Revisiting 2010’s Remake of The Wolfman and That Visceral Operating Theater Transformation

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You can appreciate Joe Johnston’s 2010 remake of The Wolfman (currently streaming on Peacock) without the presence of a full moon. It’s well worth revisiting more than a decade later, as it’s bloodier, more sophisticated, and yes, it has a sensual appeal that might surprise you! This Gothic horror tale stars Benicio del Toro, Anthony Hopkins, Emily Blunt, and Hugo Weaving – come on, who could resist such an enticing cast? After all, what’s not to enjoy?!

Of special note is a remarkable scene from the movie, where Lawrence Talbot, played by del Toro, undergoes a dramatic transformation in an operating theater during the Victorian era while being restrained. During an interview with SYFY WIRE over Zoom, the film’s VFX Supervisor, Steven Begg, shared that this sequence was initially designed to combine computer-generated imagery (CGI) with practical makeup effects from Rick Baker and David Elsey, two individuals who greatly influenced Begg in his formative years.

According to Begg’s memory, he initially believed that our task would be combining and modifying several of his designs as we transitioned from one to another. He thought this would be the main part of our work. However, on the day of filming, he was told to place motion capture dots on Benicio. They informed him that they wanted to design the transformation elements later, not during the actual shooting session.

As a fan, I can say that Johnston (Captain America: The First Avenger) jumped on board the project after its original director, Mark Romanek (One Hour Photo), departed due to creative disagreements. With this last-minute change, it was clear we were running short on prep time. However, despite the sudden behind-the-scenes shift, I am thrilled with the final product. It’s like marveling at a wolf breaking free from human skin – an unexpected and fascinating transformation!

The evolution of 2010’s The Wolfman movie

In simpler terms, Begg described Romanek’s original concept for the movie as “a highly intellectual take on the werewolf genre,” while Johnston further developed this concept, aiming to create “very grim and ominous visuals.” He believes that this approach has given the film an enduring quality that it might not have had if it was just a standard, action-packed horror movie from a specific era.

Without a doubt, the aspect that loomed largest over the filming process was Baker’s remarkable performance in “An American Werewolf in London”, which stands as the defining werewolf transformation within the entire lupine genre. As Begg explains, our primary focus was to ensure that our transformation didn’t resemble any previous ones. To achieve this, we scrutinized every prior transformation to avoid mimicking them too closely.

The standout element in Begg’s contribution to the sequence is undeniably the striking image of Talbot’s fingers elongating and dislocating, which caught the studio’s attention so much that they showcased it prominently in the trailer. As Begg elaborates, his intention was to symbolize the transformation of the skeletal structure into a new form, resembling gelatinous substance. This intricate CGI transformation was labor-intensive and represented uncharted territory; the team worked tirelessly on refining it, producing numerous iterations until Joe was satisfied with the final result.

For More on Werewolves

Exploring Leigh Whanell’s Modern Twist on the Classic Universal Monster – The Wolf Man

Revisiting the Canine Characters from Ginger Snaps, a Timeless Werewolf Tale

Examining Four Decades of Iconic Werewolf Films: Horror Connoisseurs Discuss the Enduring Legacy of Four Classics

The VFX supervisor acknowledged del Toro for convincingly portraying the agonizing aspect of metamorphosis through his physical acting. “He intentionally distorted and deformed his body and face into truly grotesque and terrifying shapes. This was before any CGI effects were added. So he set the tone for everything … Behind the scenes, other cameras were used as references to guide the CG creature that would be created beneath him. Therefore, all those jerks and monster-like sounds you hear are entirely Benicio.

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The story concludes with a dose of dark humor as Dr. Hoenneger (Anthony Sher), the harsh and Freudian psychiatrist who disregards Talbot’s warnings, meets an unexpected fate when he is grabbed by the monster and tossed out of a window, falling fatally onto spiked fencing below. This serves as a satisfying dose of karmic justice for Hoenneger, who had earlier dismissed Lawrence’s werewolf claims, saying, “You were not bitten by a werewolf. You will not become a werewolf, any more than I will grow wings and fly out of this window.

In the beginning, when he selects the actor, what you see is real; afterward, it’s a stunt person suspended by a wire passing through a window, while the flight is digitally created. However, the landing is not CGI but rather a double being dropped 2-3 feet onto fake railings without spikes (which were added later). He then makes a noise and writhes a bit. I found that moment both comical and brutally violent. I believe it represents the film perfectly as it has a comic book aesthetic with clouds scudding across the sky and a full moon.

During its destructive spree through the streets and rooftops of Victorian-era London, the beast largely relied on approximately 90% costume makeup and prosthetics. However, there were instances where the visual effects team had to swap human legs for canine ones, as well as moments when they expanded the jaw and mouth beyond what could be achieved with a person in prosthetics. One of the main challenges was portraying the creature running on all fours, which I found particularly tough. I believe it’s these shots that might slightly diminish the quality of the visual effects due to their unrealistic appearance, given a humanoid figure running in such a manner. Initially, a stuntman on a wire was used for most scenes, but eventually, everything was switched to computer-generated imagery.

Regarding that minor point, everyone – even Baker – found it hard to argue against the striking quality of the digital effects. “I received a message from Rick expressing his genuine admiration for it and his satisfaction with it. To me, such praise from someone like him is the highest form of flattery.

Rainy nights filming The Wolfman

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Let me tell you, that on-location shoot in the UK was as gloomy as they come. With misty moors, drizzly forests, dusty manor houses, seedy taverns, and nearly constant rain, it felt like I was living in a Gothic novel. As if the weather wasn’t enough, we were filming a werewolf movie, so most of our shooting happened at night. We trudged through the mud, braved the cold, and battled the elements under the cover of darkness. It got pretty dreary after a while, transforming into a werewolf to bring that gloomy production to life.

Despite each component of the film, including Begg’s VFX, Shelley Johnson’s cinematography, Rick Heinrichs’ production design, Milena Canonero’s costume design, and Baker and Elsey’s makeup effects, all contributed to create a movie with an abundance of visual richness, according to Begg. The film is intricate and textured, he adds, and it showcases meticulous attention to detail in its creation.

On February 12, 2010, The Wolfman made its entry into cinemas globally, but was followed by a series of lukewarm criticisms that could have impacted its box office earnings. Interestingly, this production turned out to be a significant financial flop, earning approximately $139 million worldwide compared to an enormous production cost of $150 million. It is speculated that the unfavorable response might have been influenced by the debut of James Cameron’s groundbreaking film Avatar the previous year, which marked the commencement (albeit short-lived) of the RealD 3D era.

He expressed that everyone seemed to be seeking a distinct atmosphere and weren’t particularly fond of the Gothic gloom present in our movie. Later, he mentioned that it was somber and likely not what people desired during that period. It seemed to fade into obscurity, but as time passed, it has resurfaced, with some viewers saying, “This isn’t so bad” or “This is even better than other films of similar themes.” He also highlighted that it’s a classy film, far from being trashy. It’s satisfying to hear that people are now appreciating it more.

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2025-01-15 19:31