#he asks you to become his forest-god-shapeshifting-partner

[imagine-lcorp]

Mustang Ride (Part XII)

A/N: Okay okay, i know, i know, it’s been a while but my life rigth now is kinda crazy, good news we’re still here!!!! Also here is to all of you who have been waiting for the continuation of this series, you’re great, love ya guys!!!!

Lena Luthor x Shapeshifter!R//Word Count: 1,348

#Mustang Ride Series: Part I - Part II - Part III - Part IV - Part V - Part VI - Part VII - Part VIII - Part IX - Part X - Part XI - Part XII - Part XIII (WIP) -------------------------------------------------------

"How?" You whispered as Jeffrey walked around your bed. He smiled with a hint of pride and malice in her eyes and you felt a cold shiver down your spine.

"It took me a while, you know, finding you." He took a seat on a chair that stood in the corner of the room and made himself comfortable.

For a moment, the panic you started to feel around Jeffrey was replaced with anger. You remembered him from your younger years and the way he used to be didn't seem to have changed at all. He had always been annoying, believing himself the king of the playground, finding some sort of delight preying on other kids he had considered weaker than him. This time, however, the anger came from something more, the suspicion that he had been the reason you were there, trapped and chained.

"How?" You repeated.

"You remember that day in the woods, don't you? I had never seen someone do what you did that day and, I admit, you left quite an impression on me. It was the first time I ever felt truly...terrified." He placed his elbows on his knees and leaned his head towards you.

That last day of school before winter break came again to your mind. The late afternoon when Jeffrey and his friends had put their hands on you and dragged you into the forest. The useless screams that came from your mouth, the pointless fight you had tried to put against them, the monster they had forced you to become.

"But no one believed a word of what I had seen. You had disappeared after that day and I had no further evidence to proof what monster you were." His eyes reflected nothing but resentment as he looked at you. "I was the fucking boy who cried wolf."

"If that's all you wanted, hunting me, why am I here?"

"Well, things are a bit more complicated than that now, considering this is the second time I had to go after you." The corner of his lips lifted in a devilish smirk as your eyes opened in shock.

"Y-you..."

"Oh, yes. You may not know this but back in the day my family was in the hunting business. They were bounty hunters, to be more accurate. So when I took over the business, I made you my first mission."

According to Jeffrey, he had spent a good couple of years trying to track you down. All his searches had been useless until he met Roulette and she had offered a deal he couldn't really say no to. He would hunt aliens for her and in exchange he would receive a considerable amount of money, with an extra if the aliens he brought her were also good fighters. It keep going for a couple of years until Roulette asked him to go after an specific person.

She had talked to him about this alien species capable of changing its form to whatever it wanted. The problem was that she had never found one until she heard the rumors about you. So she sent him on a quest to find you and, even with the little information she had about you, he did it.

"I would have loved to just shoot you the moment I saw you but the idea of watching you get beaten by a bunch of aliens was much more compelling."

You tried to move once again, pulling yourself up with your arms, but it was useless and painful as the ache in your back and the dizziness of the sedatives hit you again. You fell back in the bed with a couple of sweat drops forming in your forehead from the effort and noticing your restrains were also doing its job at keeping you there.

"Oh, you're not getting out of here so easily. The doctors are not done yet toying with you."

"What are they doing with me?" You growled.

"I can't believe you haven't figured that yet. I guess your brain doesn't work like it used to after all the shit they have been injecting you." He smiled once again.

The door of the room opened a second later, Lillian entered with Henshaw following behind and pushing a medical cart full with medical instruments, ampules and test tubes, all shapes, sizes and colors.

"Well, I see you already came to make your acquaintance, Mr. Hex." She said and turned to look at the medical instruments. "Unfortunately, your time with our guest here is over. I must ask you to leave so we can continue with our work."

Jeffrey stepped out of the chair with an annoyed expression and walked to the other side of your bed, facing Lillian and Henshaw.

"I would like to see it, if you don't mind. I wanna be prepared to what you gonna be doing with me too." He said.

"There's no need, Mr. Hex, and I assure you we're going to be more gentle with you, if that's what you're worried about." Lillian directed him a death stare and you were confused as to why they would be doing the same to him. You were not against it if it meant making him suffer for a while but you couldn't think of a reason why they would be doing this to him. "Now, I wouldn't want to ask my partner here to escort you out of the room."

Henshaw left the cart near Lillian and stood like a sentinel, looking at Jeffrey with a death stare. "You should go."

"Have fun without me then." He said and started to walk to the door as Lillian followed his stride.

You watched the scene unfold with a frown, still confused and shocked about what Jeffrey had said. It wasn't enough that you were trapped like a lab rat in an unknown place at the mercy of Lillian Luthor and her cyborg guard dog but now Jeffrey was part of the equation.

Everyone there had a reason to keep you where you were and it wasn't easy to imagine why. Everyone seemed to have their own agenda about you. If Roulette wanted you back on the ring then, why was Lilian keeping you? If Lillian only wanted you as her test subject, why keep Roulette and Jeffrey around? And if Jeffrey wanted to mess up with you, why did he need any of them?

"Do you know the story of  Periclymenus?"

"Who?"

"He was a Greek prince. His grandfather Poseidon gave him the ability to transform himself into various animals. A lion, a snake, a swarm of bees." She pulled away, back to the medical cart. "Unfortunately, he was murdered by Heracles when he invaded his kingdom. They fought but, of course, Heracles was stronger. Periclymenus couldn't escape him and he inevitably died at the hands of the invader."

Lillian returned her attention to you and then at the medical cart. She took a syringe from it and walked towards you, to inject its content in your IV bag.

"What do you think was the cause of his defeat?" She said pulling the syringe away and not expecting a real answer from you. "If you think about it, Heracles only had his strength against Periclymenus' gift. So, how did Heracles manage what he did?"

You started to feel numb.

"Because it was still the strength of one man against the force of one that felt like a thousand." She declared. "I like to think, if Periclymenus had possessed the same strength as Heracles, he would have succeeded instead."

"I guess we will never know." It was becoming difficult to stay awake with your body feeling broken and your mind spinning.

"Oh, but we will and you're helping us it."

"What are you doing with me?" You asked once again.

"Our kingdom is at war, (Y/N), and we need a new champion. One bred from the blood of the gods, old and new." She smiled at you. "This time, I'm going to make sure we conquer." She said and all the light faded out.

#mustang ride #mustang ride series #lena luthor #lena luthor imagine #lena luthor imagines #shapeshifter #shapeshifter reader #Shapeshifter!Reader #series #lena luthor x reader #lena luthor x you #lena x reader #lena x you

[awaylaughing]

Since @quilleth​ gave me the BAREST excuse, Michi and Lyon. The meme in question and if you read this and think “golly gee, I’d love to give you an opportunity to chat more about other people” I have a shiny new character page you could reference here.

who’s the werewolf and who’s the hunter

Werewolf Lyon and Hunter Michi 100%. Firstly, werewolf Michi is too obvious, there wouldn’t be a single hint of mystery around that, secondly, I don’t think you’d ever get Lyon to go traipsing around the forest without a curse to turn into a canine of varyingly levels of homicidal. Also also, Lyon as the weirdo who lives on a fancy house on the hill is Such A Thing don’t @ me. His status as local cryptid just due to being an asocial loner would already make him seem TOO obvious and he’s so stuffy and not outsidey.

Anyhow, the locals scrounge up money to hire a hunter and they get Michi who is maybe in a duo with Ana bc the ship is no longer sailing but Lyon having to put up with both of them is HILARIOUS. There’s been signs of a werewolf about, but no attacks yet so Michi and Ana get on the case and there’s mystery and flirtations and Ana seducing sheltered farm girls to their mothers’ chagrin. Lyon it turns out has been a werewolf for ages, and either spends all his time napping the basement OR has been going out lately because some else has moved into the are and he’s protecting the town. Or both – used to be a basement dweller but Ethical Duties Make Demands.

