DOUBLE FEATURE RETROSPECTIVE – Waxwork (1988)/Waxwork II Lost in Time (1992)

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SUMMARY
In a small suburban town, a group of high school students–Mark Loftmore (Zach Galligan), China Webster (Michelle Johnson), Sarah Brightman (Deborah Foreman), Gemma (Clare Carey), James (Eric Brown) and Tony (Dana Ashbrook)visit a mysterious wax museum, resulting from Sarah and China’s earlier encounter with a taciturn gentleman (Warner) who claims to own the exhibit and extends them an invitation. There, they encounter several morbid displays, all of which contain stock characters from the horror genre. Tony and China unintentionally enter two separate pocket worlds, as depicted by the waxwork displays, by crossing the exhibition barrier rope. Tony is at a cabin where a werewolf (John Rhys-Davies) attacks him. A hunter and his son arrive and try to kill the werewolf. The son fails and is torn in two, while the hunter shoots the werewolf, then shoots Tony as he begins to transform into a werewolf. China is sent to a Gothic castle where vampires attack her, and Count Dracula (Miles O’Keeffe) turns her into a vampire. Two of the other students, Mark and Sarah, leave the waxwork unscathed. Later, Jonathan (Micah Grant), “a college jock”, arrives at the wax museum looking for China, but The Phantom of the Opera display gets his attention as David Lincoln (David Warner) walks him into the display. Mark goes to a pair of investigating police detectives. He and Inspector Roberts (Charles McCaughan) meet Lincoln as he lets Roberts investigate the waxworks. As Mark and Roberts leave the museum, Mark recognizes Lincoln.

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Later, Roberts realizes that some of the displays look like some of the other missing people, then comes back to the wax museum, cuts off a piece of China’s face (revealing black tissue underneath), puts it in a bag, and walks into the mummy display; the mummy throws him in the tomb with another undead mummy and a snake. Later, Roberts’s partner sneaks into the museum, and gets his neck broken by Junior (Jack David Walker), “a tall butler” Lincoln scolds for killing the partner.

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Mark takes Sarah to the attic of his house, where he shows her an old newspaper detailing the murder of his grandfather (which was seen in the prologue); the only suspect was David Lincoln, his chief assistant, whose photograph closely resembles the waxwork owner. The two then consult the wheelchair-bound Sir Wilfred (Patrick Macnee), a friend of Mark’s grandfather, who explains how he and Mark’s grandfather collected trinkets from “eighteen of the most evil people who ever lived” and that Lincoln stole the artifacts; Lincoln, having sold his soul to the Devil, wants to bring their previous owners to life by creating some wax effigies and feeding them the souls of victims, a concept taken from Haitian Voodoo. Providing all eighteen with a victim would bring about the “voodoo end of the world, when the dead shall rise and consume all things”.

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On the advice of Sir Wilfred, Mark and Sarah enter the waxwork museum at night and douse it with gasoline. However, Sarah is lured into the display of the Marquis de Sade (J. Kenneth Campbell), and Mark is pushed into a zombie display by the waxwork’s two butlers. Mark is approached by a horde of zombies, but finds that if he does not believe in the monsters, then they do not exist and cannot harm him. Mark finds his way out of the display and into the Marquis de Sade exhibit, where he rescues Sarah, while the marquis vows revenge.

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Despite Mark and Sarah’s attempts to escape, Junior and Lincoln grab Mark and Sarah, pulling them out of sight as Gemma and James return. Gemma gets lured into the Marquis de Sade display, and James attempts to steal something from the zombie display; moments later, the bodies of James and Gemma reappear as wax figures, the displays completed with the figures and their victims reanimating as evil entities. Suddenly, Sir Wilfred and a huge group of armed men, along with Mark’s butler Jenkins, arrive, and in the ensuing battle, several waxworks and slayers die, including Lincoln’s butlers and Mark and Sarah’s former friends, now evil. Jenkins consoles Mark by saying the China-vampire he killed wasn’t his friend; it just looked like her. Mark duels with the Marquis de Sade, who is finally killed by Sarah with an axe.

