Title:
Method and System for Haunted Entertainment Attraction Using Movie Artifacts
Kind Code:
A1


Abstract:
A method and apparatus for providing an educational and entertainment attraction that also provides a museum for horror, science fiction and fantasy movie artifacts. The attraction being centered on museum education of movie history in addition to also using visual and/or audio materials designed to frighten audiences. The attraction including at least one interior exhibit hall and at least one movie artifact positioned within the interior exhibit hall in conjunction with its source movie to frighten a person passing through the interior exhibit hall on a pathway.



Inventors:
Correll, Richard (Los Angeles, CA, US)
Application Number:
12/471920
Publication Date:
03/25/2010
Filing Date:
05/26/2009
Primary Class:
International Classes:
A63G31/00; E04H3/00; E04H14/00
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Related US Applications:



Primary Examiner:
NGUYEN, KIEN T
Attorney, Agent or Firm:
Mark E. Ungerman (Ungerman IP PLLC 2305 Calvert St. NW, Washington, DC, 20008, US)
Claims:
What is claimed is:

1. An educational and entertainment attraction that also provides a museum for horror, science fiction and fantasy movie artifacts, comprising: an exterior hall with an entrance for a person to enter into the exterior hall; at least one interior exhibit hall in the exterior hall; at least one movie artifact positioned in the interior exhibit hall to show how the artifact was used in a movie to frighten and entertain an audience; and a pathway leading from the entrance to the interior hall for the person to follow into and through the interior exhibit hall.

2. The education and entertainment attraction according to claim 1 wherein there are more than one of said interior exhibit halls, said interior exhibit halls include movie artifacts for a Lou Chaney Hall, a Graveyard Hall, a Mausoleum Hall, a Body Bags Hall, a Frankenstein Laboratory Hall, an Egyptian Set Hall, an Werewolf Set Hall, a Black Lagoon Hall, a Cavalcade of Sci-Fi Hits Hall, a Possessed Hall, a Poster Hallway, an Alien Set Hall, a Hall of Heads, a Lobby Cards Hall, a Rogues Gallery, a Madmen Set Hall, a Hannibal's Mind of Madness Entrance to a Clown Room, Skeleton Room, Spider Web Room, Bloody Kitchen, Brick Wall Corridor, Family Plot and Gothic Chamber, and a Texas Chainsaw Massacre Maze.

3. The educational and entertainment attraction according to claim 1 wherein the artifact is set out in a display featuring a three-dimensional visual presentation for a viewer of the display.

4. The educational and entertainment attraction according to claim 1 wherein the movie artifact is mounted to be moved from a stored position to a position nearer a viewer of the artifact.

5. The education and entertainment attraction according to claim 1, comprising: a speaker and sound system, with the speaker mounted in the interior exhibit hall to project sound into the interior exhibit hall.

6. The education and entertainment attraction according to claim 1, comprising: a carriage mounted on the pathway to transport the person from the entrance to the exterior hall and through the interior exhibit hall.

7. The education and entertainment attraction according to claim 1, comprising: at least one wall barrier positioned at an end of the interior exhibit hall, and the wall barrier including an archway through which the person can enter or exit the interior exhibit hall.

8. A method for providing an education and entertainment attraction that also provides a museum for horror, science fiction and fantasy movie artifacts, the method comprising: providing an exterior hall having an entrance for a person to enter into the exterior hall; selecting and positioning at least one movie artifact in the interior exhibit hall to show how the artifact was used in a movie to frighten and entertain an audience; and, providing a pathway from the entrance to the exterior hall for the person to follow into and through the interior exhibit hall.