Extra fun thought, werewolves are hella old and Lyon’s the last head of the no defunct noble family who owned this land before Whereverlandia turned into a republic, and he still feels it’s his duty to protect his people despite the times having changed.

who’s the mermaid and who’s the fisherman

I don’t think I can get Lyon on a boat without some real shenanigans afoot, and I feel like if he were a merman he’d be one of those weirdo deep sea ones who never comes up for air ever. So, invoking asocial loner Lyon again, maybe he rents a place on a Suitably Dramatic Coastline and the only person he ever sees is this weirdo lady who claims to be a local except the closest locality is like, forty minutes down the coast by car and there’s never any boats around. She pesters Lyon and generally forces him to leave his house. There’s a cute scene involving a tidal pool.

Anyway, eventually she gets outed as a Man Eating Mermaid except Michi’s a VEGETARIAN these days she’ll have you know. Once Lyon stops being mad that she exists and has upset his understanding of the world, it’s all smooth sailing. It’s a story about scientific classifications of fish and the healing nature of two lonely people finding ways to make room for one another.

who’s the witch and who’s the familiar

Witch Lyon, it was an experiment, no one was supposed to be summoned and oh God what do you mean he can’t unsummon her until the next full moon that’s 23.5 whole days away. Michi’s...just barely not useless as a familiar. She knows stuff but her tidiness levels leave much to be desired. She’s super hands on however and has no fear of getting dirty or messy, so she makes an excellent scientist so long as someone else writes the results. Lyon teaches her witch lab safety, about 72% of it takes and he calls it a win because he’s never smiled so much or eaten so many square meals a day, at reasonable hours.

On her end, Michi (who sometimes is a dog, bc shapeshifter Michi yes pls) didn’t intend to linger for like, the witch’s whole life the way some familiars do but she gets all gooey the more time they spend together. She always thought being a familiar was basically being someone’s pet, and she was willing to give it a try ONCE but the fact she likes having a partner to work with surprise her.

who’s the barista and who’s the coffee addict

Barista Michi and coffee addict Lyon. She genuinely thinks she’s serving him into an early grave via cardiac arrest but what can she do. Has a habit of doodling on the name card thingies when it’s slow and Lyon only comes in when it’s slow, so he has to pretend not to be charmed by her increasingly detailed cup art. Michi flirts like mad and it goes over his head and so she assumes it won’t go anywhere and tbh this is Peak Coffee Shop AU. There is no drama at all, everyone’s just running around being mid 20s assholes.

Eventually however it revealed that Lyon used to not be that much of a coffee drinker but he kept making excuses to see the cute barista at the nearby coffee place and whoops he thinks he might need to switch to decaf. Michi suggests maybe a calming fruit tea is even better.

who’s the professor and who’s the TA

Professor Lyon, ofc, and he’s 100% that prof who only “teaches” a class because they make him. Michi is the TA who makes class not boring, and being in her lab is the BEST lab to be in bar none, since they’re probably in biology for this to work for Michi. She likes Lyon, but she feels a bit underappreciated and Lyon definitely spends this story wooing his TA back after she leaves him and he realizes the hole in his life has nothing to do with having to pick up all that work she did and everything to do with Michi being not intolerable.

who’s the knight and who’s the prince(ss)

Prince Lyon has been presented with the ultimatum that he must marry Or Else. Prince Lyon tried to argue Or Else is not an ultimatum, but he was overruled. Lady Knight Michi is there to corral/protect the presented bridal options. Naturally, he and Michi end up having a quiet night when he spots her reading and they talk about books and his lil heart gets all aflutter.

Michi is naturally super resistant to marrying a prince - it’s not what’s done and she HATES princessy stuff, her little brother being born was the best day of her life if you ask her. When it becomes clear Lyon’s not going to be marrying any of the potential options, things get dicey but Michi turns back at the last moment and she pulls some “I can’t marry you but I can promise to be with you forever” and Lyon’s like “perfect I abdicate” and the monarchy is in shambles but true love carries on.

who’s the teacher and who’s the single parent

Variation time! Lyon’s a suffering high school teacher who’s Alarmed when, during a PT event he meets Michi there as a guardian to one of his students – but it turns out both her parents died the summer before she was to leave for university and she’s been taking care of her younger sibling since then. Michi’s siblings is struggling a bit, but they’re a good kid and so Lyon and Michi end up chatting a lot trying to help Sib out.

One thing leads to another, and Michi nopes out for a hot sec in panic about what this means for her sibling but they have a familial heart to heart and then she has to go apologize to a rather frosty Lyon. It works out, because Michi’s not traditionally charming but she’s hella charismatic and she has no shame whatsoever.

who’s the writer and who’s the editor

A THIRD RECLUSE LYON FOR YOU. Michi’s an editor to some paper he writes to on occasion but it’s mostly Letters to the Editor, and they end up in a weird penpal scenario. I don’t have anything else, clearly they meet somehow, and Lyon probably also publishes research but Michi doesn’t know about that stuff and just knows him as the kinda crabby but very smart guy who tells off bigots from the last issue and stuff.

They eventually meet in person because of the research - a friend of Michi’s drags her to some academic Thing as a plus one and somehow Lyon has a friend in this setting who made him come (or maybe Dean Falon made credible threats) and Michi and Lyon slowly start to talk and realize “HEY IT’S YOU”.

TL:DR most modern AUs are just Michi making Lyon leave the house

#7kpp #ask meme #sans ask admittedly but i'm shameless #awaylaughing writes #7kpp lyon #michi of holt #otp: not intolerable #less options here bc michi and lyon are both less flexible characters than pip or hamin #lol

[the-master-cylinder]

SUMMARY Former NYPD Captain Dewey Wilson is brought back to the force and assigned to solve a bizarre string of violent murders after high-profile magnate Christopher Van der Veer, his wife and his bodyguard are slain in Battery Park. Executive Security, the private firm employed by Van der Veer, blames the murders on terrorists, but knowing that the victim’s bodyguard was a 300-pound Haitian with voodoo ties makes Wilson skeptical. With pressure to solve the case coming from both the Police Commissioner and the Mayor, Wilson is partnered with criminal psychologist Rebecca Neff.

Elsewhere, in the South Bronx, a homeless man explores an abandoned church that is scheduled to be demolished by Van der Veer’s development company. He is killed by an unseen monstrous being. Wilson and Neff investigate his murder. At the church, apparent sounds of a baby crying lure Neff up to the bell tower. Wilson follows her but does not hear the crying; once Neff is separated from him, he hears a wolf howl. He goes up after Neff and drags her to safety. Later that night, a bridge worker is apparently murdered by the same creature.

Coroner Whittington discovers non-human hairs on several victims and consults a zoologist named Ferguson, who identifies the hairs as belonging to an unknown subspecies of Canis lupus. Ferguson compares wolves to Indians. Inspired, Wilson finds Eddie Holt, a militant Native activist he arrested some years previously, working in construction. While Wilson interrogates Holt on top of the Manhattan Bridge, Holt claims to be a shapeshifter, which implicates him as the killer. Wilson opts to leave Holt alone and tail him that night.

Following animal clues, Ferguson goes to Central Park, where the killer ambushes him in a tunnel. Wilson spends the remainder of his night with Neff where they have sex. The following morning, a man in a jogging suit rides Ferguson’s motorcycle past Wilson as he leaves Neff’s apartment. Whittington and Wilson stake out the church, armed with sniper rifles and sound equipment; after Whittington almost blows his ears out by opening a beer can near a parabolic microphone, an animal that appears to be a wolf kills him. Meanwhile, Executive Security apprehends a “Götterdämmerung” terrorist cell in connection with the Van der Veer slaying.

A traumatized Wilson escapes the church and finds himself at the nearby Wigwam Bar, where Holt and his friends are drinking. The group of Natives reveal the true nature of the killer as “Wolfen”, the wolf spirit. They explain that the Wolfen have extraordinary abilities and “might be gods”. Holt tells Wilson that he cannot fight the Wolfen, stating: “You don’t have the eyes of the hunter, you have the eyes of the dead”. The leader of the group, the Old Indian, informs Wilson that Wolfen kill to protect their hunting ground. Wilson resolves to end his involvement in the Van der Veer case but he, Neff and Wilson’s superior, Warren, are cornered on Wall Street by the Wolfen pack. Warren is decapitated while Wilson and Neff flee.

