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Set photos that’ll change the way you see horror movies

 Horror Movies have been freaking out audiences at least since 1896’s Le manoir du diable, using lighting, mood, and special effects to try to incite terror, suspense, and dread among their viewers. Additionally, master makeup artists and costume designers work together to create iconic nightmare fodder like Dracula, Frankenstein’s monster, Freddy Krueger, or even the leprechaun from Leprechaun if that’s what freaks your bean.

It turns out, however, that once you take away the spooky lighting, ominous music, and scary masks and makeup, a terrifying spectacle can easily become nothing more than just a bunch of people at work, having fun (sometimes) hanging out with the rest of the cast and crew, who are all in on the joke of their soundstage spookshow made by actors in tights covered in colored corn syrup. Few things can shatter the illusion of a spooky flick like behind-the-scenes photos of actors out of character, out of context, and out of costume. Here are some amusingly disillusioning set photos that will keep you from looking at iconic horror movies the same way ever again.

Freddy with a Walkman


 The 1980s were definitely the decade of the slasher with franchises like Halloween, Friday the 13th, and The Texas Chainsaw Massacre doing huge business on the back of their memorable, iconic killers. But while classic murder boys Michael Myers, Jason Voorhees, and Leatherface may inspire fear with their hulking forms and bladed weapons, none of them are exactly chatterboxes, making it hard for them to burst forth into leading man territory. Fortunately for the themed murderer community, one such charismatic figure would jump into the limelight in 1984 in the form of A Nightmare on Elm Street’s Fred “Freddy” Krueger.

As the franchise went on and expanded into TV shows and video games and a 900 number phone line (children, Google what this means), Freddy — always deftly played by Robert Englund — would become quippier and punnier until he basically turned into the 1980s version of a Deadpool without a mask and who did slightly less murdering. But before he became such a cuddly figure that his commercial warned children to ask their parents for permission before talking to him on the phone, that dude was, you know, a serial killer with wizard powers who was probably also a child molester.

That’s why it’s kind of jarring to see him chilling with the teens he would dream-murder while bumping 1984’s slappingest bops on a Walkman (children, Google what this means). And of course, the real irony is we know now that the actual monster, Johnny Depp, is standing behind him.

This actually way more terrifying shot of Gizmo




 The thing about most of these photos is that by tearing away the curtain of fantasy, they remind you that these monsters are just puppets or people in makeup who are going to eat a yogurt from craft services when the cameras stop rolling, thereby breaking the illusion and removing most of the horror. The problem with this shot from behind the scenes of 1990’s Gremlins 2: The New Batch is that it’s actually way scarier than anything in the movie. (Especially if you consider that Gremlins 2 was way more of a biting Hollywood satire mixed with goofball fourth wall-breaking farce than any legitimate attempt at horror.)

The adorable, non-evil mogwai Gizmo is arguably the hero and definitely the breakout star of the Gremlins franchise, so he’s generally meant to be cute rather than scary. But according to Prop Store, makeup artist Rick Baker’s team built a prototype human-sized suit for a small actor to fit into so Gizmo could walk around on camera. Thankfully, this idea was ditched and this horrifying, presumably child-eating suit that looks like the granddaddy of some Five Nights at Freddy’s nightmare never appeared on camera. At this point, the more disturbing thing is that someone actually bought this suit and it’s sitting in their house hopefully (please) in a storage case and not like on their body.

Gage Creed goofing around


 Creepy children are a genre staple for horror movies. Sometimes they’re the source of the horror, like the Grady twins in The Shining, or Damien Thorn in The Omen, or Sadako in Ringu, or Toshio in Ju-On: The Grudge, or the Midwich Cuckoos in Village of the Damned or infinity other examples. Or sometimes the children’s skin-crawling behavior is a sign that they are haunted or possessed and we feel afraid for them, like Regan MacNeil in The Exorcist or Danny Torrance in The Shining or Yoichi in Ringu.

One of the more memorable terrifying toddlers in film history is Gage Creed from the 1989 adaptation of Stephen King’s Pet Sematary, as played by 3-year-old Miko Hughes. Hughes’ performance as a dead child resurrected after being buried in accursed ground who slashes Herman Munster’s Achilles tendon and bites his throat out before murdering his own mother with a scalpel is so effective that it’s pretty easy to forget that he’s actually a (presumably) normal and not-at-all accursed preschooler behind the scarface makeup.

So it’s a little strange (and maybe more than a little relieving?) to see him in this behind-the-scenes shot just goofing around with toys. Is it a little worrying that the toy in question is a light firearm? Sure, yes. But it seems like even at that adorable child’s most malicious, he’s much less likely to shred throats with a flying disc gun than a scalpel.

Cuddling with the Pale Man


 2006’s Pan’s Labyrinth was arguably the film that made Guillermo del Toro a household name after cult horror films like Cronos and The Devil’s Backbone and comic book adaptations like Blade II and Hellboy. The film introduced to American audiences del Toro’s penchant for using movie monsters to address real-world social issues, a tendency that would ultimately win him best picture and best director Oscars for The Shape of Water. In the case of Pan’s Labyrinth, del Toro uses dark fantasy to create a dream world in which the horrors of fascist Spain under Francisco Franco are reflected by the horrors of, like, a big maze with monsters in it.

The monster who gives his name to the title is the Faun (this makes more sense if you know that the film’s title in the original Spanish is El Laberinto del Fauno, or if you know that the Greek god Pan was a faun, also known as a satyr), but the real nightmare star of the film is the Pale Man, whose “eyeballs in the palms” bit is probably the most memorable visual in the film. The actor behind the Faun would probably be mad that the Pale Man upstaged him if it weren’t for the fact that they were played by the same actor: Doug Jones. Jones is reportedly a very nice person despite his monstrous roles, so maybe it’s no surprise to see him showing some affection behind the scenes to makeup artist Montse Ribé.