The reunited couple are confronted by Lincoln, who dies getting shot by Sir Wilfred and falls in a vat of boiling wax. Sir Wilfred is decapitated by a werewolf as Sarah and Mark manage to escape the burning waxwork with their lives and begin to walk home, not noticing that the hand from the zombie display is scuttling away from the rubble.

BEHIND THE SCENES
What’s it like for a 29-year-old director to work with the likes of David Warner and Patrick Macnee. “Terrifying,” nods Hickox. “David Warner is a hero of mine, and it’s very difficult to work with your heroes. I was an extra on one of his English TV shows, and I’ve always been a great fan of his. Patrick Macnee is the guy in the movie that knows what’s going on, the ‘Van Helsing’ of Waxwork. In a funny battle scene moment, after the werewolf has been killed with a silver sword, Patrick yells, ‘Tally-ho!’ and fires his gun in the air. At that point, we have a chicken come squawking down and land in his lap.

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“Bear in mind, when you see the battle, that we only had three 12-hour days to film it,” Hickox specifies. “There were 300 extras and a lot of story to tell in that sequence. I think our stunt coordinator Bobby Bragg set some sort of record by doing six full-body fire gags in one day. We’d dress him as one of the characters, set him on fire, film it, then dress him up as someone else.”

In another part of the fight, Deborah Foreman throws Michu, a little person, into an Invasion of the Body Snatchers pod. Instead of duplicating him, the pod cries out, “Feed me! Feed Me!” “I hope we don’t get sued for that one,” moans Hickox.

Although the script was set in England, Hickox moved the production to America to give it a broader appeal. This caused much hardship since this meant Keen’s crew, located in England, had to design their work without the benefit of lifecasts of actors. As a result, many of the makeup crew ended up appearing as monsters, because they were available to be lifecast. A somewhat more novel solution was found for making a cast of Patrick MacNee, who suffers a grisly fate at the film’s conclusion: the makeup crew videotaped an old AVENGERS episode, watched it several times, and sculpted MacNee’s head from that.

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SPECIAL EFFECTS
The job of designing the waxwork displays was given to Bob Keen, who acted mostly in a supervisory capacity, hiring other makeup artists to build the creatures while he took care of the administrative end of the business and also directed second unit. Cliff Wallace and Dave Elsey headed a crew of about fourteen, many of whom were working on their first job, “because Bob in his wisdom decided to use people who he could get cheaply,” laughed Wallace.

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The majority of the displays for “The Eighteen most evil beings” used in the film are the Marquis de Sade, the werewolf, Count Dracula (his Brides and son exist only within the portal and are not among those displayed), the Golem, the Phantom of the Opera, The Mummy, George A. Romero-style zombies, Frankenstein’s monster, Jack the Ripper, The Invisible Man, a voodoo priest, a witch, a snakeman, Rosemary’s Baby, an axe murderer, a multi-eyed alien, a giant talking venus flytrap, and Dr. Jekyll and Mr. Hyde.

Keen agrees, “We had a partnership in designing the creatures. Tony asked me what could be done, and like a fool I said, ‘The world.’ Really, the restrictions from Universal were a golden opportunity to do it our own way. Tony was already in the States rewriting the script, so I’d FAX him designs and drawings. He’d call and generally just say, ‘Cast them up.’ Because we were shooting in the States, we had to have everything finished here in England and shipped over before the cameras started rolling. Consequently, we worked 18-hour days for about eight weeks before we could leave.

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“Once in the States, the first scene we shot required the mummy to stamp on someone’s head and squash it,” Keen continues. “Then the werewolf literally tears someone open from the top of his head to the base of his spine-just tears the guy in half and eats what’s inside. It’s a lovely family movie, you know? The zombie scene was a toughie, requiring about 20 effect gags including a mechanical hand, and it had to be shot all in one day.”

