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Tommy Lee Wallace, writer/director of Halloween III: Season of the Witch, was the production designer/co-editor on Halloween, and it was up to him to find "the perfect mask" for the Michael Myers character. The mask was intended to have a "blank face", and the William Shatner Halloween mask he found was exactly what he needed, "It didn't really ...
Michael Myers was named after a real person that Carpenter and Hill both knew. As Hill explained in the 2003 documentary Halloween: A Cut Above the Rest, the real-life Myers was the distributor ...
The Michael Myers mask has been reproduced over the years by Don Post, the mask company responsible for the creation of the masks from several of the Halloween films (the Silver Shamrock novelty factory seen in Halloween III was actually shot on location in one of Don Post's factories). [160]
Halloween: The Curse of Michael Myers was released on September 29, 1995, grossing $15.1 million at the domestic box office on a budget of $5 million. It was lambasted by critics, with criticism focused on its weak story, ending, Rudd's performance, and the origin story given to Michael Myers, though Pleasence's performance was better received.
This traffic jam was a real nightmare. Arizonians trapped for hours in bumper-to-bumper traffic were given an early Halloween scare when someone wearing a Michael Myers mask pretended to creep up ...
The 1978 film Halloween depicted the killer Michael Myers wearing a white Captain Kirk mask made by Don Post Studios. The second sequel in the series, Halloween III: Season of the Witch features three styles of Halloween masks made by the fictional Silver Shamrock company. In reality, these masks were designed and sold by Don Post Studios. [13]
The FBI agent is one of the most well-known heroines in movie history, and Jodie Foster even won an Academy Award for playing opposite Anthony Hopkins’ equally memorable Dr. Hannibal Lecter.
Over the years, many critics and scholars have put forth their interpretations on the character's masks. In his essay titled The Aesthetics of Fright, [h] cultural historian and essayist Morris Dickstein compared Leatherface to Michael Myers of the Halloween franchise. Writing that both characters utilized a mask to obscure their identity ...
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