to a three-part series. Shortly after, Tommy Lee Wallace was brought in to direct. After Wallace signed on to the project, ABC had ultimately decided to condense the series to two parts.[2]
According to writer Cohen: "Speaking candidly, ABC was always nervous about It, primarily the fact that it was in the horror genre, but also the eight-to-ten hour commitment. They loved the piece, but lost their nerve in terms of how many hours they were willing to commit. Eventually, they agreed to a two-night, four-hour commitment."[2] Given the length of the King novel, which runs 1,138 pages,[3] a great deal of material was left out of Cohen's adaptation, including subplots concerning the personal lives of the adult characters, one of which had the main male characters each losing their virginity to Beverly.[2][4] "I can’t even begin to enumerate my favorite scenes from the book that we had to cut, because there are so many of them," Cohen reflected. "I look at it as a glass half full situation. There are scenes in both nights that were created by Steve [King] on the page, and I'm delighted that they survived, like the fortune cookie scene and adult Beverly going to her childhood house. The way I see it, the best moments from the book made the cut and the rest are casualties of war."[2]
However, Wallace and Cohen retained the centrality of Pennywise in the source novel; as noted by film scholar Tony Magistrale in Hollywood's Stephen King, the miniseries retains the "association between the adult world of Derry and It [which] is further established in the masterful choice of a carnival clown as a unifying symbol for the various creatures representing the monster."[5]
Casting[edit]
Malcolm McDowell (left) and Roddy McDowall (right) were initial choices for the role of Pennywise before Tim Curry was cast.
The majority of the adult actors in the film, including John Ritter, Dennis Christopher, Tim Reid and Harry Anderson, were hand-chosen by Wallace and Cohen for their roles.[2] Annette O'Toole was cast in the film at the suggestion of Ritter, with whom she had recently shot The Dreamer of Oz: The L. Frank Baum Story (1990): "I think [John] may have talked to somebody, because I got an offer [to play Beverly]," O'Toole recalled. "It happened really fast; I don’t think I even went in for a reading. I was living in Oregon at the time, and the next thing I knew, I was in Vancouver hanging out with the coolest, most fun guys of all time."[2]
Emily Perkins and Marlon Taylor, who played the young Beverly Marsh and Mike Hanlon, were cast out of Vancouver, while Seth Green and Jonathan Brandis were cast out of Los Angeles for the parts of young Richie and Bill.[2]
According to Cohen, he had written the script for the series without a specific actor in mind for the role of Pennywise.[2] According to director Tommy Lee Wallace, before he was attached to the project, Malcolm McDowell and Roddy McDowall were in consideration to play Pennywise, but Wallace wanted Tim Curry for the role; Wallace had previously worked with the latter in Fright Night Part 2 (1988).[2]
Filming[edit]
It was shot over a period of three months in Vancouver, British Columbia, Canada on a budget of $12 million.[6] Given that the shooting entailed an adult cast with child counterparts, Wallace sought to have the adult actors meet with the children playing the younger versions of their characters: "We made a point of bringing the adult and children actors together for a couple of days, even though it was costly, since the adults and the kids have no scenes together."[2] Filming locations in Vancouver included Stanley Park, Beaver Lake and Saint Thomas Aquinas High School Convent in North Vancouver.[7] Wallace told The Hollywood Reporter that his job as a director "was to give Tim the stage and not get in his way too much. He was like Robin Williams in the way he brought a spontaneous improvisation to the part." Curry gave Pennywise a Bronx accent in order to sound like "an old-time Catskills comic". "I just let it happen," Curry said. "Clowns are your worst fear realized. I think I scared a lot of children."[8]
Special effects[edit]
The appearance of Pennywise was based on Lon Chaney in Phantom of the Opera (1925).[2]
