Word: bottin
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Dates: during 1980-1989
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...Thing's spectacular depredations. When it invades a body, a man's guts may open and snap shut, taking a bystander's hands off in the process. Or a head may come loose, sprout insect legs and toddle off across the floor. Designer Rob Bottin's work is novel and unforgettable, but since it exists in a near vacuum emotionally, it becomes too domineering dramatically and something of an exercise in abstract art. The weird lad down the block, the one who is always fooling around with his chemistry set, will love The Thing. The rest...
...Bottin, 22-a pupil of Baker, 30, who is in turn a disciple of Smith-used bladders for different effects in The Howling. Thousands of these little bags were glued to the actors' faces, which were then covered with masks of false skin. At the proper moment, the sacs were inflated, and the faces seemed to grow as big as beach balls-about the size, that is, of the average movie werewolf's face. Bottin also devised fanglike teeth for his werewolves, rubber incisors that stretched when the actors pressed little triggers with their tongues...
...Kenton); Roger Corman, godfather to many young directors, makes a cameo appearance, as do Forrest Ackerman, editor of Famous Monsters of Filmland magazine, and Sayles himself. Trouble is The Howling is too insistent on parading its enshocklopedic knowledge to raise Hackle One on any moviegoer's neck. Rob Bottin's special makeup effects may deserve extended study, but the movie shouldn't stop dead in its lycanthropic tracks while a man turns oh-so-slowly into a werewolf-twice. Though The Howling is doing big business with the women-in-jeopardy crowd, it will add no luster...