Leatherface cheats at cards




 Look, you all know that Leatherface is not a nice person. You see him bludgeon heads with a sledgehammer, impale people through the chest with a meat hook, butcher human flesh for consumption by himself and his family, wear a mask made of human skin, and — of course — massacre people with a chainsaw. There is no shortage of crimes performed by the saw-wielding manchild of the Sawyer clan, but cheating at cards seems a bridge too far.

The Texas Chain Saw Massacre from 1974 is one of the most influential and beloved horror films ever made. Its sequel, 1986’s Texas Chainsaw Massacre 2, has something less of a critical consensus behind it, but its reputation has grown in recent years. Director Tobe Hooper wanted the second film to expand on the black comedy elements of the first film, so the sequel really amps up the satire as well as the gore to make something almost as over the top as the first film is understated. (Despite its title, only two people get killed with a chainsaw in the first film, and one of them is off-screen.)

That spirit of fun really shows in these behind-the-scenes photos, and especially in the above shot where you can see Leatherface (played in the sequel by Bill Johnson) playing cards with his brothers the Cook (Jim Siedow) and Chop Top (Bill Moseley) in a game that seems to have gone somewhat awry. Presumably that was a crazy game of poker.

Babyraiser


 The Hellraiser franchise is made up of (currently) ten films that are about, uh … *deep sigh* … sex demons from another dimension in leather gear with elaborate body mods that steal people’s souls via dark and edgy Rubik’s Cubes so they can do experiments to them? And one of them *deepest, longest sigh* throws CDs like ninja stars? Look, not every horror franchise is for everyone.

Anyway, easily the most recognizable character from this Hot Topic mishmash of a franchise is Pinhead, the leader of the Cenobites (the facially pierced bondage demons), portrayed in the first eight (!) films by Doug Bradley. You can recognize Pinhead because he’s the one with, you know, the pins in his head.

According to Birth Movies Death, while promoting Hellraiser III in 1992, Bradley was walking through New York in full makeup and costume so he could present a spooky Rubik’s Cube to Planet Hollywood. Naturally, his presence drew quite a crowd, and at some point one of the dozens of people following him down the street asked him to take a picture holding their baby. Bradley refers to this as “Pinhead running for President.” (Thankfully for Pinhead, sex evil has never been a disqualification from that particular office.)

The weird thing to think about is that that baby is now fully adult and probably wondering why their parent gladly handed them over to a demon that looks like he rolled around in Marilyn Manson’s trash.

Another less than frightening Freddy


 Wes Craven’s A Nightmare on Elm Street ended up exploding into a massive franchise that comprised nine films including a remake and a crossover with Friday the 13th, a television series, novelizations, comic books, video games, and now two entries on this list. And out of all of that, the general consensus is that most of it is Not Very Good. The first film is a classic. The seventh installment, Wes Craven’s New Nightmare, is well-regarded meta-horror that was an important step toward Craven’s later film Scream, perhaps the most influential horror film of the 1990s. And fans of Renny Harlin’s particular brand of madness will stump for part 4, The Dream Master. But pretty much everyone agrees that out of all the sequels, the best one is part 3, The Dream Warriors.

One of the most important additions to the Elm Street mythos in this film is the role of Kristen Parker — portrayed by Patricia Arquette — a young woman with the ability to summon other people into the dream world at will. And one of the most famous scenes in Dream Warriors is the one in which Freddy appears as a giant snake that tries to swallow Kristen whole until serpentine Freddy is stabbed with a shard of glass and pukes Kristen up.



As cool as that scene is, it’s somewhat undercut by the above shot of Arquette not at all bothered to be halfway down Freddy’s gullet.

Creeping on the King


 The horror anthology film is a time-honored tradition that stretches at least as far back as 1919’s Unheimliche Geschichten (aka Eerie Tales). High points include 1945’s Dead of Night; the ’60s and ’70s contributions of Dr. Terror’s House of Horrors, The House That Dripped Blood, and the staggering Kwaidan; and modern films like the V/H/S series and Southbound. But one of the best known and best loved horror anthologies continues to be the original Creepshow from 1982. Written by horror’s most famous and prolific author, Stephen King (based partially on some of his short stories) and directed by George “Not Just Zombies” Romero, the movie is a loving homage to the horror comics of the 1950s, blending horror and dark humor into a satisfying package.

The film’s cast includes many notable faces, such as Hal Holbrook, Adrienne Barbeau, and Ted Danson, but one notable role was played by King himself. King appears in the film’s second segment, “The Lonesome Death of Jordy Verrill,” based on his short story “Weeds.”

Night of the Living Color


 George A. Romero’s 1968 classic Night of the Living Dead is one of the most influential horror movies of all time, completely reinventing the popular conception of zombies from their origin as mind-controlled slaves of a voodoo master to the shambling hordes of the undead that still show up on The Walking Dead sometimes. Furthermore, the movie would go on to inspire literally dozens of sequels of various levels of legitimacy, from Romero’s own Dawn of the Dead and follow-ups to the comedic Return of the Living Dead series to the Italian Zombi series to numerous remakes. It’s so complicated you literally need a flowchart to follow it.

One of the key elements to the tone of the film is its stark black and white photography, which was partially due to budgetary issues but also because Romero thought black and white made the blood feel more real. That’s why it was so shocking to see a collection of behind-the-scenes photos from NotLD in full color. The scenes of cast members chilling on picnic blankets or of Barbra and Johnny in the graveyard seem way cheerier and less ominous in full color. “They’re coming to get you, Barbra … to take you to the mall for an Orange Julius!”

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