“We did the zombie sequence in black-and-white because we ran out of money,” Hickox deadpans. “No, no, just kidding. It was really a tribute to Night of the Living Dead. Romero’s another one of my all-time favorites. They all get credit at the end, Romero, Dante, Argento and all.”

Waxwork (1988) Enzo Sciotti
Waxwork (1988) Enzo Sciotti

“That entire zombie scene had to be done in reverse,” Zach Galligan recalls. “When I stumble onto the zombies, I chop off one of their hands and the hand attaches itself to my leg. I pull it off my leg and it grabs my arm, then my other arm. Finally, I have to do a ‘Magic Johnson running two-step slam dunk’ and impale the hand on a spiked fence, where it’s left wiggling and bleeding. Because the hand was made with monofilaments and wires and was mechanically delicate, the entire sequence had to be shot backwards. First it was impaled on the fence, then I jumped up and grabbed it. When you run that forwards, it looks like I’m impaling it.”

“I never pumped so much blood in my life,” effects Bob Keen gasps. “The producer walked onto the set, opened the door. went, ‘Oh, my God!’ and left. Every single piece of the set was covered in blood. Everything was dripping. There was a two-inch river of blood flooding into the other rooms. We used up our entire blood budget in the first week.”

“It was a record amount of blood.” assures leading man Zach (Gremlins) Galligan. “It’s staggering! It’s sprayed all over the white tile walls of Dracula’s castle. Imagine, there’s a guy lying chained to a table. Dracula (Miles O’Keeffe), his son and their guests have been feeding on the guy’s leg! It’s gnawed down to the bone. But the guy’s still alive and awake and alert. Then Dracula’s son grabs a piece of skin off the leg and eats it. It’s gonna be one of the great gross-outs of cinema.”

“We made a false leg that’s raw from the knee downwards,” adds Keen. “The vampires have been picking meat off to serve at the main table, just scraping meat off the bone. Very nasty stuff. After that. Michelle Johnson holds a cross on one vampire’s forehead and the creature starts to burn, like a good vampire. But instead of falling to the floor, his head literally rips open like a banana peeling itself.”

CONCLUSION
“I submitted Waxwork to the MPAA four times,” the director mentions. “Luckily, we’ve retained most of it, but there’s something about squirting blood that they don’t approve of. You can cut off limbs, you can have heads rolling, but the censors won’t allow spurting, moving blood. And you can’t linger, either. You can show things, but you can’t linger.

“The MPAA was terrifying until I actually started communicating with them,” Hickox admits. “Then, they were very direct about what they wanted. Actually, most of that scene was supposed to be comedic anyway, sort of like that Monty Python routine where the Black Knight gets his arms cut off.”.

CAST/CREW
Zach Galligan as Mark Loftmore
Deborah Foreman as Sarah Brightman
Michelle Johnson as China Webster
Dana Ashbrook as Tony
Micah Grant as Jonathan
Eric Brown as James
Clare Carey as Gemma
David Warner as David Lincoln
Patrick Macnee as Sir Wilfred
Mihaly ‘Michu’ Meszaros as Hans
Jack David Walker (as Jack David Warner) as Junior
Charles McCaughan as Inspector Roberts
Kenneth Campbell as Marquis de Sade
Miles O’Keeffe as Count Dracula
John Rhys-Davies as Werewolf
Jennifer Bassey as Mrs Loftmore
Edward Ashley as Professor Sutherland
Joe Baker as Jenkins
Buckley Norris as Lecturer
Tom McGreevey (as Tom MacGreevey) as Charles
Rick Rossovich as Michael Loftmore (uncredited)

Several crew members appear in small roles:
Anthony Hickox, director, as English prince
James Hickox, assistant editor, as werewolf hunter’s assistant
Gerry Lively, director of photography, as Sir Wilfred’s butler

CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY
Cinefantastique v19n01-02 (1989)
Fangoria#78

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Interview with Director Anthony Hickox

What was the most stressful part of the original Waxwork, production wise? How tight was time and budget?
Anthony Hickox: Well, now, when you’re making a movie for five hundred grand, but I mean that was three million dollars in 1984 and that was a decent budget and I still went way over. In fact, the whole reason for the barroom brawl at the end is because the producers shut the whole movie down. I still had a fight through time I wanted to do, which I managed to do a little version of in Waxwork II, but that was meant to be Waxwork I.

I literally came on the set, we were filming, we were four days over already, but we had four days to do the end they were like, we’re shutting you down tomorrow. So, I said, okay everybody, start fighting. I think we had two cameras, there was no rehearsal, and there were extras. We said, just start swinging. We had four stuntman, and we’d just dress them as different people and throw them through sets. So, that was pretty stressful and disappointing cause I really had that fight through time planned

The whole idea of Waxwork, the idea of the eighteen most evil beings, some of those are pretty obvious. You have Dracula, Frankenstein’s Monster, and The Mummy. But, some of them are a bit more abstract. Those minor characters, did they all have a backstory in your mind?
Anthony Hickox: They were all the Hammer style monsters aside from Invasion of the Body Snatchers and The Golem, which I loved as a kid. It’s the thing on the stairs that no one recognizes as The Golem, but that’s what it was. Mostly, they were all inspired my horror movies I loved. The make-up of The Reptile Man, but we couldn’t copy it. It was brilliant. But, Bob Keen did such a great job because he didn’t have a lot of money to work with. And you know, you of course can’t copy anything exactly because you’d get sued. You can do it like something, but not too like it. Universal was the big one we were worried about. You had to stay well away from anything Universal.

As far as horror comedies go, I think it’s very rare to strike that delicate balance between screams and laughs, and I think the Waxwork movies pull off horror/comedy very masterfully. Did you incorporate a certain method to do this? Were there any scenes you had to change tonally while you were onset because they weren’t working as straight horror or straight comedy?
Anthony Hickox: It’s funny because I’ve thought about that since people have asked if it was my intent to make a comedy. When I look back at the storyboards, we did them like Tales from the Crypt comics, where every storyboard had a front cover with the “Crypt Keeper,” so I must have been always wanting to have that camp, and I’m a Mel Brooks fan. Young Frankenstein is one of my favorite movies. I love that kind of comedy, so I think it was always meant to have comedy, as in Waxwork II, which became sort of a full-out comedy.

Going into Waxwork II: Lost in Time, how much control did you have of the overall vision?
Anthony Hickox: On both movies, I had total control. The producer was a friend of mine. He knew nothing about movies, he just loved being on set. Making those two movies, in that way, was just fantastic. Nobody interfered. Nobody came to watch dailies. We just made our movie. On my last movie, Exodus to Shanghai, I had the same experience, and I had forgotten that’s the only way to make ’em.

Was there any pressure in Waxwork II, to do something different with the story and characters, not from yourself, but from outside forces?
Anthony Hickox: No, not really. It’s just like, you know, there’s money to consider and much tougher shoots days wise. And in those days, they knew sequels would only make 50% of the first one, it was this whole mathematical thing, so it was half the budget and a lot tighter on time. But, more ambitious actually than the first one. It was tough to make, but they left me alone to make whatever I wanted as long as I stayed on budget and time.

Waxwork II, what you do with the character of Mark, it feels like a franchise, like it could become a TV show or a comic. Did you ever consider continuing the story in another form more on your own terms?
Anthony Hickox: Well, no, because they wanted to do III and it was going to be a kind of an ongoing, straight-to-video type story. But, if it wasn’t going to continue as a film, I suppose yeah, it was going to be a comic book, where we were going to do one ever six months, make ’em cheap and fun, and have these reoccurring characters. But then, ya know, something changed and it didn’t happen, life. But yeah, we were always going to continue and that was kind of the idea.

