Larry Talbot


Even a man who is pure in heart, and says his prayers by night;
may become a wolf when the wolfbane blooms and the autumn moon is bright.

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Monster Gallery: The Wolf Man (1941)

Monster Gallery: The Water Horse (2007)



The Water Horse director Jay Russell first developed the appearance of Crusoe, the titular creature of the film, with concept artist Matt Codd. The core concept was to have a design that would channel the classic depictions of the Loch Ness Monster — like the iconic 1934 photo hoax by surgeon Robert Wilson. “We felt that since we were creating our own version of this legend we wanted to have something unique.” Russell and Codd also attempted to make the creature a realistic, animal-like character, that would have a familiar element to it.

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Monster Gallery: The Gate (1987)

Demons of the Gate


gatedemonlordpuppTo unleash the demons of The Gate, director Tibor Takacs needed the right special effects artist — and he found Randall William Cook. “When you talk to special effects people, a lot of them talk about limitations,” Takacs told Cinefex. “‘Well, you can’t do this and you can’t do that.’ But with Randy Cook it wasn’t like that at all — he talked about possibilities.” The Gate offered Cook the opportunity to use a wide array of different effects techniques. In his task, he was aided by Craig Reardon (for creature effects), Frank Carere (physical effects) and Illusion Arts (mattes and opticals).

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Monster Gallery: Critters (1986)



Although Critters was released two years after Joe Dante’s Gremlins, director Stephen Herek maintains that the script for the film was originally written by Dominic Muir far before Dante’s film entered production; Gremlins did, however, serve as a catalyst to greenlight Critters: Herek unsuccessfully attempted to sell his project to various studios, but it was only after the release (and considerable success) of Gremlins that New Line Cinema was willing to produce it. Herek thus had to heavily modify Muir’s script in order to significantly decrease the similarities between the two stories.

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Monster Gallery: Big Trouble in Little China (1986)

Guest Stars: Monsters in Chinatown


To bring to the screen the creative Monster effects of his long-sought martial arts film, John Carpenter hired Boss Film Studios, headed by Richard Edlund. “Twentieth Century Fox had a very good relationship with Richard Edlund and Boss Film,” Carpenter said, “and I’ve always been impressed by their work — so we decided to go with them. When Richard — who is an extremely professional, extremely talented man — and his people came in, their ideas and input melded together with mine and we were in business.”

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