Wooley as Jim Baffico. Young Officer on Roof. Officer at Police Dock. Officer at Police Dock as Joe Pilato.
Motorcycle Raider. Motorcycle Raider as 'Butchie'. Motorcycle Raider as Taso Stavrakos. Lead Zombie as Sharon Ceccatti. Mustachioed Biker riding Chopper uncredited. Redneck Rifleman That Misses uncredited.
Martinez uncredited. Military Jacket Zombie on Mall Rooftop uncredited. Cowboy Hat Zombie Hit by Sledge uncredited. Redneck Wearing Red Coat uncredited. Penney uncredited. Narrator of Theatrical Trailer voice uncredited. Featured Light Blue Bathrobe Zombie uncredited. Blonde Biker Chick Riding Motorcycle uncredited.
Crosshairs Zombie 3 uncredited. Bathing Suit Zombie uncredited. Biker uncredited. White Nightgown Zombie Decapitated by Blades uncredited. Mall Zombie Boy touching bicycles uncredited.
Zombie Girl in Airport Chart House uncredited. Zombie Sprayed with Seltzer Water uncredited. Zombie Who Gets Pied in the Face uncredited. Nun Zombie uncredited. Cowboy Zombie uncredited. Featured Elderly Zombie uncredited. Mall Zombie Wearing Blue Nightgown uncredited. Firefighter Wearing White Helmet uncredited. Bandana Girl Zombie uncredited. Landlord Zombie in Tenement Cellar uncredited.
News Reporter on Radio voice uncredited. Unsolved Zombie uncredited. Biker Riding in White Sidecar uncredited. Screwdriver Zombie uncredited. Featured Zombie uncredited. Blonde Mustachioed Firefighter wearing black helmet uncredited. Bathrobe Zombie uncredited. Bearded Zombie Outside Gun Store uncredited.
Bald Red Sweater Zombie uncredited. Zombie Wearing Eyeglasses uncredited. Firefighter Wearing Black Helmet and Glasses uncredited. Yellow-Green Striped Shirt Zombie uncredited. Helicopter Zombie uncredited. Head Bandage Redneck uncredited. Miguel, The Zombie uncredited. Penny uncredited.
Mall Rooftop Zombie uncredited. Machete Zombie uncredited. Biker Wearing Leather Cowboy Hat uncredited. Biker Handing Out Weapons uncredited. Mall Zombie Outside Gun Store uncredited.
Preppie Zombie - 2nd Pie-in-Face uncredited. They don't know why; they just remember. Remember that they want to be in here. Francine Parker : What the hell are they?
Peter : They're us, that's all. There's no more room in hell. Peter : Something my granddaddy used to tell us. You know Macumba? Granddad was a priest in Trinidad.
Used to tell us, "When there's no more room in hell, the dead will walk the Earth. Sign In. Play trailer Horror Thriller. Director George A. George A. Top credits Director George A. See more at IMDbPro. Trailer Dawn of the Dead Clip Video Scariest Movie Moments. Photos Top cast Edit. David Emge Stephen as Stephen.
Ken Foree Peter as Peter. Scott H. Reiniger Roger as Roger. Gaylen Ross Francine as Francine. David Crawford Dr. Foster as Dr. David Early Mr. Berman as Mr. Richard France Scientist as Scientist.
But when he teaches her how to fly it, they are spotted by a gang of motorcycle-riding survivalists. They try to contact Peter, Fran and Stephen by radio, but Peter is smart enough not to respond. He knows that they will be killed if the survivalists find them. His plan is to let the looters break in and take what they want, then leave. The looters break into the mall, but in doing so they destroy Roger's barricades, allowing the to zombies flood in with them. In addition to looting, the bikers also perform stunts which range from juvenille humor, such as putting pies in zombies' faces, to more risky behavior such as restraining a pudgy female zombie and literally grabbing jewelry off her.
Stephen, believing that the mall belongs to him and his friends, sneaks into the mall and tries to shoot the bikers, who return fire. With no choice but to help his friend, Peter creeps through air shafts, picking off isolated bikers and zombies. Unable to cope with both Peter and the zombies, the bikers decide to leave. The only "winners" of the three-way battle were the zombies, as the mall is once again zombie-infested due to the bikers' breach, and the biker gang paid a high price for their looting, as their ill-gotten gains were small compared to the number of bikers killed.
Before they make their escape, two bikers enter the elevator where Stephen is hiding on top, and begin blindly shooting, severely wounding him. He is later attacked and bitten by zombies, and dies in the elevator. In the mall, the zombies corner and eviscerate several of the remaining bikers, which has effectively decimated the biker gang. Peter returns to the hidden fortress and waits with Fran; they are unsure if Stephen has survived, but they know he will return either way.
