Welcome to another episode of You Must Remember This.

The podcast dedicated to exploring the secrets and or forgotten histories of Hollywood's

first century. Part of the Panoply Network. I'm your host, Karina Longworth.

This is the final episode of our second season, which has been devoted to stories loosely

or not so loosely related to photographs in my book, Hollywood Frame-by-Frame.

The book features contact sheets printed from still-photo negatives, taken on the sets

of movies between 1951 and 1997, more or less the entire period in which 35-millimeter

negatives were the primary capture medium for still-photographs used to promote movies.

So while the bulk of the book features golden-era stars like James Dean, Montgomery Clift,

and Marilyn Monroe, the final chapter of the book contains images shot on the sets of

movies like Fatal Attraction, Days to Confused, and a number of shots from the 1993 set of The Crow.

The Crow is seemingly the antithesis of classic Hollywood. In fact, as a dark comic book

source drama which became a franchise, it would seem to have more in common with 21st century

Hollywood. But the story of The Crow is not just the story contained within the movie itself.

There's a famous quote attributed to French director Jacques Revette that every fiction

film is a documentary of its own making. That idea hangs particularly heavy over The Crow,

a movie about a young, promising rock star who's killed and then rises from the grave

to wield more power in death than he had in life. It was also a movie on the set of which

the promising movie star playing the lead role was killed while the cameras were rolling

on his character's death scene. That actor was brand-in-le, and his death seemed at least

initially not just impossibly cruel, but also such a freak occurrence that instigated

rumors of a conspiracy or even a curse. Not least because it happened almost exactly

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