Wilson and Neff are cornered in Van der Veer’s penthouse by the pack, led by its white alpha male. Wilson smashes the model of the construction project that threatened their hunting ground, trying to communicate that the threat no longer exists and that he and Neff are not enemies. The Wolfen vanish just as the police barge in. Wilson claims the attack was made by terrorists. In a voiceover, Wilson explains that Wolfen will continue preying on weak and isolated members of the human herd as humans do to each other through class conflict. Wolfen will continue being invisible to humanity because of their nature; not that of spirits but predators, who are higher on the food chain than humans. The last scene is Eddie and his friends looking at the city from the bridge.

DEVELOPMENT/PRE-PRODUCTION In adapting The Wolfen, director Michael Wadleigh and co-screenwriter David Eyre decided to expand freely upon Whitley Streiber’s original prose. Streiber’s novel worked well as a “police procedural,” but they felt his storyline needed to become more impassioned for celluloid. And, although the basic plot remains the same, Wadleigh wanted to make his film more “socially relevant.”

“What appealed to me about Wolfen was its underlying allegory about nature,” Wadleigh says. “I wanted to play that up much more in the film. The genesis of the Wolfen’s culture is that when white man first came to America, he came as a farmer. His two basic enemies were the hunting tribes: wolves and Indians. The wolves and Indians were simpatico, and accommodated each other. White farming man wiped them, the forest, and the great American buffalo out. We reduced the wolf population from a high point of two million to fewer than one thousand. What’s fictional in our screenplay is that the wolfen are the product of biological/artificial selection. When we destroyed the original wolf population, only the smartest survived. The bright ones got even smarter. Their forests were all gone, so they moved into the new wilderness: the slum areas of the major cities. For survival, they hunt at night. For protection, they only eat people that our society doesn’t give a shit about, the inhabitants of the slums. These people are never missed, so their murderers are never looked for.”

A possible hole in Wadleigh’s concept is that since his wolfen have a special understanding with Indians, they would probably also recognize impoverished blacks and Puerto ricans as “brother” victims of modern society.

“Being humanitarians or ‘wolfitarians, explains the director, “as they also are in Whitely’s book, the Wolfen only take people who are essentially ready to die. It’s almost an eastern philosophy of euthanasia. They would not kill a healthy black man. They would kill an ancient derelict who was ready to die. First, the Wolfen would check him out very carefully to make sure he wanted to give up his life. The Wolfen have a tremendous empathy for the people they kill.”

By putting the Wolfen on the same level as Indians, Wadleigh seems to be reducing Indians to yet another stereotype.

“I avoided that by making our Indians real,” defends Wadleigh. “I’ve lived with them as neighbors in Wyoming, so I know what they’re like. Indians are not the kind of preachy, sanctimonious crowd that so often gets horribly portrayed in films. The Indians that I know are incredibly clever and have a great sense of humor. What happens early in Wolfen is that Wilson is led to believe that Christopher VanderVeer’s murder might have been done by radical Indians. He goes to see Eddie Holt [Edward James Olmos], whom he’s busted before, where he’s working on fixing something on top of the Manhattan Bridge. At the foot of the construction site, Wilson tells an old Indian to bring Eddie down for questioning. The Indian says, ‘Screw you. You want him, go on up there yourself.’ Wilson precariously makes his way up to the bridge by walking up its suspension cable. When he gets to the top, there’s a great dialogue between him and Holt that I ripped off from things I’ve heard Indians say in real life. Wilson asks, ‘Are you in touch?’ Holt answers, ‘With what, my mother?’ Wilson says, ‘No, with mother nature.’ Holt says, ‘Sure. I swim like a fish and screw like a bunny.’ Olmos, after people see him as Holt, is going to be a big star. People will be left with envy of Indians. It’s a whole other subculture that they’ll want to get into. It’s not Eddie’s speeches they’ll remember, but his being.”

Olmos enhances the performances of movie veteran Albert Finney as Wilson. Finney, a two-time Academy Award nominee, decided to make Wolfen his first film in five years due to his love for the character” and the project.

“David Eyre and I changed the Wilson character from the book,” reveals Wadleigh. “Now, he’s a cop in his forties who’s the best homicide detective around. What he’s begun to realize, however, is that his professional life is a fraud. He’s a hunter for society but he only stalks small game. The real criminals, the people who control society, are never brought to justice because they set up the law to protect themselves. Wilson’s become much more of a 1960s type of character, which allowed me to work out a lot of my own personal philosophy. I was thrilled when Albert decided to play him, because in my opinion, he’s one of the greatest living actors.”

A less significant character alteration was changing Wilson’s first name from the novel’s George to Dewey.

“That was for a clever line of dialogue that is representative of my bad jokes and corny puns that riddle the film,” Wadleigh grins. “Rebecca Neff is sitting in Wilson’s office and she looks at his coffee cup and says, ‘Dewey.’ He says, ‘Yeah. I was named for one of Donald Duck’s nephews. I was the middle duck.’I mean, what could we have done with the name George?

“There’s another scene that’s been driving people up the walls. It occurs towards the end of the film when the main characters are staking out the Wolfen in the South Bronx. Wilson’s up in one building and Gregory Hines, as the black medical examiner, Whittington, is in one across the street from him. Wilson is trying to call Whittington on his walkie-talkie and he isn’t answering. Wilson starts panning his infra-red sniper scope-the way in which man sees at night-over these burned, wrecked buildings and doesn’t see anything. The audience will become convinced that Whittington’s been offed. Finally, Wilson’s scope comes upon one window where Whittington is standing with his pants down, mooning him. Wilson says over the walkie-talkie, ‘Very funny. Whittington turns around with a big shit. eating grin on his face and says, ‘Black moon over Manhattan.’ Some of the executives at Orion were saying. “What is mooning?’ I told them, “Don’t worry about it. The moviegoers will understand.’ The scene is doubly funny because of the legend of the full moon and werewolves. In fact, I suggested to Orion that part of Wolfen’s logo could be Gregory Hines’ ass. I don’t think that they took that too seriously, though.”

Wolfen’s cast enjoyed Wadleigh’s offbeat sense of humor. But since the director had previously only been a documentarian and this was his first dramatic movie, he might have run into trouble with his cast whenever he suggested to them that they modify elements of their portrayals.

“We avoided those clashes,” Wadleigh states, “because we were all united in believing that we were there solely to do the best we could. Every one of the actors got involved to the extent that they did for two reasons: their character and the film. They opted for a personal choice. They always made sure that not only was something that they were doing going to be good for their part, but for the picture as a whole as well. Since they had a basic respect for the project, they weren’t dealing with glorifying my ego, but Wolfen itself.”

PRINCIPAL PHOTOGRAPHY/LIVE WOLVES When it came time to use actual wolves, Wadleigh ran into difficulties because he was shooting on location. The majority of Wolfen was shot in New York City, utilizing Staten Island, Central Park, the New York Stock Exchange, the Manhattan Bridge, the Fulton Fish Market, Battery Park, the South Bronx, and the historic sound stages of Queens’ Astoria Studios.

“Not only did we have to fence in the area where we were shooting our wolf scenes,” he discloses, “but Manhattan sent down police sharp shooters. They were under orders to shoot to kill if the wolves got out of the fenced-in area. The other side-effect of using the wolves was that, naturally the cast and crew were afraid of them. The mythology that the wolf is the devil is absolutely permeated through everyone’s conscious and subconscious. We make use of that in the film by having a church in the Dresden part of the South Bronx. By association, the audience will automatically think that the devil is somehow involved with the murders. The other thing that’s scary about the wolves is that they’re large. We were working with a 150 pound animal that when it stands up has its head six feet and six inches above the ground. What assuaged everyone’s fear was that the wolves are beautiful creatures. Their elegance is disarming. We used that element in the film as well. I think that throughout Wolfen, people will expect that the murderer is going to be a hideous werewolf or Alien-type creature. What they finally see are these gorgeous, noble animals. The audience will wind up with empathy for them.”