Original storyboards for Pennywise featured exaggerated cheekbones, a sharp chin, and bulbous forehead. According to director Wallace, "Tim [Curry] objected strongly to all the rubber. He had recently been in several movies which covered him in prosthetics and I’m sure he felt all the glue and latex would just get in his way. He was right, of course. With those eyes, and that mouth, and his crazy, sardonic sense of humor, less turned out to be more in the makeup department."[2]
Special effects coordinator Bart Mixon began working on a head cast for the Pennywise character after Curry was cast in the role; he also designed three clay molds for testing. According to Mixon, he based the shape of Pennywise's head on Lon Chaney in The Phantom of the Opera (1925), "stylized into a clown."[2] Three different versions of the clown's face were created, one of which resembled a hobo clown, another that was "a little meaner," and the final one seen in the series.[2] To achieve the white complexion, Curry wore prosthetic make-up cream to make him appear "almost like a living cartoon."[2]
The majority of the special effects in the film were done practically without digital alteration, aside from the shower scene in which Pennywise comes out of the drain; this scene was done with replacement animation, an animation technique similar to stop motion animation.[2]
The spider figure in the conclusion of the series was hand-constructed by Mixon and his art department team. Wallace recalled of the spider:
We labored long and hard designing a spider that was very beefy and muscular, almost reptilian in appearance. It looked great in the drawings, and I even recall a little clay model Bart did, which sealed the deal and won my enthusiastic approval. Bart and team went back to Hollywood to work the whole thing up full-size, and shooting started. When the SVFX team returned to Vancouver and unpacked the full-size spider, what I expected to see was the big version of that original model, the beefy, reptilian thing that was scary on sight. What they assembled on set was very, very different. Not chunky at all, very lean and mean."[2]
Broadcast history[edit]
It originally aired on ABC in 1990 on the nights of November 18[9] and November 20.[10] Part 1 was the fifth highest rated program of the week with an 18.5/29 rating/share, and being watched in 17.5 million households.[9] Part 2 was the second highest rated program of the week with a 20.6/33 rating/share, and watched in 19.2 million households.[10] According to writer Cohen, It was considered a major success for ABC, garnering nearly 30 million viewers over its two-night premiere.[2]
Reception[edit]
This section needs expansion. You can help by adding to it. (September 2017)
As of December 2017[update], the film has a 57% approval rating on Rotten Tomatoes, based on 14 reviews, with audience reception being slightly more positive with a 63%.[11]
Matt Roush of USA Today gave the series a positive review, writing: "If Twin Peaks is a midnight movie for prime-time live, It is the mini-series equivalent of those Saturday matinee shockers that merrily warped a generation before Freddie and Jason began stalking their more graphic turf... Accept It on its own popcorn-munching terms, and keep the lights on high."[12] Ken Tucker of Entertainment Weekly praised the performances in the film, but had a negative response to its special effects and pacing, noting: "It features a high level of ensemble acting rare for any horror film... in addition to It's slow pace, I found the ending a big letdown—unimaginative special effects animate the monster in its final incarnation. But the cast is terrific, Curry's cackle is chilling, and King's usual buried theme—about the pain adults inflict on children without even realizing it (It?)—is always worth pondering."[12] The Hollywood Reporter called It "one big kicky ride thanks to the charismatic acting of Curry as savage, sneering malevolence."[8]
