We love Kenny Caperton. He’s the Halloween fan who built and lives in a replica of the Myers House, as covered in FANGORIA v2, #1. Kenny is our kind of cinephile; he not only walks the walk, he lives the life. In the damn Myers House. Respect.

One would think that amount of dedication would scratch any horror location fan’s itch for good, but not Kenny. Kenny has, for the last couple of years, curated a traveling film screening series called On Set Cinema, and its premise is simple: you watch a classic horror movie at the location where it was filmed. From Friday the 13th to Rocky Horror to Twilight and beyond, Kenny hosts amazing fan events where you can enjoy a movie with fellow fans in the environs where it all happened.

And this summer, Kenny wants to ask you to prom. Carrie White’s prom, to be specific.

On July 30th, fans will gather at the Hermosa Beach Community Center Gym to pose for prom photos, compete in a costume contest, and watch the 1976 Brian De Palma classic Carrie with Tommy Ross himself, William Katt!

SATURDAY, JULY 30, 2022: CARRIE (1976)

WITH SPECIAL GUEST WILLIAM KATT (TOMMY ROSS)

 Hermosa Beach, California • Bates High School Gymnasium

On Set Cinema cordially invites you to be our date to the Bates High School “Love Among The Stars” senior prom! Cover up those dirty pillows and head with us to Hermosa Beach, California on Saturday, July 30, 2022 for a very special screening event of one of the greatest movies in horror film history ...CARRIE! And I'm excited to announce that everyone's favorite prom king, Tommy Ross (William Katt) will be a special guest at this event! He will be signing autographs, taking prom photos with fans and doing a Q&A before the screening. I'll be showing the film inside the actual gymnasium from the movie! So many great scenes were filmed here - including where Miss Collins (Betty Buckley) gets the girls to line up after they humiliate Carrie in the girl's locker room and tells them about her detention deal, also where Carrie (Sissy Spacek) tells Miss Collins outside that she was invited to the prom and of course where the infamous prom takes places! Just the exteriors of the prom were filmed at this location - the interior was a massive set constructed for safety reasons because of all of the fire special effects, but this is where the iconic shot of Carrie covered in blood, walking from the burning gymnasium takes place! There will be music, silver stars, streamers, dancing, a prom photo backdrop with a blood bucket, a King & Queen costume contest and a glorious screening of Brian De Palma’s cinematic adaptation of Stephen King’s groundbreaking first ever published novel, CARRIE! Fans are encouraged to dress up for the prom or in costume as your favorite character from the movie, but of course it's not required to attend. This is going to be an absolutely unforgettable experience for Carrie fans! ...here piggy piggy.

• Location: Hermosa Beach Community Center Gym - 710 Pier Ave, Hermosa Beach, CA 90254
• Date / Time: Saturday, July 30, 2022
EVENT SCHEDULE:
- 5:00pm: Event check-in starts
- 5:00pm - 7:00pm: Music, dancing, prom photos
- 5:00pm - 7:00pm: William Katt autograph signing and meet & greet with fans
- 7:00pm: William Katt Q&A
- 7:30pm: King & Queen costume contest (winners get prizes, including William Katt signed item)
- 8:00pm: Screening of “CARRIE” (1976, Rated R - 1h 38m)
• Facebook event page / IMDb / Movie trailer

• Admission: $50.00 *** CLICK HERE TO PURCHASE TICKETS ***

WILLIAM KATT PRICING:
- AUTOGRAPH & SELFIE COMBO: $40 - 1 autograph (your item or his item) from William, 1 photograph (your camera) with William at table
- $40 for each additional autograph - you can get as many as you want!
- PROM BACKDROP PICTURE WITH WILLAIM (YOUR CAMERA): $25

If you haven't yet wandered off from this Quentin Tarantino-OCD-party conversation crash course in film music's oddities and digressions, rest easy knowing that the last of this month's selections come from a real movie — and a bona fide classic at that. As always, Waxwork Records releases some of the best-produced soundtracks from the horror genre's top films, and its premier release of 2022 is Pino Donaggio's music for Brian De Palma's Carrie. Looking back at it, this score is essentially a dialectic between the romanticism of late '60s and early '70s horror composers like Morricone and Riz Ortolani and the emphatic suspense of the scores from '70s "prestige" (read: studio bankrolled) films like The Exorcist, The Omen and The Amityville Horror, where luminaries like Jerry Goldsmith and Lalo Schifrin offered their riffs on Bernard Herrman's music for the shower scene from Psycho. Some of it's too pretty for horror, and some of it's too simplistic for it (especially in 1976), but together it operates in the same referential way that De Palma's films do, for a simultaneously visceral and almost nostalgic effect.