9. The method according to claim 8 wherein there are more than one of said interior exhibit halls, said interior exhibit halls includes movie artifacts for a Lou Chaney Hall, a Graveyard Hall, a Mausoleum Hall, a Body Bags Hall, a Frankenstein Laboratory Hall, an Egyptian Set Hall, a Werewolf Set Hall, a Black Lagoon Hall, a Cavalcade of Sci-Fi Hits Hall, a Possessed Hall, a Poster Hallway, an Alien Set Hall, a Hall of Heads, a Lobby Cards Hall, a Rogues Gallery, a Madman Set Hall, a Hannibal's Mind of Madness Entrance to a Clown Room, Skeleton Room, Spider Web Room, Bloody Kitchen, Brick Wall Corridor, Family Plot and Gothic Chamber, and a Texas Chainsaw Massacre Maze.

10. The method according to claim 8, further comprising providing a three-dimensional visual presentation for a viewer of the artifact set out in a display.

11. The method according to claim 8 further comprising providing a movable mount for the artifact to move the artifact from a stored position to a position nearer a viewer of the artifact.

12. The method as in claim 8, further comprising: providing a light source mounted in the interior exhibit hall to illuminate the horror movie artifact.

13. The method as in claim 8, further comprising: providing a speaker and sound system, with the speaker mounted in the interior exhibit hall to project sound into the interior exhibit hall.

14. The method as in claim 8, further comprising: providing a carriage mounted on the pathway to transport the person from the entrance to the exterior hall and through the interior exhibit hall.

15. The method as in claim 8, further comprising: providing at least one wall barrier positioned at an end of the interior exhibit hall, and the wall barrier including an archway through which the person can enter or exit the interior exhibit hall.

Description:

BACKGROUND OF THE INVENTION

I. Field of the Invention

The present invention relates generally to entertainment attractions, and, more specifically, to entertainment attractions centered on horror, science fiction, i.e., sci-fi, and fantasy movie artifacts, which were used in the movies to entertain audiences.

II. Description of the Prior Art

Entertainment attractions intended to frighten patrons with visual and/or audio materials—such as skeletons, ghost images, screams, costumed characters, scary music, strobe lighting, etc.—are known. These prior attractions are designed using images, lighting and/or audio materials that in a context of frightening audiences are generally known to the public, but materials so used do not necessarily have any historical background. In some instances there is a historical background such as attractions centered on actual events. These historical based attractions can take their themes from crime events such as the Boston strangler, known axe murders, etc. The theme purposes for even these historical attractions, however, is entertainment, with maybe only some passing reference to suggested historical events, not histories of entertainment. In being exclusively directed to entertainment with passing reference to historic events they are fabricated attractions do not use actual historic materials.

SUMMARY OF THE PRESENT INVENTION

A primary object of the present invention is to provide an entertainment attraction that could be the basis of a theme park centered on haunted, sci-fi, and fantasy entertainment attractions.

Another object of the present invention is to provide an entertainment attraction developed using actual movie artifacts, film props, costumes and historic publicity materials from original movies.

Yet another object of the present invention is to provide an entertainment attraction having a plethora of activities and exhibits that are educational and fun in the context of entertainment arising from haunted movie themes.

The foregoing and other objects including other advantages are realized in an interactive retail entertainment attraction of the present invention using an extensive collection of film used artifacts. The present invention showcases the film used works of the film industry's accomplished special effects artists in an atmosphere directed to educate, entertain and promote the human attraction to fantasy, science fiction and horror films from their inception to the present day.

Entrances to show cases of the present invention can be guarded by animatronic creatures that can interact with patrons as they pass by. When patrons enter the showcases of the present invention, they find themselves in themed areas populated with animated and static creatures and creatures from films representing, for example, super hero, classic horror, fantasy/science fiction, jungle/dinosaur, medieval/castles, etc., themes. Animatronic characters also are in the different theme areas and interact via remote control with patrons. Computer controlled theatrical lighting and special effects further enhance the scenic elements.

An attraction kiosk can be included with the showcases of the present invention. Patrons can make reservations to enter the show cases using the attraction kiosk. At appointed reservation times, patrons can walk unescorted through a chronological history of special effects films. The showcases of the present invention include fully themed scenes inhabited with film used props and static and animated characters from the 1920's to the present. Each scene is arranged and animated to come to life to startle, scare and entertain patrons as they scream, laugh and marvel at the iconic film favorites that come to life in the scenes. The walk through the scenes is an interactive walk that includes actors, computer generated effects, pneumatic, sound and lighting effects.

