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Texas Chainsaw Massacre: The Next Generation (originally known as The Return of the Texas Chainsaw Massacre) is a 1994 independent American comedy-horror film written and directed by Kim Henkel, and starring Renée Zellweger and Matthew McConaughey, both before they became mainstream stars. The film is a loose remake of and quasi-sequel to the original The Texas Chain Saw Massacre (1974), which Henkel had co-written with Tobe Hooper. It only has loose connections to the previous two sequel films, which are mentioned in the film's opening prologue as "two minor, yet apparently related incidents" which happened after the events of the original film.
The plot centers on a group of teenagers who find themselves in a secluded area of forest on their prom night, only to cross paths with a family of murderers, among them the chainsaw-wielding Leatherface. The movie was filmed in Pflugerville, Texas in 1994 on a budget of $600,000, and was released at several film festivals under the title, The Return of the Texas Chainsaw Massacre. It was then shelved for several years, and was re-cut and released under the title, Texas Chainsaw Massacre: The Next Generation in late summer 1997, after its
The Texas Chain Saw Massacre is a 1974 American independent horror film directed and produced by Tobe Hooper, who cowrote it with Kim Henkel. It stars Marilyn Burns, Paul A. Partain, Edwin Neal, Jim Siedow, and Gunnar Hansen, who respectively portray Sally Hardesty, Franklin Hardesty, the hitchhiker, the proprietor, and Leatherface, the main antagonist. The film follows a group of friends who fall victim to a family of cannibals while on their way to visit an old homestead. Although it was marketed as a true story to attract a wider audience and as a subtle commentary on the era's political climate, its plot is entirely fictional; however the character of Leatherface and minor plot details were inspired by the crimes of real-life murderer Ed Gein.
Hooper produced the film for less than $300,000 and used a cast of relatively unknown actors drawn mainly from central Texas, where the film was shot. The limited budget forced Hooper to film for long hours seven days a week, so that he could finish as quickly as possible and reduce equipment rental costs. Due to the film's violent content, Hooper struggled to find a distributor. Louis Perano of Bryanston Pictures eventually purchased