Now a zombie, Stephen remembers how to get through the hidden wall to the storeroom. He leads the horde of zombies up the stairwell. When Stephen appears, Peter fires and puts Stephen out of commission. He tells Fran to leave, but he refuses to go with her. He helps Fran onto the roof, where she prepares the helicopter.
Peter stays in the storeroom, waiting for the zombies to flock in and attack him. He plans to shoot himself in the head before the zombies can kill him. But at the last minute he decides he wants to live and fights his way through the zombies to the helicopter.
Fran delayed taking off until the last possible moment, and Peter is able to hop into the helicopter. The two fly off to an uncertain future, with little fuel left.
The vaguely uplifting finale in the final cut of the film was not what Romero had originally planned. According to the screenplay , Peter was to shoot himself in the head instead of making a heroic escape. Fran would commit suicide by thrusting her head into the rotating blades of the helicopter's propeller.
The credits would run over a shot of the helicopter's blades turning until the engine winds down, implying that Fran and Peter would not have had enough fuel to escape.
It was decided, however, to end the movie on a more hopeful, upbeat note. The alternative ending was at least partially filmed see "Special effects and make-up" below. Much of the lead-up to the two suicides was left in the film, as Fran stands on the roof doing nothing as zombies approach, and Peter puts a gun to his head, ready to shoot himself, before suddenly deciding to live and shooting zombies as heroic music plays.
As a technical note: there has been some confusion about the nature of the "zombie problem" in this movie; many people are under the impression that only characters bitten by a zombie will become one.
While zombie bites are certainly fatal, George Romero has made it clear that his zombie films portray a world in which something has gone horribly wrong, so that anybody who dies from any cause will reanimate as a shambling, relentless member of the undead, with a craving for human flesh unless killed by severe head injury such as gunshot to the head or decapitation, or if such measures are applied to the deceased within a short interim period.
It may also spread through the air; the maintenance man zombie in the department store was locked in and had no trauma to his body. Presumably the problem suddenly appears everywhere at once; it does not spread like an epidemic disease. Origins of the problem are intentionally left unconfirmed throughout the Dead film series, though possible scientific particularly in Day of the Dead , and theological explanations are offered.
The Monroeville Mall in Pennsylvania was one of the first of its kind — a sprawling, indoor shopping complex, constructed from — on a acre lot cleared to build the massive 1. At the time of filming, the Monroeville Mall housed stores on 2 levels, including an ice skating rink and a 6, space parking lot.
The mall became as pivotal a character as any human featured in the film. The mall took on a life of its own, embodying not only the film's sanctuary, but its tragically ironic confinement as well.
Of its nearly merchants, almost everyone permitted full use of their stores except for the bank and jewelry store, which required supervision by security , while only 13 stores refused to cooperate. Interestingly, JC Penney was featured prominently, a feat which would now seem difficult to accomplish with today's expensive standard of corporate advertising and product placement. The mall still exists in Monroeville, Pennsylvania and is still a popular place for shopping. The ice rink was removed from the mall in favor of a food court.
The JC Penney is to this date in its original location during filming, but it has been announced it will move to a new location within the mall at the end of Horror history gone This visit turned out to be a defining event for Romero, planting the seeds of what would become the sequel to his previous Night of the Living Dead.
Mason — while touring the mall with Romero — brought the pair to a hidden area of the mall that was stocked with food and other supplies as part of a civil defense initiative. Mason jokingly suggested that someone would be able to survive in the mall should an 'emergency' ever occur. With this idea planted in his head, the tour continued, with Romero making note of the blank, expressionless faces of the mall's shoppers as they shuffled throughout the indoor shopping center.
Romero made the connection between the mall's patrons and his own zombies almost immediately, likening the droning consumers — with their insatiable and driving desire for materialistic gratification — with that of his own cannibalistic creations and their driving need for consuming human flesh, each motivated by a singular fulfilling need.
This inspiration would come back to Romero two years later as he was set to begin filming of Martin. His original intentions of setting Night of the Living Dead' s sequel in a farmhouse gave way to this new idea, as he began work on a script that would encompass his plans to include a not-so-subtle attack on consumerism in America, using the indoor mall — now the mecca of American consumerism, but then just a burgeoning idea — as his story's backdrop.
Romero completed nearly half the script, which outlined a dark, primal film revolving around a pregnant woman and her companion seeking refuge from the undead in the safety of the mall, sheltering themselves in a large complex of hidden ducts, venturing into the mall only in search of supplies. Much of the script had the characters naked. They then uncover that a paramilitary group is trucking in and storing fresh human flesh within its confines to "feed" the creatures.