BRIEF DESCRIPTION OF THE DRAWING FIGURES

In order that the invention may be more fully understood, it will now be described, by way of example, with reference to the accompanying drawings in which:

FIG. 1 is an illustrative view of an aspect of the present invention; and,

FIG. 2 is an illustrative view of another aspect of the present invention.

DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENT

The following discussion describes in detail an embodiment of the invention (and several variations of that embodiment). This discussion should not be construed, however, as limiting the invention to those particular embodiments, practitioners skilled in the art will recognize numerous other embodiments as well. For definition of the complete scope of the invention, the reader is directed to the appended claims.

FIG. 1 is an illustrative view of an aspect of the present invention designated by the general reference numeral 10. The present invention 10 is contained in an exhibit hall like room 12. This hall like room 12 preferably has an interior darkened floor 14, ceiling and walls 16 extending from a hall entrance 18 where persons 20 can enter the hall 12. In the shown embodiment, there is a pathway 22 through the hall 12 that persons 20 entering can follow. To facilitate the persons 20 being able to safely walk through the hall 12 there can be track lighting (not shown) installed along the pathway 22 through the hall 12. As an alternative embodiment, a wheeled or other movable carriage 24 having bench seats can be used by persons 20 entering the hall 12 so they can be moved through the hall 12.

Along the pathway 22 through the hall 12 are wall barriers 26 with archways above the pathway 22. These wall barriers 26 also are painted in dark colors such as black. Within each of several interior exhibit halls 30 defined by wall barriers 26 are mounted, suspended or otherwise configured movie artifacts 32 from horror movies. Examples, but not an exhaustive list of movie artifacts 32 include artifacts from jungle/jurassic movies, medieval/castle movies, monster movies, science fiction movies, super hero, e.g. spiderman, superman movies. To facilitate effects of these horror movie artifacts 32 both projected lighting 34, such as strobe lighting, and audio enhancements from speakers 36, such a screams, and appropriate music, are projected. The timing, lighting intensity and sound volume of these sensory effects are coordinated with the movement of persons 20 through the interior exhibit halls 30 within the attraction hall 12. Thereby, as persons 20 move through the attraction hall 12 and enter different interior exhibit halls 30, the lighting and sound effects from the previous interior exhibit hall 30 are reduced so that the persons 20 entering the next interior exhibit hall 30 can be entertained by the included horror movie artifacts 32, light and sound effects used to present such horror movie artifacts 32 in that particular interior exhibit hall 30 where the persons 20 then are located.

Either before persons 20 enter the attraction hall 12 or after persons 20 exit the attraction hall 12, there can be both further halls (not shown) where the history of the utilized horror movie attractions 32 are described in displays for educational purposes, and further displays are included for describing the development and history of the horror movie genre, including principal actors and directors who performed and produced these movies. Additionally, a gift shop (not shown) can be included on the premises where items related to the theme of the horror entertainment genre can be purchased by the public.

FIG. 2 is an illustrative view of another aspect of the present invention where multiple showcases are designated by the general reference numeral 38. The showcases 38 are set up as an interactive virtual walk-through museum of horror, sci-fi and fantasy film history. Displayed with explanatory labels are film artifacts including masks, effects heads, original screen-used figures, props, etc. Pneumatic, sound, lighting and 3-dimensional visual effects are used to argument the reality of the experience for patrons to be enveloped within film experiences. The film artifacts are depicted in realistic sets along with individual soundtracks and lighting effects.

The showcase 38 is designed for patrons to walk through at their own pace. Accordingly, patrons can bypass slower moving patrons and can be passed if they want to spend more time at an exhibit.