Sandra Harris of Movie Pilot gave the film a positive review, noting: "There’s some gorgeous scenery too and a nice interweaving of flashbacks with the regular scenes. For Stephen King fans, this film is a must for your collection. For fans of horror in general, I’d say you could do a lot worse. Take the phone off the hook and burrow under the duvet for three hours with the popcorn and the remote control."[13] Ian Jane of DVD Talk highlighted the mini-series' combination of childhood nostalgia with horror elements and praised Curry's performance as Pennywise.[14] Bloody Disgusting's John Campopiano commended director Tommy Lee Wallace for "relying less on jump scares and more on creating an unsettling atmosphere to contrast against the kids and their stories."[15] In 2017, Rolling Stone writer Sean T. Collins called the miniseries "legendary" and commented that it had become a cult classic. He said although the miniseries "largely bungles Pennywise's powers", Curry's portrayal of Pennywise is "the stuff sleepless nights are made of. He gloats, he giggles, he taunts, he devours the scenery like the monster himself devours middle-schoolers – and he generally sears his way right into the brain of the viewer."[16] Dan Stephens from the UK website Top 10 Films awarded the film four out of five stars. In his review Stephens praised the film's story, character development, and suspense during the first half. But criticized the second half as disappointing and criticizing the lack of "friendship and togetherness" of the main characters that was present during the first half, and clichéd ending.[17]
Stephen King commented on the miniseries in a 2015 interview, and was appreciative of it: "You have to remember, my expectations were in the basement. Here was a book that sprawled over 1,000 pages, and they were going to cram it into four hours, with commercials. But the series really surprised me by how good it was. It’s a really ambitious adaptation of a really long book."[2]
Home media[edit]
It was released on VHS and Laserdisc in 1991.[18] The original VHS release was on two cassette tapes, one for each part. The VHS and Laserdisc releases feature It as originally aired. In 1998, It was re-released on VHS, this time, on one cassette tape (in EP format). The film was later released on DVD in 2002 and on Blu-ray on October 4, 2016.[14] Both the DVD and the Blu-ray feature an edited version of the film, which presents It as one "movie". The suicide scene at the end of Part 1 is shortened, the hotel scene from Part 2 is missing, and the graveyard scene toward the beginning of Part 2 is also slightly shortened to remove the on-screen credits that originally appeared.[citation needed]
Musical score[edit]
A 2-CD release of the mini-series' complete score by Richard Bellis was released on November 15, 2011.[19] The music of the film ranges from orchestral music to trumpet-heavy music that accompanies the setting of Derry to unsteady electronic instrument arrangements for the film's scarier moments.[19] Bellis won a Primetime Emmy Award for Outstanding Achievement in Music Composition for a mini-series or a Special (Dramatic Underscore) for his work on the film.[20]
Track listing[edit]
[show]Disc 1
No.
Title
Length
1. "Main Title" 1:52
2. "Enter the Clown" 3:04
3. "Georgie Dies" 4:17
4. "Ben Gets the News" 0:51
5. "Punks" 2:18
6. "I Hate It Here" 1:53
7. "Bedroom Jazz Source" 2:24
8. "The Slap" 1:45
9. "Die if You Try" 4:02
10. "Richie's Talk Show Play-Off" 0:34
11. "The Beast – First Encounter" 2:05
12. "Mike Remembers" 0:58
13. "Mike Joins the Group" 5:07
14. "Pennywise" 0:39
15. "Circus Source" 1:10
16. "Target Practice" 2:51
17. "The Sewer Hole" 3:13
18. "Stan Gets Nabbed" 4:27
19. "The Fog" 3:25
20. "The Pact" 1:43
21. "Stan's Suicide" 0:50
22. "End Credits I" 1:00
Total length: 50:28
[show]Disc 2
No.
Title
Length
1. "Main Title Part II" 1:51
2. "The Graves" 1:48
3. "Library Balloons" 2:53
4. "Ben's Flashback" 0:35
5. "Skeleton on the Pond" 0:40
6. "Guillory's Muzak" 1:27
7. "Hydrox" 2:49
8. "Audra" 1:45
9. "Fortune Cookie" 1:54
10. "Silver Flyer" 2:22
11. "Leftover Stan" 1:52
12. "Henry and Belch" 2:20
13. "Every Thirty Years" 1:56
14. "Audra Arrives" 2:02
15. "This Time It's for Real" 4:26
16. "The Smell of Death" 1:59
17. "Something's Coming" 4:00
18. "The Spider's Web" 5:11
19. "Hi Ho Silver" 4:33
20. "End Credits Part II" 1:00
Total length: 47:23
References[edit]
Jump up ^ Goble 1999, p. 260.
^ Jump up to: a b c d e f g h i j k l m n o p q r s t u v w Alter, Ethan (November 17, 2015). "Back to Derry: An Oral History of 'Stephen King's It'". Yahoo!. Archived from the original on March 30, 2017. Retrieved December 28, 2016.
