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16 Super Facts About Superman

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Superman is back on the big screen right now, battling the Dark Knight in Batman v Superman: Dawn of Justice. But this blockbuster clash of comic book titans might never have happened if not for the success of Richard Donner’s Superman: The Movie (1978).

Today, comic book movies are ubiquitous, but in the 1970s they were an untested gamble. To make Superman, a trio of ambitious producers teamed up with a talented director, a great cast, and an unprecedented special effects team to create something unlike anything anyone had ever seen on the big screen before. The result was a storied, often tense, filmmaking experience. So, to celebrate the return of the Man of Steel to the big screen, let’s look at 16 facts about his first blockbuster.

1. IT BEGAN PRODUCTION WITHOUT A STUDIO.

When producers Ilya and Alexander Salkind first got the idea to make a film based on the Superman comic book, they started cobbling together financing for the production, but had no distributor. Eventually, they were able to convince Warner Bros. to take on U.S. distribution rights, but under what’s known as a “negative pickup” deal, meaning that the studio wasn’t actually required to help fund the movie. The burden was on the Salkinds to make the picture appealing to the studio, so the financial risk was massive.

2. THE ORIGINAL DIRECTOR HAD TO LEAVE THE PRODUCTION.

The Salkinds considered several directors, including Sam Peckinpah (The Wild Bunch) and William Friedkin (The Exorcist) to helm the production, but ultimately decided on Guy Hamilton, who was best known at the time for directing James Bond films like 1974’s The Man with the Golden Gun. Hamilton took the job, and the production planned to shoot in Rome. When it became clear that it would actually be cheaper to move the shoot to England, a problem arose: Hamilton was an English “tax exile,” meaning he could only be the United Kingdom for 60 days out of each year. Because the production was likely to take longer than that, Hamilton had to drop out, and the search for a new director began.

3. RICHARD DONNER TOOK THE JOB WHILE ON THE TOILET.

Desperate to find a new director, the Salkinds turned to Richard Donner, who was riding high after the success of The Omen (1976). According to Donner, he was actually sitting on the toilet when he got the call from Alexander Salkind offering him the chance to shoot Superman and Superman II back-to-back.

“I’m making Superman. I don’t have a director and I’ll pay you a million dollars,” Salkind said.

“A million dollars! That was like saying ‘I’ll give you all the tea in China,’” Donner recalled. Donner agreed to see the script, which would present its own set of challenges.

4. THE ORIGINAL SCRIPT WAS 500 PAGES LONG, AND DONNER HATED IT.

When the Salkinds began the project, they wanted a high-profile writer to boost the film’s profile, and decided on The Godfather author Mario Puzo. After spending some time with editors and DC Comics to familiarize himself with Superman lore, Puzo got to work and produced a massive script spanning two films and 500 pages. The script was later rewritten by David and Leslie Newman and Robert Benton. When Donner joined the film, which Alexander Salkind had assured him was “perfect,” he demanded rewrites.

“It was disparaging,” Donner recalled. “It was just gratuitous action. I’m reading this thing and Superman’s looking for Lex Luthor in Metropolis, and he’s looking for every bald head in the city. And then he flies down and taps a guy on the shoulder and it’s [Kojak’s] Telly Savalas, who hands him a lollipop and says, ‘Who loves ya, baby?’

“I was brought up on Superman as a kid. There was a whole point in my life where I read Superman. So when I was finished with it, I was like, ‘Man, if they make this movie, they are destroying the legend of Superman.’ I wanted to do it just to defend him.”

To “defend” Superman, Donner called in his friend Tom Mankiewicz (Live and Let Die), and the two began reshaping the story.

5. MARLON BRANDO WANTED TO PLAY JOR-EL “LIKE A BAGEL.”

To further boost the film’s profile, the Salkinds went after major stars for key supporting roles, and pursued Marlon Brando for the role of Superman’s father, Jor-El. Donner, Mankiewicz, and Ilya Salkind flew to Brando’s Los Angeles home to meet with him. Before he met the actor, Donner asked famed Hollywood agent Jay Kanter for any negotiating hints, at which point he learned that Brando was going to attempt to do as little work as possible.