Wadleigh avoided the problems normally associated with dealing with animals in movie making by turning to expert trainer George Toth.

“I think we had the best wolves in America,” Wadleigh says. “George raised his wolves so that they think that they’re humans or that humans are wolves. Therefore, they have a respect for us. A very significant point, however, is that a wolf is not a dog. Wolves’ intelligence ranks just beneath the great ape’s, the whale’s, and the dolphin’s. We were dealing with a high powered rifle. You can’t really order a wolf to do anything, you have to ask him. If one of our wolves didn’t feel like doing something, there was no way we were going to force him. Since we were dealing with an animal that was essentially its own person, we had to wait for the mood to do something to hit him which consumed time and patience. In the end, though, they always came through amazingly well.

“As good as our wolves and techniques for showing their senses were, though,” Wadleigh continues, “they didn’t allow us to illustrate what I thought was Whitely Streiber’s greatest creation: the Wolfen’s internal thought processes. We solved that problem by introducing Indians to the story. Who better could explain the dignity of the Wolfen and their point of view? The particular irony of the Indians, this destroyed race of people, is that they are the best high steel construction workers in the world and are now building the white man’s great monuments: bridges, the World Trade Center … They, like the Wolfen, look upon the white man with incredible disdain, yet the both of them are forced to live in our great, corrupt cities.”

Michael Wadleigh

Interview with Michael Wadleigh You’ve expressed frustration in the past that Wolfen has been labeled a horror film. Do you have something against the genre? Michael Wadleigh: Yes, but that’s not the point. I never thought I was making a horror film. I thought I was making a political thriller about a detective investigating activists who are killing off very rich people, and have a political and social agenda that is still made very clear in the movie. The way I photographed and presented the wolves, they never, ever growled or snarled, because that would demean their intelligence and make them stupid in my view. I wanted to make them this shadowy e presence that was very much in control of the situation, and even more frightening. I mean, I was all for killing everyone in sight! [Laughs] That didn’t bother me at all.

The Baader-Meinhof Gang is mentioned in it, and other terrorist organizations, and even recently, when the Twin Towers went down, a number of people read about Wolfen and said, “That was a film about terrorists.” There were critics who well-recognized the parallels between my film and, as Barack Obama’s ex-minister Jeremiah Wright said, “The chickens coming home to roost.” America had done many things abroad that were against its own ideals, and of course it had been done in the way we treated the American Indians. I don’t think there is anyone who disputes, with hindsight, the fact that we just stole their land and murdered them and drove them out of business-completely unacceptable behavior today. I’m just giving you an example of the anger and injustice that Eddie Holt (Edward James Olmos] well expresses to Dewey Wilson (Albert Finney).

The whole backdrop is what we did to the Indians, and the reason I killed off Van der Veer is also made clear: that his great-great-ancestor reputedly brought the first machine to America—the windmill-and that machine stands for the Industrial Age and the supposedly superior technology of the Europeans that just wiped out the Indians. They really couldn’t compete. I mean, doesn’t that sound right? It was all there in the film.

But you yourself once famously described Wolfen as “a thinking man’s horror film.” Michael Wadleigh: I don’t recall those words, but if I did, you obviously know what I mean because I just said what I thought of it. Maybe at one point I did say that, but I must insist that my memory isn’t that bad and I always thought this film was a political thriller-and why political? Well, I’ve just explained to you. I mean, we’ve got American Indians vs. white people.

What were the main difficulties for you and co-writer David Eyre in adapting Whitley Strieber’s novel? Michael Wadleigh: During the discussions I had with [Orion topper] Mike Medavoy, 1 talked about the wolves in terms of Moby Dick—which was not to be pretentious, but just to try to get an idea in there that Ahab was a kind of detective or hunter for his society, so to speak, who was obsessed with tracking down and killing the whale. As most people read Moby Dick, the whale stands for nature and Ahab’s obsession is misplaced, and he goes to his death not realizing it.

Well, I pitched the idea that the character of Dewey Wilson is sort of disconnected from nature, but then gets obsessed with tracking down the wolves. Eddie Holt shakes him up and says, “Well, you’ve pretty much destroyed nature in America, haven’t you? Look at the city look at the South Bronx area that resembles Dresden and the end of civilization. Aren’t you on the wrong side? Why annihilate the last of nature?” And in the end, Dewey quits the police force. He literally, in my screenplay, throws his gun and badge away and says, “F**k it!”

He can no longer uphold the values of a society that he feels is unjust, and now begins to question his own role as a defender of those values and a protector of people like Van der Veer. That’s what I pitched as kind of a way through the piece. Of course, there are no Indians at all in Whitley’s novel, and no political agenda, so you can see that the things I added were very strongly along the lines of a political thriller.

Much was made of the “alienvision” that represents the point of view of the marauding Wolfen. How difficult was that concept to realize? Michael Wadleigh: I’m speaking for cinematographer Gerry Fisher, Steadicam operator Garrett Brown and myself when I say that we were never entirely happy with that, but we were never too disappointed either. We kept playing around with various things, infrared photography and reprinting the colored layers and so on. Garrett, who not only invented the Steadicam but is considered the best operator by everybody, is 6 feet 8 inches tall and a very athletic guy who can run like crazy. He is also very smart, and so the first thing we got was the terrific Steadicam photography that makes you think there’s a mind behind the point of view, that we are actually looking out of somebody or something’s eyes. Next we added the coloration, the strangeness of the vision, and then we had the soundtrack and sound effects and all of those elements that—so the critics thought were put together well and added up to very intriguing and scary sequences.

Actually, I always thought that Wolfen was set in the future that it was a little bit of a science fiction film as well with the advanced hi-tech security force and the parallel that they were using infrared photography for their remote lie-detection systems. That was all deliberate, to compare nature and technology and have them sort of meeting in the future.

One of the best scenes is right after Gregory Hines is killed by the Wolfen, when Dewey stumbles into the Indians’ local bar. Michael Wadleigh: Well, that was the scene that I longed for, though it is a bit expositional. Eddie Olmos played the hell out of that, and the other Indians too, who were not real actors. They all did a good job, but Eddie, especially in a few words, conveyed the essence of the scene and then the way they all just laugh it off and so on. By the way, that was a real bar—not that it matters—but for authenticity that was the real steelworkers’ bar where the Indians hung out. We didn’t redecorate it or anything. I guess as a documentarian, I thought that was interesting, and would maybe lend something to it. Whatever was there and whatever they were dressed in, that was it. I’ve never been satisfied by the way Indians are sometimes portrayed in films, but they seem very real in that scene very dignified and eloquent and funny. Eddie had hung out with the Indians for quite a while and tried to get the cadence of how they spoke in that kind of clipped way of using very few words.

They did very good makeup on Finney, and I think he brought a lot of concentration to that scene—but it was slightly recut as well, so I wince a little bit. Nonetheless, I won’t complain. I believe that scene is great, and one can judge that all the general qualities of the film are there.

What was the difference in your version of that scene? Michael Wadleigh: Uh, let’s not go into that. Let’s be…I don’t want an alibi for anything. I’ll tell you the thing that still most upsets me, which is the marketing of Wolfen in general. I really thought that it could have had the horror film audience because the word would get out, but I also believed it would have captured those people who appreciated the Robert Ludlum sort of thing—a film that was a more of a sophisticated international thriller/detective story—but of course, that wasn’t the advertising campaign at all. All of the wolf material and general treatment that they added brought it more toward what I thought was a simplified horror film-and they thought so too. They thought that if they went that route, it would make more money. As a matter of fact, you may know that Orion was having trouble at the time and was, in my view and I said it at the time, a little bit desperate for a hit. I believe the critics, for one thing, think they made a mistake. They probably could have made more money going the other way. So that’s what I’d prefer to comment on. I only wish that it had gone that way.

