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‘Scream’ – Ghostface Voice Actor Roger L. Jackson Is the Unsung Horror Icon of the Slasher Franchise

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scream 6 radio silence

You’re home alone.

You’re making a snack before you sit down to watch a spooky movie.

The phone rings. Odd, who could it be at this hour?

You answer. On the other end of the line a friendly, yet provocative voice answers back.

He sounds fun – a little sexy even. He asks you: “What’s your favorite scary movie?”

Horror icons are often associated with not just with the visual, but also with the auditory. There is no Michael Myers without John Carpenter’s legendary score. There is no Jason Voorhees without Harry Manfredini’s iconic “ki ki ki ma ma ma.” Entire generations can’t even look at the ocean without hearing the all-time classic Jaws theme conducted by John Williams.

Who is Freddy Krueger without Robert Englund’s distinctive cadence? Is there a Chucky if Brad Dourif hasn’t been knocking it out of the park as the stabby little bastard for over 30 years?

There is one slasher character as equally recognizable for how they look as well as how they sound: Ghostface.

Prolific voice actor Roger L. Jackson has been blessing us with his vocal performance as Ghostface since the very beginning, cementing the character as a new horror icon right out of the gate. Like all of the aforementioned characters, there simply is no Ghostface without Jackson’s captivating performance.

As we all know, Ghostface isn’t the same person who keeps coming back to kill more young and hip people every sequel. They are new killers (or killer) with each new installment – yet, the voice remains the same due to the genius plot device of the voice changer Ghostface uses to mask their true identity.

What’s genius about the voice changer element is that it allows the Ghostface character to have a singular identity outside of the Father Death costume. Even though we know the killer is always going to be somebody new, Jackson’s instantly recognizable voice lets the audience immediately immerse themselves back into the world of Scream. We’re not thinking “oh, somebody bad is calling.”

We’re thinking “Ghostface is calling.”

When the phone rings and we hear those familiar dulcet tones, we know EXACTLY who is on the other end of the line. We instantly know danger is right around the corner and ready to pounce. Every trill of a phone in the Scream franchise is fraught with tension. What Psycho did for showers, Jaws did to the beach, and Friday the 13th did for camp, Scream did for answering the phone.

Jackson has noted in various interviews that one of the key aspects to his work as the character is that the different casts of each of the films never meet him on set. He is always off in the shadows, hidden from view while the phone conversations are being filmed. This allows for far more intimate and organic performances because a real conversation is happening instead of the filmmakers dubbing a voice in during post production.

Jackson gets every mile he can out of his voicework as Ghostface. He runs the gamut from friendly, flirty, sexy, to violent raving maniac. There is no denying the sexual tinge the Ghostface voice carries, and that is entirely by design as Jackson stated in a Vice interview published in 2019:

“I knew it had to be a sexy voice and something interesting enough to keep the girl on the phone, even though she clearly wants to hang up. He sounds interesting. There’s this texture and erotic colour to his voice. It’s like a cat that seems sweet and playful, but then all of a sudden the paw comes down onto the mouse’s tail.”

Like Freddy Krueger before him, Ghostface is a slasher that has fun with their victims. It’s not just about getting down to business. It’s all about the game, the theatricality, the performance. Every Ghostface killer is obsessed with movies or fame to a warped degree. Performance is intrinsic to the character. Jackson understands this and speaks every word with precision and clarity.

Just as Ghostface is in control of the conversations in the films, Jackson is control of Ghostface. With his performance across five films and one season of television now, Roger L. Jackson is as important to the identity and success of the Scream series as the principle trio of Neve Campbell, Courtney Cox, and David Arquette.

With no disrespect to those three wonderful performers, it’s not unreasonable to suggest Jackson is ever more important to the identity of the franchise, because without his voice, is it really even Scream?

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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