Donaggio also composed a few goofier cues like "Calisthenics" or the halfhearted disco of "The Tuxedo Shop" that break up the sweet-scary rhythms of the rest of the score in a welcome way. Still, it's ones like "Carrie and Miss Collins" that so unforgettably underscore Carrie White's tragic, alienated journey, while "The Coronation / The Blood" is so vivid and operatic that you can see every swing of the camera as it follows that rope up to the rafters where a bucket of pig's blood waits to rain down on Carrie, unleashing the full intensity of her powers during the film's climax. Finally, some extra fake pop tune cues conclude the record. Versions of library music recorded deliberately as background or "source" music played not over the scene but inside them, whose AM-radio vibes manage to lull you into a state of calm and vulnerability that's unexpectedly, thrillingly broken by the brilliance of Donaggio's mastery of melody and mood. Of course, De Palma's film operates the exact same way, even before Carrie's hand juts out from beneath the rocks on her grave to grab Sue Snell; but the score for Carrie is a bit of an overshadowed classic, and like the other records listed here, revisiting or focusing more intensely on it offers multiple rewards.

Waxwork Records is thrilled to present CARRIE Original Motion Picture Soundtrack by Pino Donaggio! Expanded and re-mastered for its 45th anniversary, this deluxe double LP album marks the very first time that the complete film music has been released on vinyl. Carrie is a 1976 Horror film adapted from author Stephen King's very first published novel of the same name. The movie stars Sissy Spacek and is directed by Brian De Palma (Scarface, Phantom Of The Paradise).

The score by legendary composer Pino Donaggio (The Howling, Tourist Trap) skillfully captures the pressure of forced innocence, the humor of teen drama, and the trauma of coming of age as a girl in 1970’s America. The album also features the tracks “Born To Have It All” and “I Never Thought Someone Like You Could Love Someone Like Me” by Katie Irving.

CARRIE Original Motion Picture Soundtrack features the expanded film music re-mastered and pressed to 180 gram "Prom Fire” colored vinyl, with new artwork by Phantom City Creative, and old-style tip-on gatefold jackets with matte satin coating.

CARRIE Original Motion Picture Soundtrack Features:

The Expanded and Re-Mastered Soundtrack
180 Gram "Prom Fire" Colored Vinyl
New Artwork by Phantom City Creative
Deluxe Packaging
Old Style Tip-On Gatefold Jackets with Matte Satin Coating

Coming this Friday. CARRIE Original Motion Picture Soundtrack 2xLP by Pino Donaggio. This special 45th Anniversary album features the expanded soundtrack re-mastered and pressed to 180 gram “Prom Fire” colored vinyl, new art by @phantomcitycreative, and deluxe packaging! 🔥

This list, admittedly, has quite a few films from the '70s, but that's because the '70s were just such a damn good decade for horror! 1976 saw the release of Brian De Palma's wildly inventive "Carrie," based on the Stephen King book of the same name. It is a fantastic movie about a young girl with telekinetic powers who is eventually pushed to the breaking point by her unaccepting classmates. What makes "Carrie" so great is Sissy Spacek's performance as Carrie White and Piper Laurie's performance as her extremely devout mother. Spacek approaches the role of Carrie with the perfect blend of naïveté and a pitying desire to be accepted by her peers. You both loathe her and feel for her, a girl trapped in adolescence by her misguided, commandeering mother. Laurie is equally as riveting as Margaret White, commanding the camera's attention whenever she appears on screen. If not for the talents of these two actresses, "Carrie" would not be the masterpiece that it is; the Academy agreed, nominating them for Best Actress and Best Supporting Actress, respectively.