The protagonists "were really like cavepeople. I was really going out there, very heavy," Romero explained. The director would soon be contacted from overseas by Dario Argento, a former film critic-turned-famed Italian horror director. Due to the poor box office returns on Martin , Romero and Laurel Films were unable to procure any domestic investors for the new project.
Irwin Shapiro — who was the group's foreign distribution representative — had sent the still unfinished script treatment to a Rome, Italy-based producer named Alfred Cuomo, who after translating it to Italian, sent the script to his friend and fellow producer Claudio Argento, brother of the famous horror director Dario Argento. A fan of Night of the Living Dead and an early critical proponent of the film, Argento was eager to hear the news of plans to sequelize the horror classic.
His interest to become involved with the project was immediate. Argento contacted Romero and invited the director to come to Rome in order to finish the script, convinced that the change of scenery would assist in inspiring Romero's writing. Romero and his future wife, Christine Forrest, were situated within the heart of Rome, in an apartment overlooking the city. They shared dinners with Argento, discussing the script's progress. Within a matter of weeks, Romero had completed the script with the working title Dawn of the Living Dead.
Romero abandoned his original concept for the film, eventually deciding that the progress of his zombie apocalypse had progressed too far; the zombies were already beginning to be trained to function as slaves and were already being fed, which was the premise of 's Day of the Dead. Switching his pregnant heroine with a pregnant newsroom producer and her traffic reporter boyfriend, and rounding out the group with two Philadelphia SWAT team members, Romero shaped what would become Dawn of the Dead.
Dario Argento, who had been brought on as a 'script consultant', made very few changes to the script, stating later that his admiration for Romero was such that he trusted the director implicitly with developing Dawn of the Dead.
After short negotiations with Richard P. With financing secured, Romero set to work planning the shoot. For special effects duties, Romero turned to Tom Savini , the make-up maestro whose original plans for an effects position on Night of the Living Dead were interrupted by the Vietnam War.
Romero contacted Savini with the simple request that he think of as many ways to kill people as possible.
Casting for the film would take place in New York, with the help of casting director John Amplas, who had portrayed the title character in Martin. Romero intended to cast a group of unknown actors to bring the characters of Dawn of the Dead to life, just as he had in Night of the Living Dead. Interestingly, both David Emge Stephen and Scott Reiniger Roger worked at the same restaurant that Romero visited while casting the film.
Once the cast was completed with the addition of Emge, Reiniger, as well as Gaylen Ross as Francine and Ken Foree as Peter, principal shooting was scheduled to begin in Pennsylvania on November 13, Principal photography for Dawn of the Living Dead its working title at the time began on November 13, The crew began work once the mall closed, starting at 11pm and ending at 7am when the automated music came on.
Life on the set was difficult, with occasional freezing temperatures due to the shoot's Pennsylvania winter schedule. The set was snowed in several times, resulting in a cancelled catered lunch break on more than one occasion. Many of the film's sequences were not specifically storyboarded — they were pre-planned by Romero, though often never extended further than his own mental sketches.
It was his style to neglect the traditional illustrated storyboards. In working with the limitations imposed by the tight shooting hours, Romero's script was filmed nearly simultaneously at different locations in the mall in an attempt to conform to the stringent production schedule.
Creative compromises had to be made, due to the logistics of production forcing certain technical limitations. It is to Romero's methodology of film-making, along with the technical limitations imposed by the production's location, that one can attribute the discrepancies between the production draft of the script and the final cut of the film. But Romero filmed certain vital aspects of the script nearly verbatim, such as the characters' desirous attraction to the mall and the way they 'conquered' their new home, were central threads which remained constant, helping to solidify his ideas for the suspenseful build-up of the film.
The sequence in which Roger and Peter block the entrances with the trucks was another aspect that remained practically unaltered from page to film. The production was shut down for three weeks during December to avoid the mall's Christmas decorations. Romero decided against having the crew remove and replace them every night — a task that would have been too time consuming. To avoid the obvious continuity difficulties and lost shooting time, production would resume on January 3, During the break in filming, Romero took the opportunity to begin editing his existing footage.
Once filming resumed, Romero had assembled enough of his script on film that he would be able to edit and cut the film into a viable release form. It was in this atmosphere that Romero fostered an improvisational stage in production, where new ideas were freer to develop than before — chief among these was the filming of the biker gang's attack on the mall. The Pagans, a local biker gang, had been brought in by the production to create the hostile thugs that would attack the film's protagonists; their infamous pie fight was completely improvised, a gag that was conceived and filmed on the spot this fact is slightly contended, as there is a story that says while writing the script for Night of the Living Dead , Romero and John A.