“And he said, ‘He's going to want play it like a green suitcase.’ I said, ‘What does that mean?’ ‘It means he hates to work and he loves money, so if he can talk you into the fact that the people on Krypton look like green suitcases and you only photograph green suitcases, he'll get paid just to do the voiceover. That’s the way his mind works.’ I said, ‘F*ck,’ and then I called Francis Coppola. He said, ‘He’s brilliant. He's got a brilliant mind. But he loves to talk. Keep him talking, and he'll talk himself out of any problem,’” Donner recalled.

When the director actually met with Brando, the actor proposed that he played Jor-El not as a green suitcase, but as a “bagel.” Brando reasoned that no one knows what the people on Krypton look like, but that Jor-El would know what people on Earth look like, and would therefore make his son look human so he could blend in. Mankiewicz even recalled that, at one point, Brando pitched the idea that maybe Kryptonians don’t even talk. They simply make electronic sounds that are translated through subtitles. Fighting to secure his star, Donner invoked Superman’s long comic book history.

“I said, ‘Jeez, Marlon, let me tell you something.’ He’d just told us the story about a kid [and how smart he was] and I said, ‘It's 1939. There isn't a kid in the world that doesn't know what Jor-El looks like, and he looks like Marlon Brando.’ And he looked at me and smiled [and said], ‘I talk too much, don't I?’ He said, ‘OK. Show me the wardrobe.’”

Brando was paid $4 million to play Jor-El, a massive sum for only a few scenes.

6. EVERY MAJOR STAR OF THE DAY WAS SEEMINGLY CONSIDERED FOR THE TITLE ROLE.

In order to secure the rights to adapt the comic book, the Salkinds had to bow to certain demands from DC Comics, and the publisher ultimately sent along a list of “approved” actors who were allowed to play Superman. The list was far-reaching, and basically included every major star of the time. Among the names on the list: Dustin Hoffman, Al Pacino, Steve McQueen, Robert Redford, Paul Newman, and Muhammad Ali.

7. RICHARD DONNER WANTED TO CAST AN UNKNOWN AS SUPERMAN.

The Salkinds, hoping to land a major movie star in the title role, offered Superman to Paul Newman and Robert Redford, who both turned it down. The Salkinds also booked a meeting between Donner and Sylvester Stallone, who was hot at the time because of Rocky.

“I tried to be nice and say, ‘This is wrong,’” Donner said.

Believing that a movie star in Superman’s costume wouldn’t be believable, because audiences would only see the movie star and not the character, Donner lobbied hard for an unknown. He eventually found his man in Christopher Reeve, who impressed the director with his theater work.

8. CHRISTOPHER REEVE GAINED NEARLY 50 POUNDS TO PLAY THE ROLE.

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Though he was impressed by Reeve’s acting ability, and believed he had the right face to be Superman, Donner was concerned about the actor’s size. Superman had to be muscular and really fill out the costume, and at the time they, met Reeve was 6’5” and weighed only 170 pounds. Donner was skeptical, but Reeve assured him that he’d been muscular before and could be muscular again.

“Before I went into acting, I was a real jock,” Reeve said. “I’ve lost 50 pounds. I can put it on.”

To help Reeve get into shape, the production turned to bodybuilder David Prowse (best known in film as the man in the Darth Vader costume for the original Star Wars trilogy), and asked him to put as much muscle on Reeve as he could in the span of about six weeks. According to Prowse, Reeve weighed about 212 pounds when he started production.

9. MARGOT KIDDER’S CLUMSINESS WON HER THE LOIS LANE ROLE.

For the role of Lois Lane, several actresses—including Lesley Ann Warren and Anne Archer—were considered, but Margot Kidder ultimately won the role by simply being herself.

“When I met her in the casting office, she tripped coming in and I just fell in love with her,” Donner said. “It was perfect, this clumsy [behavior]. She was one of the few [actresses] we flew to London to test with Chris. Anne Archer [also tested]. But they were magic together.”

To compound Kidder’s clumsy, silly side even further, an eye injury meant that she had to act without contact lenses one day. Donner was so charmed by the way it made Lois bump into things and widen her eyes that he made sure Kidder continued to play the role without her contacts.