A patron or person 20 starts by entering showcase 38 through entrance 40, and proceeds to the center of LON CHANEY SR.'S MAKE-UP ROOM 42. Seated there can be a full-size figure of Mr. Chaney Mr. 44 made from his own life-cast. The Chaney Sr. FIG. 44 is seated by a make-up kit and several busts of notable characters from silent films. For example, full-size figures of the Phantom of the Opera (1924) 46, the Hunchback of Notre Dame (1923) 48, and “the Man in the Beaver Hat” from London After Midnight (1927) 50. An AIR CANNON (not shown) can be fired at the Phantom's feet to send the person 20 toward the next exhibit.

The person 20 can next pass into a GRAVEYARD SET 52. Standing in a fog is the infamous figure of Nosferatu (1922) 54, followed by the screen's famous vampire, Bela Lugosi 56, in Dracula (1931). The person 20 can next enter a MAUSOLEUM 58 where full size figures of other “Draculas” hide in the shadows . . . Christopher Lee 60, Horror of Dracula (1957), and Gary Oldman 62, Bram Stocker's Dracula (1992). Even Barbara Steele 64, Black Sunday (1961), and Carol Borland 66, Mark of the Vampire (1935), show off teeth in this exhibit. Additionally, PNEUMATIC CORPSES (not shown) can start to fly out of coffins 68, reaching out as the “room of the dead” comes to life.

The person 20 now can pass through a corridor of HANGING BODY BAGS 70 a most “disturbing” part of the journey. Not only does the person 20 have to weave their way through body bags 70, but without warning, several of them will “kick” and “squirm around.” The person 20 can now enter the FRANKENSTEIN LAB SET 72. This Laboratory 72 uses original movie props, and it includes the movie prop, ELECTRICAL EQUIPMENT. Standing at 6′11″ is a full size figure of Boris Karloff from Frankenstein (1931) 74. Also present are Basil Rathbone from Son Frankenstein (1939) 76, and Elsa Lanchester from Bride of Frankenstein (1935) 78. The Monster, as portrayed by Christopher Lee in Curse of Frankenstein (1957) 80, is also there, along with Robert Deniro's full body costume from Mary Shelley's Frankenstein (1994) 82. Even Glenn Strange from Abbott and Costello Meet Frankenstein (1948) 84 and Peter Boyle from Young Frankenstein (1975) 86 are looming in the darkness. An operating table 88 covered only in “body parts” suddenly comes alive when one of the BLOODY APPENDAGES lunges out.

The person 20 next arrives at the EGYPTIAN SET 90 featuring both the old and new versions of The Mummy, (1932)-(1999). The wrapped, wilted figure of Boris Karloff 92 as Im-Ho-Tep stands braced against a sarcophagus wall. This full size figure is created from Karloff s own life-cast. The person 20 then notices a new version, half way through its mummy-to-man transformation and surrounded by all its sacred COCKROACHES (not shown). Another SARCOPHAGUS flies open as a third MUMMY 94 lunges out. It's not over yet: the exit leads the person 20 through a maze of ancient COBWEBS 96.

Onto the WEREWOLF SET 98. The tour here begins with what looks like part of a bedroom, where a full figure of Lon Chaney Jr. 100 sits in a large armchair. Chaney 100 then transforms from the character of Lawrence Talbot, into the Wolfman (1941). As we continue on, we pass Henry Hull from Werewolf of London (1935) 102, Michael Landon from I Was a Teenage Werewolf (1957) 104, several heads from an American Werewolf in London (1981) 106 and two full size werewolves from The Howling (1981) 108. Out of the floor of the room pop up two more PNEUMATIC WOLFMEN 110, snapping at the feet of person 20.

The Creature From the Black Lagoon (1954) SET 112 is next. Here, the person 2 passes by a glass case 114 filled with original molds and costume pieces from this cult classic, as well as a full size statute of “The Creature” 116 from the studio's original molds.