However, one award the film did not receive an Oscar nomination for was Best Picture. That honor would go to films like "Rocky" and "Taxi Driver." It seems America wasn't quite ready to celebrate the emotional turmoil of a teenage girl, but if you ask me, it should have been. "Carrie" is a marvelous example of what can happen when a great book gets a great adaptation. It's also wonderful commentary on female adolescence and the horrors of being a teenager, and while most of us don't possess the ability to move things with our minds or make it rain stones, we do understand the cruel difficulties of growing up and going through high school. While Carrie the girl may have had a bucket of pig's blood dumped on her head at the prom, "Carrie" the movie is worthy of winning Prom Queen and escaping the stage crowned, celebrated, and entirely unscathed.

Brian De Palma's "Carrie" is an absolutely spellbinding horror movie, with a shock at the end that's the best thing along those lines since the shark leaped aboard in "Jaws." It's also (and this is what makes it so good) an observant human portrait. This girl Carrie isn't another stereotyped product of the horror production line; she's a shy, pretty, and complicated high school senior who's a lot like kids we once knew.

There is a difference, though. She has telekenesis, the ability to manipulate things without touching them. It's a power that came upon her gradually, and was released in response to the shrill religious fanaticism of her mother. It manifests itself in small ways. She looks in a mirror, and it breaks. Then it mends itself. Her mother tries to touch her and is hurled back against a couch. But then, on prom night...

Well, what makes the movie's last twenty minutes so riveting is that they grow so relentlessly, so inevitably, out of what's gone before. This isn't a science-fiction movie with a tacked-on crisis, but the study of a character we know and understand. When she fully uses (or is used by) her strange power, we know why. This sort of narrative development hasn't exactly been De Palma's strong point, but here he exhibits a gift for painting personalities; we didn't know De Palma, ordinarily so flashy on the surface, could go so deep. Part of his success is a result of the very good performances by Sissy Spacek, as Carrie, and by Piper Laurie, as Carrie's mother. They form a closed-off, claustrophobic household, the mother has translated her own psychotic fear of sexuality into a twisted personal religion. She punishes the girl constantly, locks her in closets with statues of a horribly bleeding Christ, and refuses to let her develop normal friendships.

At school, then, it's no wonder Carrie is so quiet. She has long blond hair but wears it straight and uses it mostly to hide her face. She sits in the back of the room, doesn't speak up much, and is the easy butt of jokes by her classmates. Meanwhile, the most popular girl in the class devises a truly cruel trick to play on Carrie. It depends on Carrie being asked to the senior prom by the popular girl's equally popular boyfriend -- he's one of your average Adonises with letters in every sport. He's not in on the joke, though, and asks Carrie in all seriousness.

And then De Palma gives us a marvelously realized scene at the prom -- where Carrie does, indeed, turn out to be beautiful. There's a little something wrong, though, and De Palma has an effective way to convey it: As Carrie and her date dance, the camera moves around them, romantically at first, but then too fast, as if they're spinning out of control.

I wouldn't want to spoil the movie's climax for you by even hinting at what happens next. Just let me say that "Carrie" is a true horror story. Not a manufactured one, made up of spare parts from old Vincent Price classics, but a real one, in which the horror grows out of the characters themselves.The scariest horror stories -- the ones by M.R. James, Edgar Allan Poe, and Oliver Onions -- are like this. They develop their horrors out of the people they observe. That happens here, too. Does it ever.

King’s novel takes place in the fictional town of Chamberlain, Maine. (A coastal village of the same name exists in the town of Bristol, Maine, but it’s not the location depicted in the novel.) The film, however, takes place in a small, unnamed bedroom community where everybody knows everybody.

“I had sort of conceived it as a town anywhere in America, one of those sort of all-American towns,” says production designer Jack Fisk, who had previously worked on De Palma’s 1974 cult horror musical Phantom of the Paradise. “What I like to do on films is make them universal when we can, so that everybody can appreciate them, and not be too specific about where it is. … [Carrie] seemed like such a universal story, you know, teenage revenge. That’s what Brian used to tell Sissy all the time: ‘It’s a story of teenage revenge.’” Fisk and Spacek met while working on Terrence Malick’s Badlands (1973) and married in 1974.