“There was a law after that: every morning people had to come to me and make sure she didn't have her contacts in, and that she would act without her contacts. It just made her wonderful.”

10. THE ORIGINAL PERRY WHITE WAS REPLACED DAYS BEFORE SHOOTING.

For the role of Perry White, the editor of the Daily Planet, Donner cast legendary character actor Keenan Wynn, but almost immediately after his arrival in London for shooting, Wynn had a heart attack. Desperate to find an actor in time to keep the production on schedule, Donner and Mankiewicz made a list of possible names, and just made calls until someone answered the phone. Jackie Cooper picked up, and ended up playing the character all the way through 1987’s Superman IV: The Quest for Peace.

11. THE KRYPTONIAN COSTUMES COULDN’T BE TOUCHED BY BARE HANDS.

For the scenes on Krypton, costume designer Yvonne Blake wanted costumes that reflected some kind of “energy,” and ultimately decided to craft the suits from material traditionally used on movie screens “made out of miniscule balls of glass.” The glowing effect the material produced was fantastic, but because of its delicate nature, the crew could only touch it while wearing cotton gloves.

“Any time the material was touched by hand it would lose its reflective quality,” Blake said.

12. THE CREW CRIED WHEN SUPERMAN FLEW FOR THE FIRST TIME.

Perhaps the biggest challenge in making Superman was creating a convincing special effect that would allow Superman to fly. Donner was adamant that old, crude methods of flying on camera (like the ones used in the Superman TV series) could not be used. It had to feel authentic, and that meant the special effects team had to essentially invent new methods of onscreen flight. Finally, optics expert Zoran Perisic designed a system that used two zoom lenses interacting with each other to create a flight effect.

“Christopher Reeve would be basically in one place, on a pole arm … that you don’t see, and all he does is sort of make the moves, and it’s the camera and the projector that make him look like he comes straight up,” Perisic said.

According to Donner, crew members actually cried the first time they saw Reeve take flight.

13. THE PRODUCTION WAS CHAOTIC.

The Salkinds’ plan was always for two Superman films to be shot simultaneously, but because of the immense number of sets and effects needed to achieve that, Donner had to break the filming up into manageable pieces. To make it all work, seven different shooting units were filming at the same time, with Donner driving back and forth between them on a golf cart.

“I had a bunch of these handheld radios in my golf cart and I would get a call from production and they would say ‘Get over to stage blah blah. They’re doing the tests. We’re ready to shoot,’” Donner recalled. “I’d go over there and go back and shoot the principals, and then get a new setup that would take hours, because it was so vast.”

14. DONNER AND THE SALKINDS CONSTANTLY FOUGHT OVER THE BUDGET.

As production on both films continued, tension developed between Donner, the Salkinds, and producer Pierre Spengler. Donner was attempting an unprecedented comic book movie feat, and according to him, the producers constantly urged him to spend less while never actually telling him what he was allowed to spend. The Salkinds always claimed the film was over schedule and over budget, while Donner claims that he never actually had a schedule or a budget.

“They’d say, ‘You can’t do this,’ but I would have no alternative and they wouldn’t show me the budget. They never ever told me what the budget was. I had no idea what I was spending. I was making a movie and they wouldn’t tell me the budget,” Donner said. “So there was no way I knew what I was spending. Sometimes I’d authorize something and nothing would be there; they would just arbitrarily cancel it. They didn’t want anyone to know where that money went, I guess.”

15. THE ENDING WAS ACTUALLY STOLEN FROM SUPERMAN II.

As production went on, Superman was helped out by increased financial support from Warner Bros., as studio executives grew more and more impressed with footage they received from Donner. According to Mankiewicz, their favorite effect was the scene in which Superman flies into space and begins reversing Earth’s rotation in order to turn back time. Because the studio was determined to make Superman a hit, they wanted this dazzling effect to be the climax of the film. The problem was that the footage was intended to be the end of Superman II.

According to Mankiewicz, the original ending of Superman involved the Man of Steel throwing a nuclear missile into space, at which point it would collide with the Phantom Zone prison containing General Zod (Terence Stamp) and his acolytes, freeing them and setting up the sequel. Well, because Warner Bros. was convinced there wouldn’t be a sequel if Superman didn’t work, they lobbied for Superman to reverse time to end the film, and Mankiewicz and Donner made it work.

