JB: So how did lead you to your involvment with Scream 3? EK: Well, from there I ended up selling a script called Riendeer Games to Dimension Films, as part of a multi-picture deal where I would owe them work on several projects. That script was written as a strange hybrid of Reservoir Dogs and It’s a Wonderful Life, and the subsequent movie (perhaps understandably) didn’t quite come off. But it gave me the chance to work with the legendary director John Frankenheimer, for which I wouldn’t trade anything. Anyway, while I was in Canada on the set of that movie, Dimension called me and explained they were in a bit of a bind. They were scheduled to start shooting Scream 3 in two months, and they didn’t have a script. As in zero script. Apparently, Kevin Williamson had been overworking himself on other endeavors and Scream 3 was the project that lost out. Now while studios do this kind of thing all the time – setting a production start based upon actor and director availabilities, before a script’s been finished – this situation was unusual because no script had even been started. So the cast and crew had all been hired with essentially no idea of what movie they’d be making. So I wrote a treatment in two days, faxed it to Wes Craven and he basically approved it. I wrote a first draft in two weeks and worked with Wes up until production on revising it. There were some unusual parameters I’d been given from the outset. For instance, the movie’s star (Neve Campbell) was only available for a third of the shoot, so I had to write around that, and in the aftermath of the Columbine tragedy, the studio was skittish about the blood-and-gore factor, so I had to write around that and emphasize more comedy. Some people like the movie; others don’t – but the making of it was a real obstacle course and it’s a minor miracle it turned out as well as it did. Oh and naturally, one of the reasons that I took the job was that I had certainly heard my share of Freddy Krueger jokes in my youth – what with my last name, of course. So I felt that if I could in any way make Wes Craven’s life difficult for a few months, the payback would be worth it. JB: Ah, sweet revenge... So how did you feel about the final result of Scream 3 in relation to the rest of the series? Did Craven stick pretty close to your script? EK: I think that in general, no matter how successful the sequel, it can never recapture the freshness and surprises of the original that spawned it. So in making a sequel, the odds are always against you. I think the third Scream, while imperfect, was a satisfying conclusion to the series. Of course, the first two were imperfect too, but the first one was ahead of the curve. Whether or not you liked the first one, it felt new and different, and no sequel could ever quite recapture that. But when a story is as self-reflexive as the first one was, really the only way to advance it was to keep spiraling inward. So yes, the final product was very much the script. Everything is cyclical in the pop culture business, and thus two decades from now, that series’ tone and style will no doubtlessly be back in vogue – for a three-year window or so.