While Carrie features only a dozen locations, Fisk says he put about 6,000 miles on his car driving around the L.A. region looking for spots to shoot the film. The hardest to find was Carrie’s house. Fisk says the problem in some of the usual places, like South Pasadena, is that over time the houses had gotten bigger as people added on to them.

“I wanted a house that looked like it was in a small town, and it looked isolated and it looked quirky, unusual,” says Fisk.

Taking into account Margaret White’s extreme Christian fanaticism, Fisk had the idea to model the Whites’ home after a type of uniquely Philadelphia row house. Known fondly as a Trinity, or a Father, Son, and Holy Ghost, it gets its name from three single-room floors that are connected by a steep, winding staircase. In the late ‘60s, Fisk lived in one such house with David Lynch during their time at the Pennsylvania Academy of the Fine Arts.

One day, Fisk and his Volkswagen ended up in the Ventura County town of Santa Paula.

“I drive by this house and the dormer [window] upstairs is off-center and it looked so bizarre,” says Fisk. “It being off center, it’s like something an architect would never do,” he adds. “I thought it was just remarkable. You look at it and it was weird; something was wrong with it.” The house on North 7th Street between Santa Barbara Street and Main Street was one-and-a-half stories, not the triptych that Fisk had in mind, but it felt isolated and atypical. Fisk estimates that the house was only about twenty-five feet by twenty-five feet. “It was bizarrely small and singular.”

“It was a really old, beautifully done, wood frame house, and we couldn’t find anything like that [in L.A.].” says Dow Griffith, whose first location manager job was Carrie.

A 1981 Ventura County Cultural Heritage Survey of Santa Paula noted that the house was built around 1900 in the Vernacular Victorian style with Eastlake details. The survey rated the house in fair condition.

Santa Paula exteriors appear onscreen for about five minutes of Carrie’s 98-minute running time, but they set the tone of the entire movie. White picket fences, kids riding their bikes on sidewalks and Santa Paula’s Main Street all added to the small town aesthetic and mood the filmmakers were after.

“We basically modeled things on the Santa Paula location that we found for Carrie’s house and that sense of Anywhere, USA,” says Griffith.

Located along California State Route 126 just fourteen miles east of Ventura, Santa Paula wasn’t convenient in proximity to any of the film’s L.A. locations. Palisades Charter High School, the Hermosa Beach Community Center, the Cahuenga Branch of the Los Angeles Public Library, Morningside Elementary School in San Fernando, and the gymnasium set built at the Culver Studios all made up Bates High School – named after Norman Bates. There are seventy miles between Santa Paula and the Farmer John slaughterhouse in Vernon – where Billy Nolan (John Travolta) and pals acquire the film’s infamous pig’s blood. But, in terms of film production, what Santa Paula lacks in convenience it makes up for with an abundance of character.

Fogata, who is also on the board of the Santa Paula Historical Society, was fourteen or fifteen when the filmmakers of Carrie shot a scene in the front yard of the Craftsman home built in 1911 that’s been in his family for about seventy years.

In the film’s opening, Carrie – scared and traumatized after getting her period for the first time – is tormented by her bullying classmates in the girls’ locker room. Carrie is dismissed from school for the day and walks home along a lush, tree-lined street, her school binder clutched to her chest. A boy on a bicycle weaves in and out of the tree line, taunting the demure teenage girl with the insulting nickname, Creepy Carrie. A quick, piercing glance in the boy’s direction sends him tumbling from his bike and onto the Fogata family front yard located at 601 East Santa Paula Street.

“I remember watching them shoot it. They must have shot it twenty times to get the fall right,” says Fogata.

This being before the days of star trailers and massive base camps, Fogata says that craft service was set up on his front porch and his mom opened up the house for the cast and crew.

“I remember John Travolta was sitting in my living room; Sissy Spacek was sitting in my living room. It was kind of their relaxing area,” says Fogata.

Over the years, Fogata’s house has been seen in numerous movies, commercials and music videos, he says, but he remembers Carrie being the first. The same trees from the aforementioned scene are prominent in the music video for Stevie Wonder’s Grammy-nominated, 1987 single, “Skeletons.”