“We talked and talked and finally we stole it from Superman II and figured when we finished that, we would have come up with a new ending,” Donner said.

16. DONNER DIDN'T COMPLETE SUPERMAN II AMIDST INCREASING TENSION.

As Donner continued to fight with Spengler and the Salkinds over budget and scheduling issues, the Salkinds drafted director Richard Lester (A Hard Day’s Night) to act as a “go-between” for both parties. Lester assured Donner that he was there to help, and Donner requested that Lester have no part in the actual production of the films.

After Superman was released to massive success in December of 1978, Spengler encountered Variety columnist Army Archerd at a Christmas party, and assured him that, though there had been tension, he was proud of Donner’s Superman work and looked forward to working with him on the sequel. Archerd then contacted Donner and told him what Spengler had said. Donner’s response was “If he’s on [Superman II]—I’m not.”

“The Salkinds are very loyal people,” Spengler said. “I’d been there from the outset, and if the gentleman (Donner) didn’t want to work with me, then we had to find someone to replace the gentleman.”

The Salkinds then turned to “go-between” Lester, and hired him to finish Superman II. Lester reshot, and sometimes even rewrote, portions of the film (Mankiewicz, loyal to Donner, refused to return to work on the script).

“They hastily rewrote a lot of scenes with Chris and I,” Kidder said.

Decades later, Donner’s previously shot footage for the film was restored and re-edited into Superman II: The Richard Donner Cut, and previously unused footage of Brando as Jor-El was incorporated into Bryan Singer’s sequel to Superman II, Superman Returns (2006).

Additional Sources:
You Will Believe: The Cinematic Saga of Superman (2006)
Taking Flight: The Development of Superman (2001)
Making Superman: Filming The Legend (2001)

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8 Things You Might Not Know About Ziggy
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Welcome Productions, YouTube

Devoid of pants or much of a personality, cartoonist Tom Wilson’s Ziggy has been prompting pleasant chuckles out of readers since he first appeared in newspapers in 1971. The bulbous-nosed little unfortunate has, against the odds, become a highly recognizable character, extensively merchandised on everything from greeting cards to pencil erasers. Before the inevitable big-budget CGI reboot happens, check out some facts about Ziggy's history, why fans were upset when he once spoke, and the bittersweet origin of his distinctive name.

1. HE WAS ORIGINALLY AN ELEVATOR OPERATOR.

Ziggy had a circuitous route to the comics pages. The character was first created by American Greetings executive Tom Wilson in the 1960s. (Wilson would later have a hand in creating the Care Bears and Strawberry Shortcake.) Doodling an elevator operator who commented on the mundane events inside his small world, when Wilson first tried to sell it as a comic strip, there were no takers. When he resurrected the character for a 1969 American Greetings humor book, When You’re Not Around, the odd little man intrigued the wife of a Universal Press Syndicate executive. By 1971, Wilson and Ziggy were in 15 newspapers, a number that would eventually reach over 500. 

2. THE NAME “ZIGGY” WAS CHOSEN VERY DELIBERATELY.

Ziggy is often depicted as beleaguered and exasperated at the various obstacles life puts in front of him, from faulty ATMs to soured relationships. (He prefers to socialize with animals.) Wilson gave him the name “Ziggy” because the letter “Z” comes last in the alphabet and Wilson thought that was a proper position for his character, who often came last in life. (Another story has Wilson hearing the name from a colleague’s barber and remembering it.) In one strip, Ziggy is seen waiting for a rescue after a flood—but the responders are going in alphabetical order. In 1974, Wilson told a reporter that his full name is “Zigfried.”

3. WILSON TRAINED HIS SON TO DRAW HIM.

When Wilson died in 2011, his heir apparent was already selected. His son, Tom Wilson Jr., had been drawing the strip since 1987. Long before that, the elder Wilson would sit with his son at a table, draw Ziggy in a precarious position—a safe plummeting toward him from above, for example—and then instruct his son to draw a way out of the jam. Ziggy, Tom Jr. later said, was like his “successful little brother.”