Between Waxwork I and II, you probably have like forty different potential monster movies, you know, based on all these little vignettes or scenarios. Was there one segment from either film that you wish you could expand into its own feature?
Anthony Hickox: Well, yeah, only cause I’m a pervert and I love the Marquis de Sade, and in those days, nobody had really done that. It was actually pretty shocking. People were really shocked by the Marquis de Sade, especially the fact that she didn’t want to leave. They didn’t get it, Middle-America. But, I also got a lot of really hot fan mail from young girls. And then so, I expanded that kind of thing in the Edgar Allan Poe segment in the second one cause I just love that time period, the costumes, and the hamminess of it all.

If you were to make Waxwork III, where would you take the story? Are there any tropes that you didn’t get to tackle in parts I or II that you’d want to explore?
Anthony Hickox: Well, actually, there was a script for III and I lost it. And with computers, if you’ve lost it, you’ve lost it. I kept looking for it everywhere and I just can’t find it. But, we kind of did Victorian London, where it was mostly set, because that’s another favorite of mine. It was all set around “The Beating Heart,” the Edgar Allan Poe story. So yeah, I’m sad we didn’t do it.

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SUMMARY
The film opens with a reenactment of final scenes of Waxwork, with Mark and Sarah leaving the burning waxwork (the part of Sarah having been recast from the first film). The disembodied zombie hand from the first film follows Sarah to her run-down flat and kills her stepfather with a hammer, a murder for which Sarah is blamed. No one believes her story about the evil waxwork.

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In the hope of gathering evidence, Mark and Sarah visit the late Sir Wilfred’s home, where they find a film reel of Sir Wilfred speaking of his and Mark’s grandfather’s adventures and of the artifacts they collected together. A secret switch in Sir Wilfred’s chessboard opens a door to a room full of objects where Mark and Sarah find a small compass-like device. They learn this device was used in history by light and dark angels to travel through another dimension consisting of stories that have become realities (including homage to Frankenstein, The Haunting, Invasion of the Body Snatchers, Dr. Jekyll, Alien, Godzilla, Jack the Ripper, Nosferatu, and Dawn of the Dead). According to exposition later given by Sir Wilfred in the form of a raven, these worlds comprise “God’s video game,” where God and the devil battle over the fate of the world, each victory being reflected in events occurring in the real world. When Mark or Sarah appear in each reality they take on the persona of characters in those stories, sometimes having their personalities and memories taken over by those characters until they regain their senses.

Mark plans to gather evidence of the reanimated dead to bring back to the real world as proof of Sarah’s story in court. After several failed attempts and being lost in one world after another, they battle with an evil sorcerer and Mark is able to send Sarah home with an animated zombie hand as proof of her story. Unable to return with her, Mark instead arranges to have another compass delivered to Sarah after her trial ends so she can rejoin him.

DEVELOPMENT/PRODUCTION
What Waxwork II: Lost in Time has in common with its progenitor is that the time periods to which the characters travel tend to bear a noticeable resemblance to familiar horror movies. The film picks up directly where its predecessor left off, with Mark (Zach Galligan) escaping the burning wax museum with his girlfriend Sarah (Monika Schnarre, replacing Deborah Foreman). Before either has a chance to recover, they both find themselves thrust into peril again as they enter a time portal that takes them through distorted planes of existence, where good battles evil in a movie-monster inspired arena.

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According to Hickox, Mark has been brought into this environment because, “God has chosen him to fight as a sort of white angel. They actually go into a parallel universe where God and the devil fight it out in different vignettes, and use people like Zach and other human beings who’ve proven themselves as time warriors,” the director adds. “It’s not just a matter of time travel; they’ve actually gone into a different universe which is Cathagra-an old expression for purgatory. It’s a place between heaven and hell where people do battle.”