The actual look of the Wolfen in your movie has aroused much debate. Michael Wadleigh: I felt that the film was much more of a nature allegory, and therefore I was never interested in making an artificial creature. What I decided to do was put the Indians and the wolves together as a team, so to speak, and therefore create a new creature by imagining an intimate association and communication between them. An amazing thing that I believe is mentioned in the film is that the Dutch colonists who first settled in New York actually used the same word “wolfen” to describe both the Indians and wolves. They of course knew the difference, but there were quite a few wolves around at that time, and those early colonists denigrated the Indians as savages and really felt they were different from full human beings. They felt that the wolves were so scary and powerful and this fear came out of European mythology as well—that they actually elevated the wolves’ intelligence and lessened the Indians, and in doing so sort of drove them together so that they were pack animals that were wild and ferocious and almost anti-real human beings.

That was the central interesting issue for me, that the Dutch were pushing the Indians and wolves together. Therefore you kind of had a bifurcated personality, and they were after all shape shifters. Well, we put it in the film when Eddie Holt shapeshifts on the beach. You have them sometimes looking like Indians and sometimes like wolves.

Legend has it that you once considered using midgets in masks to portray the Wolfen. Michael Wadleigh: Never! I can’t imagine where you got that from. That’s outrageous. Ask anyone who worked on the project. Anyone! As you know, we used real wolves, and what separates them from dogs is their elegance and concentration. Those damn things would look at you, and you would break your stare away from them. They had tremendous power and could really stare you down, and it scared the shit out of you. That worked as a strong setup to then go-pow! There’s a shadow, a splash of blood and you are gone! You unsettle the audience by using surreal sound effects, and watching a wolf’s jaws come up into frame and that kind of thing, but I still say that one of [the producers’] huge mistakes was going more animal with them. They should have stayed with the heightened surreal factor I intended, but instead they inserted shots I didn’t do and didn’t approve of, of the wolves growling. I was trying to convince the audience that these creatures had not only a powerful physique capable of delivering instant death, but an elevated intelligence—not to telegraph their presence to their victims ahead of time! I don’t want to go on about it, but I still feel very strongly about that one.

Was it difficult shooting with real wolves? Michael Wadleigh: Not at all, except that the paranoia of human beings is extreme. I mean, wolves are presented in all the movies as evil, and we have associated them in our mythologies with the devil and all of that kind of thing, but there are relatively few instances of a pack of wolves wiping out a human being. You should find some of the production stills from when we filmed the wolves in New York City. They had like a dozen armed policemen, you know, sharpshooters—I’m not kidding you—positioned all over the place because the wolves were considered wild, uncontrollable animals. I’m very serious. The police had their orders to shoot to kill if a wolf got out of the enclosure. They weren’t about to have one running around New York City! We all thought that was amusing, we who were used to dealing with animals. Their paranoia was, to my mind, unjustified.

You submitted a cut of Wolfen to Orion that was four hours and four minutes long and had over 36 SCENE MISSING cards spliced into it. Michael Wadleigh: Yes, but that was not the director’s cut I proposed to show to the public. What you are referring to is a cut that I had to supply to Orion and (producer) Rupert Hitzig and what have you. Bear in mind, Richard Chew is one of the most honored editors of all time. I mean, he’s won two or three Oscars for Star Wars and all that. You are not dealing with somebody walking in off the street. Richard took a position as well that we had simply not had adequate time, because the effects hadn’t been prepared and all sorts of other things had not been done.

Remember, I had shot the approved screenplay. I had not shot anything other than the script that was submitted, so that wasn’t the issue at all. We simply were not given enough time and, well, you can say that I’m an amateur, but this was Richard Chew—the editor they were delighted to get and had approved. And of course, it’s a matter of record that when Rupert wouldn’t go on with me, Richard just quit. He wouldn’t continue on the film. It’s just not correct that we were going to put a four-hour version out before the public.

No, I wasn’t implying that. I’m referring to the cut that was screened for Orion head Medavoy, Hitzig and others at the studio. Michael Wadleigh: That’s correct, but that had to happen. I told you before, it is well known that Orion was in deep trouble with all sorts of other films-check it out-and many people felt they were abnormally leaning on Richard and me to get this film out at any cost. You know, to hell with art! Just get it out there. Of course, a lot of things did go over budget-you better believe it—but I had no control over that. I was not the producer. I simply accepted all of these people and was mainly interested in the actors. I did want as the director to choose the actors, but hey, I’m just saying it’s a matter of public record that the whole crew was professional and that Orion selected them. I wanted pros, not amateurs, F#3 and many people took the position that it was Paul Sylbert, who was a celebrated production designer, who went nuts and really put the budget over the top with the sets and so forth and they were always consulting with him. I was a nobody by comparison.

So if the next step you might be going to is budget, then I think it was pretty well established in the Directors Guild arbitration that any overbudgetings were hardly my fault based on the information they brought forward. It didn’t seem to have any effect on whether I should be able to preview my cut of Wolfen.

Some critics complained that the subplot involving the security organization pursuing terrorists isn’t fully resolved in the film. Michael Wadleigh: That’s correct. I believe it is in David Eyre’s and my screenplay. We had a far greater integration of all the elements that were thrown out there, particularly two threads that I was interested in, and still am: the corporate vs. the government. After all, religion has gone, so the two great powers we have left are government and those companies. My sympathies have always been with government, and here Dewey (Albert Finney) is a representative of that. The film was always supposed to display the disdain that the corporations had for public gumshoes like him, the inadequacies of their financing and the smallness and shabbiness of even Dewey’s boss (Dick O’Neil] compared with the slickness of the privatization of law enforcement. That was supposed to be a big deal, but then those guys in private security can’t figure out dip-shit even with all their hi-tech stuff. They are completely on the wrong track, and ultimately it was supposed to be a vindication of government hunters over corporate hunters, so it tied up far more at the end than it did in the re-edited version.

None of those things were really pointed up in the cut that came out-and by the way, the other, more interesting parallel was maybe nature vs. technology. The wolves had that wolf-vision and when you saw them they were all very organic, and here the corporations were using all this hi-tech equipment and nature was still outperforming them. Also, you have Eddie Holt and the Indians compared to the people you see in the private security force, and the steelworkers’ bar compared to the austereness of Van der Veer’s office. All of those threads I’ve laid out were supposed to be yin-yang things which would tie together in the end-the one side losing and the other side winning in clever and different ways—and I believe the critics would have been much more satisfied by the version I would have completed. Yet at the time, certainly a number of critics did recognize those elements.

You have expressed satisfaction with Wolfen, even though it was recut. Michael Wadleigh: As it stands, I directed every scene in Wolfen except for the inserts they did. I believe it’s a matter of record that the additional photography they did to get the wolves growling and a few other things were a relatively small part of the movie. So in terms of writing and directing and even, as you know, I did some cinematography there is a lot of Michael Wadleigh in there, right? Everybody agrees with that. So how can I complain about it? Movies are a collective effort, and the set designer and the cinematographer and so many people contributed tremendous amounts to it.

Were you ever offered another horror film on the strength of Wolfen? Michael Wadleigh: A couple. As I recall, the offers were pretty serious. I’m told that Stephen King really liked Wolfen, though I don’t recall that I ever talked to him, but there were a number of inquiries made. It never came to a script being sent out, because I always said, “I’m just not interested.” Stephen personally got someone to phone me, and then I was going to see him in Maine-I still have a house there to this day—but somehow we never met. Mike Medavoy immediately said, “Well, why don’t we do another horror film?” A number of other people did too. I turned them all down.

Would you welcome the opportunity to release a director’s cut of Wolfen today? Michael Wadleigh: I wouldn’t know how to do it! It was so long ago that I don’t think it can be done. I would welcome a re-release as it is right now, because I think, as I gather you do, that it’s a hell of a film, no matter whether it was recut or not. It’s got a lot of innovative stuff in it, and beautiful photography and thrills and chills, and I think that people might be amazed at the success it could have.