4. HE WAS ENGINEERED TO BE LOVABLE.

Despite his general haplessness, Ziggy often draws sympathy and affection from readers. Wilson felt his large, circular nose and rotund body engendered feelings of warmth and told his son to go easy on his line drawing work. “Let’s keep Ziggy round and lovable,” the artist said. Ziggy also breaks the fourth wall, talking directly to readers, a technique Wilson felt further strengthened the feeling of companionship.

5. HE WOUND UP PAINTED ON THE SIDE OF A WATER TOWER.

For years, locals in Strongsville, Ohio have craned their necks to take in a curious sight: Ziggy appears on the side of one of their water towers. Wilson was from Cleveland, and when he heard a local sports team had painted the character up there in 1975, he offered to render a better portrait. Firefighters lifted him on a crane and allowed him to paint Ziggy next to the school’s mustang mascot. When the Cleveland Water Department threatened to cover him as part of a new paint job, residents signed a petition to prevent them from going through with the plan.

6. HE HAD HIS OWN BOARD GAME.

There was no limit to the kind of Ziggy product tie-ins hitting stores, including shirts, calendars, and mugs. But 1977’s A Day with Ziggy might be the most memorable. Players assumed the role of the put-upon blob, trying to avoid landing on a space that would worsen Ziggy’s day.

7. HE MET GENE SHALIT.

Ziggy first popped up in cartoon form in 1981, when he “appeared” in a segment with Today film critic Gene Shalit. Strangely, readers wrote in expressing disapproval of the spot, noting that Ziggy's voice didn’t mesh with what they had imagined he might sound like.

8. HE WON AN EMMY.

Ziggy made the jump to animation in 1982 with the ABC primetime special Ziggy’s Gift. Written by Wilson, it afforded Ziggy fans a closer look at the character’s daily life, including his sparsely-furnished apartment and a gig dressing as Santa for the holidays. At Wilson’s insistence, the character didn’t speak to avoid another Shalit situation. The special won an Emmy in 1983. Ziggy still wasn’t wearing any pants.

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12 Burning Facts About Hellboy
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Two decades before he would become a two-time Oscar-winner for The Shape of Water, Guillermo del Toro set out to make a movie about his favorite superhero: a big red demon with a big gun and a heart of gold. It took years to finally get the film off the ground, but in 2004 Hellboy finally made it to theaters, adding another piece to the beloved supernatural filmography that’s made del Toro a favorite among genre fans for a quarter of a century.

Though it never rose to the box office heights of The Avengers, and it never reached the end of its planned trilogy, Hellboy remains one of the most imaginative, thrilling superhero films of the 21st century. From early script changes to an accidentally deleted scene, here are 12 facts about how it was made.

1. HELLBOY WAS GUILLERMO DEL TORO’S FAVORITE SUPERHERO WELL BEFORE HE MADE THE MOVIE. 

Guillermo del Toro grew up with comic books, noting that he was flipping through them before he even knew how to read the words. That childhood fondness for the medium stayed with him into adulthood, and by the time he’d reached his early 30s he’d not only discovered the work of Mike Mignola, but began to consider the Hellboy creator one of his great comic book visual influences alongside legends like Will Eisner, Bernie Wrightson, and Richard Corben.

“Mignola, in my later years, already as a young adult, fascinated me with his use of light and shadow, with his amazing bold line work, but also with the way he gave birth to my favorite superhero in my adult years, which is Hellboy,” del Toro said during the recording of the Hellboy Director’s Cut commentary track.

When del Toro and Mignola finally met during the making of Hellboy, they bonded over a mutual love of folklore and pulp fiction, becoming fast friends and collaborators. 

2. THE ORIGINAL SCRIPT FEATURED INTERVIEWS WITH HELLBOY WITNESSES.

In the world of the film, Hellboy is viewed as an urban legend and tabloid story, not unlike Bigfoot. The film’s opening credits underline this with blurry photos, grainy videos, and newspaper headlines meant to depict widespread eyewitness accounts of the creature. Agent Myers (Rupert Evans) further emphasizes this point when he exclaims “He’s real!” upon meeting Hellboy for the first time. 

According to del Toro, this idea was initially supposed to play out in a much more overt way through the film’s screenplay. In early drafts, parts of the film’s story were told through eyewitness interviews with characters claiming to have seen Hellboy.