“We get to one of my favorite movies, THE HAUNTING—a wonderful parody all done on 18mm split diopter lenses—which outdoes the kitchen scene in WAXWORK by far. We’ve taken human mutilation to points never dared.” Hickox hoped the sequence’s black and white photography would help the bloody action pass the MPAA ratings board, since he was contractually bound to deliver an R-rated picture. “It’s not a gore movie,” said Hickox. “Eighty percent is very clean; then you’ve got these amazing moments where you can’t believe your eyes. WAXWORK was tongue-in cheek; this is comedy. We’re saying to the audience up front, ‘Feel free to laugh.’

“In the first one, there was a gag here and a little bit of silliness there, but it was basically a straight out horror movie—except for the ridiculous battle scene at the conclusion,” said Galligan of the difference in tone between the two movies. “This one is over-the-top but not inane—it’s believably over the top. I keep saying, ‘Tony, this is so exaggerated!’ He says, ‘I know, but it’s working.”

Hickox agreed with Galligan’s assessment of the first film’s ending. “That was a mistake!” admitted Hickox. “When you’re Mict young, you think you can do anything; then when you get to the set, you realize you can’t, and there’s nothing you can do-you’re locked in a corner. But you learn from your mistakes—I switch off the TV when I see that scene coming. One English paper did say it was the silliest ending to any movie ever. I suppose being the silliest is better than being forgotten.”

Though the film’s schedule was approximately the same as that of the first, experience and planning helped get more coverage. “The first two or three days were difficult, getting used to the pace at which Tony operates,” said Galligan. “He does 50 or 60 set-ups a day, which is almost unheard of. It’s three times more than I usually do, and there are no stand-ins, so we’re constantly on the set, constantly working.”

“I’m doing something else I haven’t done before, which is really making the actors work,” said Hickox. “I always felt silly before, making actors be emotional. They’re other people, and you’re trying to dig emotions out of them. Now I realize that’s what it’s about—to get that realism.”

The toughest challenge facing the Waxwork II crew, however, will be getting the film safely past the MPAA without any major cuts. Though Hickox has been shooting two versions of each gruesome scene for insurance (one slightly tamer than the other), he has also been throwing around other possibilities to protect the final film from being entirely goreless.

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“We’re thinking that if we put in silly sounds, that will help it pass,” reasons Hickox. “Like when eyeballs come out-there’s two ways you can play it, very graphically with a realistic sound or more of a ‘pop’ sound.”

Keen knows that Hickox usually pushes the limits in terms of gore. “Bob’s gotten used to me, so he always brings a few spare body parts,” jokes Hickox. Adds Keen, “We haven’t topped our all time record on the first Waxwork, where we pumped 35 gallons of blood, but we’re getting close.”

While shooting the zombie march in Los Angeles at the West Side Pavilion mall, blood wasn’t one of the more immediately pressing problems, though Hickox smiles. “I heard they’re still trying to scrub it off the floors.” What caused the most disruption were the sounds of gunfire shot off by the cast during filming.

“We nearly got closed down, because supposedly the M16s sounded like cannons outside the supermarket, so all we did all night was set off alarms,” recalls Hickox. “Drew Barrymore came along to play a cameo that night in the Nosferatu scene. We had to film those two scenes on the same night, so we had to build Nosferatu’s bedroom in the shopping mall. The passing crowd must have been thinking, ‘Why the hell are they building sets in a mall?'”

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SPECIAL EFFECTS
The tasks faced by Image Animation and Bob Keen on WAXWORK II included a seven-piece prosthetic makeup for Frankenstein’s monster, an eviscerated chest for Bruce Campbell, a man-in-a-suit alien, and a woman-to-panther transformation, not to mention various throwaway images like Godzilla and Mr. Hyde. “The trick about a WAXWORK film is that the effects are realistic, but they’re ultimately played for a laugh,” said Keen. “They are often amusing, but they are never phony or funny-looking, apart from Godzilla, who is a little more rounded and cute than the original.”