SPECIAL EFFECTS/WOLFEN-VISION When producers Rupert Hitzig and Alan King snapped up the rights to Whitley Striber’s shaggy wolf story back in 1978, they knew it would be difficult to translate the book’s unusual Wolfen point-of-view to the screen. In fact, when production on Orion Picture’s WOLFEN began back in October, 1979, the only thing that then-director Michael Wadleigh was certain of was that nothing about the so-called “alien vision” was certain.

But it’s doubtful that Hitzig, King or Wadleigh could have possibly conceived that their self-proclaimed “thinking man’s horror film” would still be mired in a expensive eleventh hour production launch just weeks before the scheduled release. Perhaps the most terrifying aspect of WOLFEN-at least to its makers-is that after 20 months, $15 million, four screenwriters, two directors and several special effects houses, crucial effects sequences remained incomplete. Just six weeks prior to its July 24 opening. a topnotch effects crew headed by STAR WARS alumnus Robbie Blalack-was still working frantically to complete WOLFEN’S opticals on time.

“We knew from the outset that filming the Wolfen point-of-view, or ‘alienvision’ as we call it, was going to be one elusive son of a gun,” said Rupert Hitzig during a break from a musical scoring session. “Nobody really went in with a master plan as to how to shoot the thing in a way that would give us complete manipulative editing and color control. Let’s just say that the whole thing has been at a great cost to my sanity, my family life and certainly my pocketbook.”

In preproduction, WOLFEN’S producers authorized a tidy $80,000 in seed money to effects houses on both coasts for generating footage that would approximate how the extraordinarily intelligent and sensorial-tuned Wolfen perceived the world.

“When we started, we had a technical consultant who we assumed knew what he was talking about,” Hitzig said. “We were assured that they had this phenomenal new computer printout device with the capacity to generate 235 different shades of grey. Well, I found that astronomical amounts of money for start-up and programming were being asked for without anyone being willing to prove that it actually could be done! We wanted to do things that had never been done before on straight optical printers, but the footage looked all grey and colors fell off into nothingness. So we shut it down, looked around and went with Blalack’s company, Praxis.”

Praxis is among the new crop of small, sophisticated special effects houses that have sprung up in recent years. Blalack, who set up the shop after splitting with former partner Jamie Shourt, first met with Wadleigh and Hitzig in August, 1980, and was given ten weeks to show the producers what they could do. “I showed them ten years of work,” Blalack said, “right through to STAR WARS. At that point, Michael and Rupert were fairly specific about what they were after, but they were extraordinarily open to our input.”

Praxis was originally hired for three months of work, but due to several changes in concept and personnel-most important the replacement of Wadleigh with John Hancock late in 1980-they worked on WOLFEN for fully nine months. “They have tremendous fiscal responsibility and concern, and they’re crealive,” said Hitzig of Blalack and his crew. “Frankly, it was a welcome breath of fresh air.”

The first “alienvision” technique that Praxis explored was “smell-o-vision,” a Michael Wadleigh brainchild that centered on the Wolfen’s ability to sniff out their prey. “Since we obviously couldn’t hand out sniff cards to audiences, we tried to convey the idea that the Wolfen could snifftranslation: see-images of dozens of people who had recently passed through a particular setting,” explained Praxis’ optical supervisor Beth Block. “The Wolfen would sift through these images and seize on the person they’re tracking. The backgrounds would always be visible through and behind the rapidly moving images of extraneous people. When the Wolfen locate the person, the image would lock in and become intensely focused.”

“To show their sense of smell, we used ghosted images. For example, when clues lead Wilson to the South Bronx, the Wolfen see him and make the connection that he’s on their trail. After he’s gone, they go to the spot where he parked his car. We see a series of ghosted images of things that have been there in the past: people, automobiles … That’s indicative of the smells that have been left behind. After all, smells are just molecules.”

Wadleigh’s “point of view shots” and “ghosted images” are bound to confuse audiences. “What can I say?” admits Director Wadleigh. “At first, it will be confusing, but I think it will sort itself out. People will go with it and not understand what it is until one of the characters explains it in the movie. It’ll be a healthy ambiguity. In my humble estimation, filmmakers don’t try enough interesting ideas.”

The “smell-o-vision” effects involved ghost-printing black and white figures over a color background. Though promising, the technique proved a backbreaker, since shots lasting only five to ten seconds were so image-dense that they required the equivalent of five minutes of film. “Smell-o-vision’ was a good idea, but the footage never really proved clear enough from an audience’s standpoint,” Beth Block explained “It just looked flashy.” When Michael Wadleigh exited WOLFEN “for political reasons” (the exact reasons are still unclear), “smell-o-vision” breathed its last.

Praxis next began work on a suitable means of achieving the Wollen’s night vision, which is used to hunt their human prey. After rejecting footage simply shot night-for-night, Blalack began experimenting with the use of false color and color substitution. The results, according to those who saw the early tests, were judged phenomenal,” but it was decided that it looked too phenomenal for the film’s purposes.

“To this day, Robbie probably disagrees with the choices that have been made,” Hitzig explained. “I know he would just as soon have had a strawberry-pink sky and shimmering iridescent lights-gorgeous stuff-but it certainly placed the Wolfen at a distance from the poor mortal viewing the film. Blalack wanted to place the Wolfen’s sensory capacities in a world of utopian color. Orion Pictures and I just felt the footage was too radical a departure from normal vision. It was particularly jarring in the number of cuts we have that shift from objective camera to ‘alienvision.’ We held that the juxtaposition would distance the audience’s subconscious identification with the Wolfen, and in turn, with the picture itself. Obviously, that was something we did not want to do.”

The rejection of the color replacement technique was a huge disappointment for Blalack and his crew, who felt they had come up with a truly startling visual scheme. “It was beautiful. It was really something special,” said Beth Block. “But did it approximate the way the Wolfen see? Maybe not. So we went with another approach that audiences could relate to, was filmically exciting and that worked within the story context. We realized that though some effects may seem old hat to us, they’re not to most movie audiences. And you don’t do effects to show off for other optical houses.”

The final “alienvision” design is still startling: a dark sky, a bright image and a sharp, jagged photographic outline on a figure in a color that signifies whether or not the Wolfen sees a human as prey. Blalack began with the assumption that the Wolfen could sense different emotional states as various colors; anger, fear and aggression would all be visibly different.

To properly isolate the desired foreground elements from the rest of the footage– which was shot without consideration to post production needs-contrast separations were frequently used, a technique also used in ALTERED STATES to add opticals to conventionally photographed footage. Using a wide range of film stocks and filters at various contrast levels, Beth Block was able to separate the flesh tones in a particular shot, alter it to taste, and recombine the footage to good effect. For several sequences, it was necessary to rotoscope the desired areas of the frame, a tedious chore handled by artist Pete Von Sholly.

Optical work was also required to enhance the actual look of the Wolfen. “At one point, Michael and I considered using midgets with masks.” Hitzig said, “but that would have undermined the allegorical feel we were after and take the picture into the realm of the grotesque. It’s true we were both anxious not to lay any of the Wolfen’s attributes to real wolves, a species that’s already pretty maligned. But in the end, we decided to go with real wolves, doctoring them to be totally black. I also felt strongly that Robbie and his crew should work on giving the Wolfen a light energy-an aura, almost-that separates them from looking like normal wolves.”

Praxis began experimenting on this “aura” in May, 1981, using new footage of the beasts that had been reshot by John Hancock. One option Praxis developed, dubbed the “searchlight mode,” involved shooting two beams of light against a black velvet drop, and then superimposing that onto the footage. The result, according to many at Praxis, was as nerve jangling as a lighthouse. Another attempt had animators tinting the eyes of the animals a violent blue, The “ole blue eyes” approach was torpedoed too, as were experiments with pinpoint lasers, which gave the Wolfen a semi-intentional VILLAGE OF THE DAMNED look. Eventually, Blalack, Hitzig and Hancock agreed on a white, milky glow of filaments around the Wolfen’s orbs, accomplished by tedious rotoscoping that was finally completed just five weeks before the film opened nationally.