Now the person 20 enters a room featuring the CAVALCADE OF 1950'S SCI-FI HITS 118. Some of the most recognizable and camp creatures from '50s horror films live here: the Metaluna Mutant from This Island Earth (1956) 120; The Colossus of New York (1958) 122, both Vampira 124 and Tor Johnson 126 from Plan 9 from Outer Space (1956); a Saucer man 128 from Invasion of the Saucer Men (1957); the Monster on the Campus (1958) 130; the creature from I Was a Teenage Frankenstein (1957); and even a James Arness likeness 132 in full costume and make-up from The Thing (1951). As the “50s tour” continues, the person 20 comes to a narrow HALLWAY 134 of original VINTAGE 50'S MOVIE POSTERS hung on either side. What the person 20 does not realize is that behind several of them are the same monsters 136 depicted in the posters. These posters have been designed to “fall,” allowing the monsters to lunge at the person 20.

The person 20 now crosses under a “666” sign and into the POSSESSED ROOM 138. It looks like a nursery that's been home to some very nasty children. In the center sits the effects dummy from The Exorcist (1973) 140. The bed 142 starts to shake and bounce off the ground as the dummy 140 starts to turn its head 360 degrees. The person 20 also sees a full size figure of Pumpkinhead (1988) 144, Pinhead from Hellraiser (1987), and two different: Chucky” dolls from Child's Play 2 (1990) and Bride of Chucky (1998) (not shown). Damien 148 from The Omen (1976) is there, too. On the floor our eyes are drawn to two Gremlins (1984) 150 and four Critters (1986) 152, making lunch out of a loose body part. Best of all, as we stare at the items on the floor, a giant 8 foot wing span BAT 154 flies out of the ceiling and stops a foot in front of our faces. A guaranteed scream-getter.

Next up, the ALIEN SET 156. In what looks like a foreboding, deserted space station, we're greeted by the 9 foot “Host Alien” 158 from Independence Day (1996) that pneumatically swings its 12 TENTACLES. This, followed by a blast of a CO2 cloud, makes everyone a bit nervous to continue. But we do, and come face to face with one of the collection's most amazing pieces the giant 16 foot “Queen Alien” 160 from Aliens (1986). Just seeing this amazing screen-used film prop alone is worth the price of admission. But more warrior aliens 162 from Alien 3 (1992) and Alien 4 (1997) are still lurking in the shadows, as is Sil 164 from Species (1995). The disgusting “Spider Head” 166 from The Thing (1982) is also there. A pneumatic alien “Face Hugger” 168 looks safe enough in its glass case environment, until it jumps at us. For comic relief, there are even five original aliens 170 from Mars Attacks (1998). Now the person 20 comes to one of the most amazing exhibits ever displayed—the HALL OF HEADS 172. Here, over 1300 masks and effects heads 174 line two sides of a 40 food hallway . . . top to bottom. Probably the largest and finest collection of its kind, this incredible walk-through represents every facet of horror, leaving us both terrified and awestruck. Of course, letting no opportunity for a good scare go by, some of these heads aren't just displays-but “fly” off the wall, taking us all by surprise.

LOBBY CARD HEAVEN 176 is next. It's another narrow hallway lined on both sides with over 3000 lobby cards 178 encompassing the complete range of the history of horror and sci-fi movies from 1911 through 2002. A simply mind boggling display. On to the ROGUES' GALLERY 180. Here, another group of full size figures from notable horror movies stand alongside glass cases featuring props from their films. Terminator 2 (1991) is there with original endoskeleton parts. A Batman (1989), Batman Returns (1992), and Batman Forever (1995) display has props and costumes from those films. The huge Predator (1988) shows off its armor and other pieces from that series. Robocop (1986), Beetlejuice (1988), Army of Darkness (1993), Dr. Jekyll and Mr. Hyde (1932), Salem's Lot (1984), X-Files (1998), Blade (2000), The Dawn of the Dead (1978), The House of Wax (1952), Jeepers Creepers (2001), The Elephant Man (1980), Star Trek 3 (1984), The Invisible Man (1932), Dick Tracy (1990), Lord of the Rings (2001), Planet of the Apes (1968-2001), and The Hunchback of Notre Dame (1939) are there to name a few, as a full Star Wars (1977-2003) display featuring Darth Vader, C3PO, Boba Fett, Storm Troopers and Darth Maul.