Jump up ^ Graham-Dixon, Charles (October 6, 2015). "Why Stephen King's IT scares off film-makers". The Guardian. Retrieved December 26, 2016.
Jump up ^ O'Connell, Sarah (August 17, 2016). "I'm Every Nightmare You've Ever Had: 9 Insane Facts You Never Knew About 'IT'!". Movie Pilot. Retrieved December 26, 2016.
Jump up ^ Magistrale 2003, p. 185.
Jump up ^ Broeske, Pat H. (April 5, 1990). "Producers scare up 5 more King films". Los Angeles Times. p. D6. Retrieved December 28, 2016 – via The Statesman.
Jump up ^ Newton, Steve (January 31, 2014). "Horror in Vancouver: Stephen King's evil clown stalks Stanley Park in 1990". The Georgia Straight. Retrieved December 26, 2016.
^ Jump up to: a b Higgins, Bill (September 7, 2017). "Hollywood Flashback: Tim Curry Played 'It's' Scary Clown in 1990". The Hollywood Reporter. Retrieved September 11, 2017.
^ Jump up to: a b Hastings, Deborah (November 21, 1990). "TV movies score big in Nielsen ratings". The Times-News. p. 12. Retrieved July 3, 2010 – via Google Books.
^ Jump up to: a b Hastings, Deborah (November 23, 1990). "ABC posts first ratings win of the season". The Times-News. p. 10. Retrieved July 3, 2010 – via Google Books.
Jump up ^ "It". Rotten Tomatoes. Flixster. Retrieved December 18, 2017.
^ Jump up to: a b Quoted in Beam 1998, p. 108
Jump up ^ Harris, Sandra (March 30, 2015). "Stephen King's 'It.' 1990". Movie Pilot. Retrieved December 28, 2016.
^ Jump up to: a b Jane, Ian (October 4, 2016). "Stephen King's It (Blu-ray)". DVD Talk. Retrieved December 28, 2016.
Jump up ^ Campopiano, John (September 7, 2017). "Why We Should Enjoy 'IT' 2017 Without Comparing to 'IT' 1990". Bloody Disgusting. Retrieved September 10, 2017.
Jump up ^ Collins, Sean T. (September 20, 2017). "'It': Everything You Need to Know About Stephen King's Killer Clown Story". Rolling Stone. Retrieved September 11, 2017.
Jump up ^ "Review: Stephen King's It - Top 10 Films". Top10Films.co.uk. Dan Stephens. Retrieved September 25, 2017.
Jump up ^ Stephen King's It [VHS]. Amazon. ASIN 0790736039. CS1 maint: ASIN uses ISBN (link)
^ Jump up to: a b "Stephen King's It Soundtrack". Soundtrack.net. Retrieved June 4, 2015.
Jump up ^ "43rd Emmy Awards Nominees and Winners". Emmys.com. Emmys. Retrieved September 21, 2017.
Works cited[edit]
Beahm, George (September 1, 1998). Stephen King from A to Z: An Encyclopedia of His Life and Work. Andrews McMeel Publishing. ISBN 978-0-836-26914-7.
Goble, Alan (ed.) (January 1, 1999). The Complete Index to Literary Sources in Film. Bowker-Saur. ISBN 978-3-598-11492-2. CS1 maint: Extra text: authors list (link)
Magistrale, Tony (November 22, 2003). Hollywood's Stephen King. Palgrave Macmillan. ISBN 978-0-312-29321-5.
External links[edit]
Wikiquote has quotations related to: It (miniseries)
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"Back to Derry": An Oral History of 'Stephen King's It' at Yahoo!
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Language settings
0
button
true

values:
https://nl.wikipedia.org/wiki/It_(1990)
It (1990) – Dutch
nl
nl
interlanguage-link-target

values:
https://pt.wikipedia.org/wiki/It_(1990)
It (1990) – Portuguese
pt
pt
interlanguage-link-target

values: Оно (мини-сериал) – Russian

values: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

values: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-It_miniseries rootpage-It_miniseries skin-vector action-view