Wolf Attacks/Make Up Effects WOLFEN’s makeup effects also went through several major changes during the course of filming, contributing to the film’s expense and delay. Makeup artist Carl Fullerton had signed up on the project back in the summer of 1979, having just completed a stint on ALTERED STATES assisting Dick Smith. But when Orion Pictures ordered a halt to principal photography in February, 1980, several makeup effects had yet to be filmed and several others had to be rushed to completion.

“Although I was given plenty of time to generate and test the specific effects that were called for, two of the major effects were left until the last day of New York locations, so it was a rush job,” Fullerton explained. “I had to ship a lot of effects out to the West Coast and wasn’t there to supervise that shooting. Initially the word was that the horror and gore were going to be soft-peddled, so they left that for the last thing to be shot. Later the approach changed so the shock stuff was in demand again.”

Fullerton, who had yet to see a final cut of the film at the time of his interview, had many lengthy meetings with Wadleigh to discuss the specific effects required. “Unlike many directors who never tell you what they’re after until they’re ready to shoot, Michael would sketch ideas on paper. He wanted to do things that had never been done on camera, and he made that process so much more open.”

Early in the film, the Wolfen murder two wealthy New Yorkers, Christopher and Pauline Vandervere (Max Brown and Ann Marie Pahtako) in New York City’s Battery Park. “Michael didn’t want the audience to fully see the creatures or to see that they were actually ripping out their victim’s throats,” Fullerton said. “He decided just to show blood dribbling from the man’s mouth. I wasn’t pleased with that. Not only was it boring and a cliche, it isn’t medically feasible.”

Instead, Fullerton suggested-and Wadleigh adopted-a spurting flow of blood from actor Max Brown’s mouth. “Dick Smith gave me some helpful advice,” Fullerton said, adding that the effect was somewhat similar to Smith’s torrent of pea soup in THE EXORCIST. “Smith suggested I attach a denture clip into the actor’s mouth, then attach tubing to it. I later found a way to actually direct the blood flow.” The tubing came up the back of the neck under Brown’s hair, over his cheek and into the corners of his mouth. Latex appliances camouflaged the mechanics. To film blood flowing from Brown’s nose, Fullerton had him lie down on a large platform to which a camera had been attached. The platform could tilt up and down like a teeter-totter, but the camera would see no such movement. Open-ended blood capsules were inserted into Brown’s nostrils while his head was near the ground; when the platform was tilted upwards, gravity caused the blood to flow realistically.

The script also called for the Wolfen to tear the hand off of Syad (John McCurry), the Vandervere’s Haitian bodyguard. When a false arm proved impractical, Fullerton devised a clever, on-camera effect. “We had the actor reach into his jacket with his own hand, grabbing for a gun in a shoulder strap,” he said. *The camera point-of-view is a wolf charging at him and the actor aims the gun at the ‘wolf.’ Meanwhile, something from the left side of the screen pushes into him and knocks his hand out of the frame. While out of view, I clipped an appliance over his arm-a flexible fiberglass stump spewing blood on his face and upper chest. We avoided a cutaway and the man ostensibly loses his hand on camera.”

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More grisly effects were required for the death of a derelict named Mule, whose throat is ripped out by the Wolfen. It was one of several makeup sequences designed by Fullerton but shot during post production in Los Angeles because of his commitments on EYEWITNESS and FRIDAY THE 13TH-PART II. Unlike simple wounds, ripping out a throat required an appliance with substantial depth to it. Fullerton conducted extensive tests on himself before developing an appliance built up with fiberglass, epoxy and latex. “I actually remade the neck area.” Fullerton said. “The appliance fits under the jawline to simulate the whole neck and upper chest area. It had to allow the performer plenty of facial and body mobility-his only limitation would be really fast movements. The appliance was strapped to the actor’s chest and carefully glued to the lower jaw and neck.

“I have to say it was more successful on me,” Fullerton added. “I have a stronger jawline than the actor used in the scene.”

But the most demanding makeup assignment of all involved the Wolfen’s bold decapitation of a New York police commissioner (Dick O’Neill) in the middle of Wall Street. Although most of the sequence had been filmed on location in the financial district, the closeup of the Wolfen attack was to be shot in the studio. Though it’s a key sequence, it was left for the last day of shooting.

“Since there was really no other way to do the scene, I built a dummy head.” Fullerton said, “But a rigid dummy head would look just terrible if it wasn’t animated.” To provide the needed movement, Fullerton built a flexible neck out of gelatin and supported the head with an aluminum rod connected to a universal joint. The mouth was able to open and close, and a simple flick of the wrist on a control handle allowed an operator to move the head realistically in any number of ways.

But problems arose when Fullerton’s dummy head met Eoin Sprott’s puppet wolf: it was difficult to get the wolf to attack both on target and at the proper speed. After several unsuccessful attempts, the plan was scrapped and Fullerton was forced to devise a solution on the spot, since filming had to wrap that day.

“Originally, Michael did not want a decapitation,” Fullerton said, “he just wanted to see the neck being bitten off and pushed out in front of the camera. After doing a shot, Michael decided that he wanted to change it and have a decapitation, but the dummy wasn’t built for that. So we had to do some surgery on it: open up the back of the neck, cut the whole supporting structure out and resupport it using a tongue depressor! The neck was prescored and had piano wires at the base of the skull. We had Eoin Sprott’s puppet head lunge at the neck of the dummy. At that point, I whirled the head off!”

In addition to filming the complex decapitation on the last, hectic day, Fullerton also set up and filmed an insert shot of Dick O’Neill poking his head through a section of fake pavement and rolling his eyes. In addition, the bloody death of Christopher Vandevere was also shot in that same day. But other planned effects could not be squeezed in and were executed in post production by makeup artist Allen Weisinger: the ripping out of the vagrant’s throat, described above; a close-up of John McCurry’s severed hand lying on the ground, the fingers twitching and still clutching the gun, achieved by having an actor stick his hand through a section of fake pavement and adding a latex stump; and a shot of Dick O’Neill’s head flying through the air spewing blood from its nose and mouth, achieved with a false head with built in canisters of stage blood and compressed air that was literally tossed up and down for the camera.

“The terrific thing was working with Michael,” Fullerton said. “But I have to admit that the pressure of doing everything at the last minute made it pretty frustrating. I can’t wait to see the movie, though, to see what got left in and what got left out.”

New York as one of the films Main Characters (Great Article @ NYC In Film about NY during the production of Wolfen)

PROMOTIONAL/ADVERTISING

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SCORE/SOUNDTRACK Wolfen (1981) The Unused Score by Craig Safan

Composer Craig Safan wrote an original score for this film and was replaced at the last minute by future Academy Award winner James Horner, who had only 12 days to write and record his score.

CAST/CREW Directed Michael Wadleigh

Produced Rupert Hitzig

Screenplay David M. Eyre, Jr. Michael Wadleigh Uncredited:Eric Roth

Story by David M. Eyre, Jr. Michael Wadleigh

Based on The Wolfen by Whitley Strieber

Albert Finney as Dewey Wilson Diane Venora as Rebecca Neff Edward James Olmos as Eddie Holt Gregory Hines as Whittington Tom Noonan as Ferguson Dick O’Neill as Warren Dehl Berti as Old Indian Peter Michael Goetz as Ross Reginald VelJohnson as Morgue Attendant James Tolkan as Baldy Donald Symington as Lawyer Tom Waits as Drunken Bar Owner (uncredited)

Makeup Department Frank Bianco Carl Fullerton Allen Weisinger Michael R. Thomas

CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY Cinefantastique V11n03 Fangoria#028 Fangoria#013 Fangoria#301

Thanks to Mark E. [email protected] for allowing me to link his great informative article on old school NY.

Wolfen (1981) Retrospective SUMMARY Former NYPD Captain Dewey Wilson is brought back to the force and assigned to solve a bizarre string of violent murders after high-profile magnate Christopher Van der Veer, his wife and his bodyguard are slain in Battery Park.