The next stop is probably the most frightening: The MADMEN SET 182. Here, some of the screen's weirdest psychos reside. We cautiously pace through a musty old basement by statues (or are they) of Jack Nicholson from The Shining (1980), Jason from the Friday the 13th series (1980-1990), and Michael Meyers from the Halloween series (1978-2001). Norman Bates is there too, Psycho (1961), seated in his dead mother's rocking chair, as she lies at his feet. Of course, we can't forget Freddy Krueger, who stands next to a display case featuring various versions of his make-up and several “razor-gloves” from the Nightmare on Elm Street series (1984-1993). Lastly, the person 20 sees the most famous madman of all, in the most familiar set. We're standing across from a glass-encased, stone-lined JAIL CELL 184. We've come face to face with Anthony Hopkins as Hannibal Lecter from Silence of the Lambs (1991). He is wearing a straight jacket and the movie's famous “muzzle-mask”. As we move in for a better look, a BODY 186 falls out of the ceiling and SNAPS to a stop revealing a noose around its neck. Just another inmate that Lector drove to suicide.

The person 20 now enters HANNIBAL'S MIND OF MADNESS 188. We've now entered an exhibit that only the most depraved mind could have imagined . . . and one of the wildest walk-throughs ever. Completely in 3-D, this horrifying interactive exhibit features a:

  • 1.CLOWN ROOM 190, where various clowns, a giant jack-in-the-box, clown shoes and circus props all come to life and chase after us.
  • 2. SKELETON ROOM 192, where 3-D skeletons of all shapes and sizes float past and over our heads, freaking us out.
  • 3. SPIDER WEB ROOM 194, where blasts of CO2, 3-D webs, and giant spiders torment even our bravest patrons. Aracnophobes beware!
  • 4. BLOODY KITCHEN 196, where someone with a strange taste in cuisine has left body parts not only in the pots and pans, but all over the floor and walls. A loud bloody CUISINART springs to life.
  • 5. BRICK WALL CORRIDOR 198, where several victims have been walled-up to the “last brick”, and only their eyes are left to peer through the darkness. Watch out though, behind loose bricks may be clutching hands.
  • 6. FAMILY PLOT 200, where Hannibal's garden is growing all kinds of weird plants. The “fertilizer” he uses is quite unorthodox, made up of various grizzly innards. One of the bodies is not “resting in peace” so well as it springs out of the moldy ground at our faces.
  • 7. GOTHIC CHAMBER 202, one of the most amazing 3-D exhibits ever. We find ourselves walking down the middle of a room where the walls and ceiling rock, propelling 3-D corpses over and around us as various bony hands grab at our feet. Unbelievable!

THE LAST STRAW. So we got through okay, right? Wrong. Just as we start to catch our breath and head for the final exit, Leatherface 204, from the Texas Chainsaw Massacre (1974), runs after us with his famous SCREECHING CHAINSAW. We leave the same way we came in . . . terrified, but having a great time and ready to get in line again.

Also attached are two further drawings showing features for the invention.

While certain novel features may have been shown and described and are pointed out in the annexed claims, it is not intended that covered subject matter be limited to the details set out above, since it will be understood that various omissions, modifications, substitutions and changes in the forms and details of the subject matter illustrated and in its operation can be made by those skilled in the art without departing in any way from the spirit of the present invention.

Without further analysis, the foregoing will so fully reveal the gist of the present invention that others can, by applying current knowledge, readily adapt it for various applications without omitting features that, from the stand point of prior art, fairly constitute essential characteristics of the generic or specific aspects of the invention.





 
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