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“Ultimately, it looked like


a bear,” confesses Attias. “The werewolf was very late in being designed, and Carlo [Rambaldi] was given very little time or money to work on it. In fact, it was so late that we had already started filming before we had the suit, so we starting shooting scenes without it. I tried to make sure the audience would see it as little as possible.” The coy approach with


In a nod to Universal make-


A wolf in priest’s clothing. Lester “Lycan” Lowe getting ready for a baptism in blood.


the monster would prove a challenge, considering the call from the top for more of the bloody stuff. “De Laurentiis insisted that I reshoot things so there was more violence in it. Like the scene where the pregnant girl was killed… he really wanted clips of the claws ripping her flesh and all that, so I could only hide ‘the bear’ so much.” Scenes of the lynch mob being picked


off one-by-one in a foggy swamp, the church full of howling werewolves, and Marty’s terrifying late night encounter


with his pursuer are memorable, but Attias is particularly proud of how he ended up uncovering the monster. “I was very pleased with the way I revealed the werewolf’s identity after Marty shoots it in the eye. I love the sequence where Jane is going around collecting cans, looking for who might be wearing an eye patch, and then we dolly over and make the reveal. You never suspect [the person responsible for the murders] until that moment.”


up man Jack Pierce’s work on the groundbreaking, Lon Chaney Jr.-starring WOLF MAN (1941), the final wolf transformation in SILVER BULLET was done by dissolve. The process, a series of stills faded into each other to indicate passing of time and changes to the subject on screen, proved to be just as effective in the 80s as it was in the 40s, and revealed the ultimate humanity beneath the beast. While the film was released


to lukewarm reviews, audiences turned out in support, and the unassuming little film from a first (and only) time director has managed to claw its way into the collective hearts of genre fans the world over, even making one out of the normally horror-shy director. “I was not a genre fan coming into the project, but I am really drawn to things outside my comfort zone because they challenge me. SILVER BULLET challenged me, and it was nice.”


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