#80sFilms #80sHORROR

[marcoacesabo]

CONTINUATION MAGIC FAMILY AU

Hello !, I have come to bring you a second part of the familiar AU that I presented several weeks ago! I am very glad that you have liked them and I thank all those who waited for him. Many thanks to MarcoAceSabo for helping me again and posting it. If anyone wants to write something about this it is free to do so! I just want to be tagged or warned me by message so I can read it too! XD

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Ace glared angrily at his new masters through his silver eyes.

He hated those guys.

They had simply snatched away his freedom and separated him from his prized baby brother to satisfy their selfish desires. Speaking of Luffy, he had to return to his side soon, for the boy must have recovered from the fever by now but needed to take care of.

God knows that if someone is lucky enough to survive eating a devil’s fruit, they can’t do such a thing twice, even by accident.

And Luffy is very prone to accidents.

“Is something wrong Kitten?” You look worried” Sabo says quietly, examining him with those dark blue eyes.

“Don’t call me that!  I have a name, I’m not some pet or a whore! “Ace screams, hissing as he lets his teeth take on the form of fangs to emphasize his point.

“Name?” Marco says interested, sitting on one of the expensive looking furniture “Has he been given a name too?”

“I’m Ace” he responds sharply and becomes a large black dog, as an affirmation that he does not want to talk to them.

They both launch forward without fear and Ace shrinks unwillingly when they touch him.

“Well Ace. We would appreciate some of your collaboration, you are a magnificent creature after all, "Marco says as he examines his body.” We are immensely happy to have found you.”

Ace does not respond, instead, he was trying to control his tremors, as they run their magic covered fingers through his fur.

He had not seen such strength since Rouge.

She found him many years ago, wandering through the damn forests, as a wild, wild change, and over the years she had tamed him to the point where Ace offered to make a contract with her and be her servant.

She looked after him with affection and care, almost like a son, and then gave him the greatest gift he would ever be able to afford. She gave him a part of her human soul, just enough so that he could achieve self-consciousness and humanity.

She had been killed by a mighty curse and Ace had taken over her orphaned son (Luffy) promising to take care of him until he became strong enough to defend himself.

Ace refuses to eat for several days, and his fur (because he still refuses to take his human form in front of them for too long) looks faded and somewhat thin. A plate with a huge fresh fish appears before him, and although it looks delicious he refuses to take a bite.

He grunts again when his gaze collides with the cat toys around him. A scratch pool, a chase bug wand,  along with a wool ball. He remembers how much he spat and scratched those silly wizards when they were given to him.

… he really likes playing with those things (Luffy played with him, all the time) but he will not do it in front of his enemies.

Sabo sits down in front of him with concern, trying to caress the plush black cat’s, but he receives a hiss and an attempt to claw.

“Ace? You have to eat, kitten. We do not want you to get sick … do not you like fish?” he says, putting a dish with a delicious chop rib and the familiar feels his mouth water “eat a little, please …”

Ace is confused by the sincere concern emanating from the statement of the youngest magician. He needs to see Luffy, take care of him, not be in this mansion following the whims of these idiots.

He hesitantly approaches the plate with the fish and tentatively bites the meat, melting by how fresh and delicious it is. He starts eating as if his life depends on it and Ace soon feels a hand that caresses his head a little.

There is a nice and sudden electrifying touch, and Ace is confused for a moment, before hissing at the wizard, scratching his fingers.

What had that been?

“ouch” the other complaints, pulling back his hand with a small wince but it’s nothing serious.

“Sabo? Are you okay dear?”

“It’s nothing Marco, just a little scratch, it was my fault for touching him so suddenly.”

Ace simply escapes, too confused by the delicious shivers that ran down his spine.

The shapeshifter pressed between the bars of one of the windows of the house, making no sound. His little legs ran quickly to the exit of the mansion, and he had not even taken ones step on the stairs when he felt an annoying touch on his spine, right where the tattoos were, which slowed him down.

Soon a pair of hands took him by the back of his neck, raising him off the ground.

“And just where are you going?” Marco asks quietly, beginning to enter the house again.

Ace has refused to take his human form and although Sabo and Marco have insisted they wanted to see it again, he has refused with grunts, hisses and scratches.

The shapeshifter moved in his hand, escaping from his hold and returning to enter the house again.

He did not want to be around those people.

“Ace, could you come here, please? We have something to ask”

Even if he wanted to refuse, he found himself walking to meet them almost automatically.

When, after many caresses and pampering, they explained to him that he was being assigned a mission, he felt the inexplicable need to be useful to them. He couldn’t refuse them.

Maybe it was part of the contract? He didn’t know but he set out anyway.

The shapeshifter runs through the fields of the magician’s mansion that Sabo and Marco had asked him to spy on. Apparently, they had suspicions that the sorcerer living in those lands was a necromancer and if so, they had to stop him.

Necromancy was forbidden under extreme penalties.

Ace took the form of a black rat, aware that it was something common in the old castles and prayed inwardly that there would not be a cat prowling around the lair because it would ruin his disguise.

He walked through the most hidden holes, and managed to reach a huge room, full of square doors like cupboards.

“Kishishishishi …” A strange man laughed, and Ace hid behind a wall. “How are my kids today?” He asked as he stared at the doors, confusing Ace.

“ Absalom? I need you to help me with something.”

Strangely inconsistent steps crept to the living room and Ace was horrified when he saw a man mingled with a lion. His eyes were glassy and unfocused, obviously dead.

“The body of Hogback and Cindry will go first,” he said, and the walking corpse obeyed, opening the doors and pulling out two stretchers with immobile bodies that seemed to have been torn apart and reattached together.

The man hammers some nails into the bodies, beginning to pray in unknown languages and after several minutes the bodies moved, like winged puppets with invisible threads.

He didn’t  need any more evidence, Ace just had to go out and take the information home to … Marco and Sabo.

However, as soon as he had left his hiding place to sneak out to the outside of the castle, something took him by the tail and lifted it.

It was a sticky, black substance that looked identical to the sorcerer.

“puag, a rat! They eat my precious corpses” The man hisses angrily.

Realizing that the other was going to get rid of him, he immediately changed form.

And he fights.

Marco and Sabo were worried, a lot.

Their dear familiar had left for a simple mission to the house of Moria, wanting to verify the rumors about his necromancy.

With his changing power, he could easily pose as an unimportant animal and then return home to inform them of what he had found.

But it had been almost a week since he was supposed to return.

They could not go by themselves to the place of Moria as that would break the pact of non-aggression, which they had until failure to the meet laws were verified.

The door opened and they immediately ran to meet the magical creature.

“Ace!” They called horrified when they saw him.

He was in human form, bleeding from several wounds all over his body, his face was a mixture of red and purple and he held his left arm as if it were broken.

He fell at their feet as soon as he saw them.

Ace woke up in a comfortable bed, his back resting on a feather mattress and his wounds bandaged and healed. His body ached but it was bearable and he remembered all the events that had led him to be in the situation he was in.

The necromancer and taking the wrong way to leave his lair.

Little by little he also noticed the hands of the magicians who called themselves his masters, applying healing potions on his wounds with delicacy.

He tried to growl but there was only a pained animal moan. The wizards looked at him, expressions filled with concern, and sighed with relief when they saw him awake.

“Gods thank you … we are so happy”  Marco’s hand caressed Ace. “What happened over there, Ace?” Did Moria do this to you?”

Carefully they gave him some water to drink and after a few minutes of rest, he could tell what happened in the lair of the other magician.

“Shit we’re sorry Ace. It was just a mistake, you did an amazing job, kitty”  Marco smiled “ it’s Moria who must pay for everything he has done to you”.

“We’re happy to have Ace back,” Sabo replied, stroking behind his ears even though he was in his human form. “It was us who failed to protect you, which, of course, will never happen again.”

The eyes of both magicians darkened.

“Moria is going to pay dearly for having hurt our precious partner”

Ace felt a strange shudder at the words. Did they care about him? He had thought that they only saw him as a tool of utility and experimentation. But now, seeing their faces so worried and their care diligent … he may have begun to doubt a bit.

Only a little.

#MarcoAceSabo #submission #Dude #I loved it! #mentions of self starvation #unbalanced power dynamics/lack of consent. #familiar creatures #some edits done by me

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