“So people would be saying ‘I saw Hellboy over here. I saw him jump,’ and a kid saying, ‘I saw him on the rooftop.’ Now everybody does it, but back then it was 1997, '98, and I thought that was a great idea,” del Toro said. “That was the first thing we cut out of the shooting schedule because [the studio executives] didn’t understand it.”

3. IT COULD HAVE BEEN MADE MUCH SOONER.

Though Hellboy’s live-action debut occurred relatively early in the 21st century’s superhero movie boom, he could have been more of a comic book trailblazer than he turned out to be. According to del Toro, if it weren't for reluctant studio executives, the film could have come out as early as 1998, making it a contemporary of Blade rather than Spider-Man 2.

“The one thing that particularly infuriates me is that this movie could have been made in 1998,” del Toro said, noting that the film would have then pre-dated X-Men (2000), Spider-Man (2002), and even The Matrix (1999). At the time, though, many studio executives considered the comic book movie label “almost an insult,” and so Hellboy kept getting pushed back. In between the time it could have been made and the time it was actually released, del Toro made his comic book movie debut with another dark superhero film, Blade II, in 2002.

4. DEL TORO WROTE HIS OWN CHARACTER BIOGRAPHIES.

By the time Hellboy hit theaters, creator Mike Mignola had already been building his own mythology and supporting cast around the character for a full decade. While the film is a loose adaptation of the first major story arc of the comic, “Seed of Destruction,” del Toro couldn’t help adding his own touches to everyone’s backstory. Even before he began work on the script, del Toro wrote out detailed character biographies for each major player in the Hellboy story, which were then included on the eventual Director’s Cut DVD release.

A particularly amusing example from these backstories: The fictionalized version of historical figure Grigori Rasputin (Karel Roden) is said to have disliked “greasy food,” and while he really did die in 1916, he was resurrected in 1936 when Nazi occultists mixed his stolen ashes with the blood of the innocent.

5. HE ALSO ADDED THE LOVE STORY.

Long before his fantasy romance The Shape of Water earned him two Academy Awards, del Toro was imagining tales of unusual creatures falling in love with human women, and Hellboy was one of them. The romance between the title character (Ron Perlman) and Liz Sherman (Selma Blair) didn’t exist in Mignola’s original comics, where Sherman’s stronger connection was (ironically, given The Shape of Water’s subject matter) with the aquatic creature Abe Sapien (who is played by The Shape of Water's Amphibian Man, Doug Jones). Latching onto a particular moment in the comics in which Hellboy is enraged by the thought of Liz’s death, del Toro envisioned a story in which his demonic hero could fall in love with a pyrokinetic woman, and was particularly enticed by the image of that woman engulfed in flames kissing a fireproof creature. That particular storytelling decision made del Toro’s Hellboy significantly different from Mignola’s, who modeled the character after his father, but the creator ultimately allowed the departure in the final film.

6. RASPUTIN WAS ORIGINALLY SUPPOSED TO LOSE HIS EYES.

In several sequences throughout the film, the character of Rasputin wears a pair of small sunglasses, even in scenes set at night. This was not done simply to make him look cooler (del Toro recalls comparisons made to The Matrix), but because del Toro originally planned to take away the character’s eyes. In the film’s opening sequence, Rasputin is sucked into the very portal that baby Hellboy is drawn out of, causing him to vanish from Earth for decades until he’s resurrected in the present day. Del Toro wanted the portal to create a “cosmic eye-gouging” effect that would rip the character’s eyes out of his head, but it simply didn’t work in a PG-13 film.

“I thought the eye-gouging, the cosmic eye-gouging, was not graphic enough for people to get the point,” del Toro said.

So, the shot of Rasputin losing his eyes was cut from the theatrical release, but restored for the director’s cut, along with a deleted scene in which the character is given a set of glass eyes.