Russo contemplated how they should have the zombies destroyed, at which point co-star and make-up artist Marilyn Eastman joked that they could throw pies into their faces—whether or not this is true, though, is debatable. The opening arrival of the bikers as they raid the mall was almost completely unplanned, as well; cameras simply filmed the action, with Romero later editing the rough film into sequence.
Tom Savini's "Blades" character and Taso Stavrakis' "Sledge" were products of this improvisational atmosphere as well. We can do that! I had all kinds of props with me. I became Blades and I had this rubber sledgehammer, so Taso grabbed it, and he became Sledge. Romero's request for a bandito-style character was fulfilled by Tony Buba, who took on the role with much conviction, costuming himself complete with a sombrero and ammunition bandoliers.
Many of Savini's effects in the closing moments of Dawn of the Dead were 'gags' conceived and shot spontaneously, including the infamous 'machete' zombie as portrayed by Lenny Lies.
The airfield scenes were filmed at the Harold W. It is still used regularly. The scenes of the group's hideout at the top of the mall were filmed on a set built at Romero's then production company The Latent Image. The elevator shaft was located there as well, as no such area of the mall actually existed. The gun store was also not located in the mall — for filming, the crew used Firearms Unlimited, a shop in the East Liberty district.
It has since closed down. Principal photography on Dawn of the Dead ended February , and Romero's process of editing would begin. Romero was widely known as a competent editor — a film maker whose true genius lay in his ability to cut his edits in such a way as to allow for the editing process to be almost completely responsible for dictating the end product.
Customarily, Romero relied on wide, steady shots from many different angles — a process of filmmaking the director often referred to as "covering my ass" style of production. By using the numerous angles, Romero essentially allowed himself an endless array of possibilities — choosing from these many shots to reassemble into a sequence that could dictate any numbers of emotional responses from the viewer simply by changing an angle or deleting or extending portions of scenes.
Dawn of the Dead was a prime example of this — evidenced by the innumerable international cuts, and in some cases, their distinct differences in tone and flow. The film's music varies with each of the various cuts.
For Romero's theatrical version, musical cues and selections were chosen from the Music DeWolfe Library, a compilation of stock musical scores and cues. Romero chose these instead of live orchestration due to their cost efficiency. Incidentally, while Peter and Stephen attempt to close and lock the gates towards the film's end, the music playing is the same as that which accompanied the opening credits of Monty Python and the Holy Grail which also used selections from the DeWolfe Library.
Some of the music heard in the mall, as well, was actually unintentional. At 7am, the music would play over the loudspeaker. Instead of trying to avoid this — because the crew could not figure out how to turn it off — Romero used it in certain scenes. The music heard playing over the film's credits was actually not the mall's music — it was a song titled "The Gonk" — a polka style song with a chorus of zombie moans added over the background by Romero — from the DeWolfe Library. Goblin was a four-piece Italian band that did mostly contract work for film soundtracks.
Argento also credited himself with the band, though he was not involved in making the actual music, acting in more an "inspirational" role. Romero utilized three of these cuts in his version, saying later of Argento: "He was very respectful of my indicated intentions, following conceptually what I indicated on the scratch track a temporary score. It had a decidedly more "Italian" flavor than the American music. In the montage scene featuring the rednecks and National Guard, the song played in the background is called "Cause I'm a Man" by the Pretty Things — written in by Peter Reno.
The song is available on the group's LP Electric Banana. Tom Savini had a crew of eight one of whom was Joseph Pilato , who portrayed Captain Rhodes in Day of the Dead to assist in applying a gray makeup to about two to three hundred extras each weekend during the shoot.
The makeup for the multitudes of extras in Dawn was among the simplest ever conducted for a zombie movie.
Some extras were considered "special zombies" that were to be seen close-up or on-screen longer than others. These were caked with latex to suggest the wounds or bites that led to the person becoming undead. A number of appliances had to be ready for any given night. Savini sculpted scars and bite wounds onto a plastic photographic developing tray and poured into it hydrocal a mixture like plaster , thereby creating a negative mold of the Slab O' Wounds as Savini called his wound tray.
Then foam latex was poured onto the slab and the excess scraped away, before it went to an oven to bake. A few hours later, the foam latex appliances were ready to go. In any given scene, one can see the paint running off exposing the lips and natural skin color of the actor. Though extras came to the mall in civilian clothing, there were some extra measures taken by Savini to distinguish the hordes of ghouls.
Creating the bites on humans required Savini to cast the specific body part of the human in hydrocal.
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