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After putting his own spin on such timeless creatures of the night as vampires, werewolves and mummies in Anthony Hickox’s 1988 Waxwork, he returns to the fold for another parade of frightening folklore in Waxwork II: Lost in Time. This new excursion features variations on the Frankenstein Monster, Nosferatu and Dr. Jekyll and Mr. Hyde, among others.

“I love doing classic creatures like Frankenstein,” enthuses Keen. “When you’re a kid trying to get into makeup effects, all you ever want to do is Frankenstein and werewolves. The nice thing about the Waxwork movies is that I have the chance to reinvent them.”

Cinefantastique v22n06 (June 1992)1

Getting away with using some of these copyrighted characters does occasionally pose some problems, but as writer-director Hickox explains, “It’s a satire and we’re doing our own versions of them, so it’s pretty free.” Keen adds, “The fact is that I don’t want to do the wonderful Universal classics because one, they’re copyrighted and two, there’s no fun in just duplicating someone else’s work.”

The two universes that Keen particularly enjoyed exploring were the Aliens-inspired landscape and a medieval, Poe-type world. For the space nasty. Keen created probably the screen’s first albino extraterrestrial. He describes the beast as a sort of crustacean that uses a huge endoskeleton of a monster as its armor, while inside hides a little “space sucker.” This idea was loosely inspired by the Dalek robots from Dr. Who, which Hickox has always been fond of.

“They had this protective shell that was mean, and inside there were actually these small slime monsters,” Hickox describes. “So imagine that inside this alien shell is a kind of weasely little slug controlling it all.”

Though monster favorites are an integral focus in the Waxwork framework, more modern creations also get the Keen touch. The lineup includes Godzilla (with a smoker’s cough). shopping mall zombies, a nifty albino alien and a woman who transforms into a panther.

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“It’s been four years since the last one. so the audience is more sophisticated, and we’re more sophisticated as a group,” comments Keen. “This movie is strong on the monster elements.

For the Poe segment, Keen designed the woman transforming into a big jungle cat, which he feels is one of the picture’s FX highlights. “She’s absolutely incredible,” Keen raves. “We have this five-stage transformation and end up with this beautiful mechanical head. It’s very sexy.”

One of Waxwork II’s grislier elements is a homage to the 1963 classic The Haunting. Shot in black and white, this sequence features Bruce Campbell with his chest cavity carved open in the shape of a diamond and fully exposed. While birds peck at it, other assorted maladies occur to make it more than just a “flesh wound.”

“It’s kind of asking, “What can you do to the human body and still keep somebody standing there?” Hickox grins. “It’s very Monty Pythonesque, and it’s certainly the most graphic scene, but it doesn’t play that way because it’s shot in black and white. The alien scene as it stands now is pretty graphic, and so is all the medieval stuff.”

In addition, a Dawn of the Deadlike segment set in a shopping mall promises to spurt enough grue to fill a beer keg. As Hickox explains, “The camera never shies away from a good death.”

CAST/CREW
Directed Anthony Hickox
Written  Anthony Hickox

Zach Galligan as Mark Loftmore
Monika Schnarre as Sarah Brightman
Martin Kemp as Baron Von Frankenstein
Bruce Campbell as John Loftmore
Michael Des Barres as George
Jim Metzler as Roger
Sophie Ward as Elenore
Marina Sirtis as Gloria
Billy Kane as Nigel
Joe Baker as The Peasant
Juliet Mills as The Defense Lawyer
John Ireland as King Arthur
Patrick Macnee as Sir Wilfred
David Carradine as The Beggar
Alexander Godunov as Scarabis

CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY
Cinefantastique v22n06
Fangoria Horror Spectacular#05

halloweenlove

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