7. LABYRINTHS ARE A RECURRING THEME IN THE FILM.

Del Toro is a director known for his keen attention to detail. As a result, various recurring visual themes appear in all of his films. For Hellboy, he focused on the idea that “a man is made a man by the choices he makes,” and while the film’s story conveys that as Hellboy must choose between the ideologies of Rasputin and Professor Broom, he also sought to convey it through visual metaphor. To do this, del Toro settled on the recurring motif of the labyrinth. It first appears as part of the opening credits sequence, when the entire logo becomes a kind of maze, then reappears as Ilsa (Bridget Hodson) and Kroenen (Ladislav Beran) weave through mountainous terrain to find Rasputin’s resurrection site. To bookend the metaphor, Rasputin’s mausoleum in Moscow also functions as a kind of labyrinth. Even the metal gates leading to the BPRD’s headquarters resemble the lines of a maze.

8. ONE SCENE WAS ACCIDENTALLY DELETED BY SEVERAL PROJECTIONISTS.

While several scenes from del Toro’s Director’s Cut were left out of the theatrical release, even the version of Hellboy shown in theaters wasn’t always complete. As del Toro later recalled, some “careless” projectionists in “dozens” of theaters accidentally removed one key sequence from the film’s final act as they were assembling the reels. At the end of the scene in which Liz activates her fire powers to burn the Sammael creatures away, a rock flies directly at the camera lens, creating a brief blackout. That scene is supposed to be followed by a shot of an unconscious Myers waking up on the ground to find Ilsa and Rasputin standing over him. The blackout confused some projectionists into skipping over the scene of Myers waking up, so some theatrical audiences were taken directly to the scene that followed, in which Myers has already been captured and chained up. According to del Toro, he set up an email contact form for moviegoers to report this misstep and got numerous replies, though the studio was not able to correct all of the errors.

9. IT FEATURES MANY FREQUENT DEL TORO COLLABORATORS.

Beginning with Cronos (1993), del Toro has built a large and diverse company of frequent collaborators, many of whom continue to work with him to this day. Several of these collaborators contributed to Hellboy, both in front of and behind the camera, including actors Ron Perlman (Cronos, Pacific Rim, Blade II) and Doug Jones (Mimic, Pan’s Labyrinth, The Shape of Water, and more), composer Marco Beltrami (Mimic, Blade II), and cinematographer Guillermo Navarro (Cronos, The Devil’s Backbone, Pan’s Labyrinth, Pacific Rim and more).

10. IT SUFFERED BACKLASH BECAUSE THE WORD “HELL” IS IN THE TITLE.

During the Director’s Cut commentary for Hellboy, del Toro praised the film’s marketing team for finding ways to sell the film to the public, noting that it wasn’t always easy to attract audiences to a film called Hellboy. Some theaters refused to show the movie, while others retitled it Helloboy in an effort to calm potentially offended patrons. The problem was exacerbated by the presence of Mel Gibson’s The Passion of the Christ, which opened a few weeks earlier and remained a big box office draw during the Easter holiday.

“Especially on Easter, some theaters mysteriously dropped the movie when it was still making money,” del Toro recalled.

11. IT WAS SUPPOSED TO BE THE FIRST FILM IN A TRILOGY.

Hellboy opened on April 2, 2004 to strong reviews and a box office return good enough to merit a sequel. Just weeks after the first film hit theaters, Hellboy II was a go, with del Toro, Perlman, Blair, and Jones returning. With the knowledge that he would get to continue the story, del Toro envisioned a superhero fantasy trilogy, which moved closer to becoming a reality when Hellboy II: The Golden Army opened in 2008 to more critical acclaim. As time passed, though, a third film began to seem increasingly unlikely, with Perlman in particular noting that the epic scope of del Toro’s plans could be too taxing on the budget as well as Perlman’s own physical health. After years of holding out hope that the trilogy could be completed, del Toro finally announced in 2017 that all plans for Hellboy 3 had been scrapped.

12. BUT A REBOOT IS IN THE WORKS.

Del Toro might not get to finish his version of the Hellboy story, but that doesn’t mean Big Red won’t hit the big screen again. In May 2017, just months after del Toro announced an end to his version of the tale, Mignola revealed that the character would be rebooted as part of a new film franchise. Directed by Neil Marshall (The Descent) and starring David Harbour (Stranger Things) in the title role, the new Hellboy film is set to hit theaters on January 11, 2019.

Additional Sources:
Hellboy: The Director’s Cut special features (2004)
Guillermo del Toro: Cabinet of Curiosities (2013)

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