The Thing

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In a 2011 interview, Carpenter remarked that it was perhaps his favorite film from his own filmography. He lamented that it took a long time for The Thing to find a wider audience, saying, "If The Thing had been a hit, my career would have been different. I wouldn't have had to make the choices that I made. But I needed a job. I'm not saying I hate the movies I did. I loved making Christine (1983) and Starman (1984) and Big Trouble in Little China (1986), all those films. But my career would have been different." [182] Cultural influence [ edit ] Having weighed up the theories and evidence on screen, here’s a timeline detailing when and who is assimilated. 1. Norris Quint Looks At Some Damn Cool Upcoming Movie Toys: Sin City, Darko, Klowns, Thing, Am. Werewolf And More!!". Ain't It Cool News. February 27, 2005. Archived from the original on September 23, 2015 . Retrieved February 11, 2018.

Quick Guide - The Lost Thing — Just Imagine Quick Guide - The Lost Thing — Just Imagine

John Carpenter was first approached about the project in 1976 by co-producer and friend Stuart Cohen, [21] but Carpenter was mainly an independent film director, so Universal chose The Texas Chain Saw Massacre (1974) director Tobe Hooper as they already had him under contract. The producers were ultimately unhappy with Hooper and his writing partner Kim Henkel's concept. After several more failed pitches by different writers, and attempts to bring on other directors, such as John Landis, the project was put on hold. Even so, the success of Ridley Scott's 1979 science fiction horror film Alien helped revitalize the project, at which point Carpenter became loosely attached following his success with his influential slasher film Halloween (1978). [11] [22] I've asked [Carpenter], as he was preparing some electronic music with an assistant to edit on the film, "Why did you call me, if you want to do it on your own?" He surprised me, he said–"I got married to your music. This is why I've called you." ... Then when he showed me the film, later when I wrote the music, we didn't exchange ideas. He ran away, nearly ashamed of showing it to me. I wrote the music on my own without his advice. Naturally, as I had become quite clever since 1982, I've written several scores relating to my life. And I had written one, which was electronic music. And [Carpenter] took the electronic score. [58] Adams, Sam (November 4, 2011). "John Carpenter". The A.V. Club. Archived from the original on May 22, 2018 . Retrieved May 22, 2018. Manna, Sal (August 22, 1982). "Stark: Credit's 'The Thing' ". Calendar. Los Angeles Times. Los Angeles. OCLC 78230037. There is another clue to the fact Palmer is still very much human later in the movie. In a scene shown some time after the Dog-Thing assimilates its first victim, Palmer is seen watching an old episode of the quiz show Let’s Make a Deal recorded on VHS with Childs. In the scene, he abruptly stops the tape halfway through and puts a new one in, telling Childs, “I know how this one ends.” If he was The Thing, he would have had no qualms watching the original episode as it would have never seen it before. Moreover, he continues his penchant for smoking weed and shares a spliff with Childs. How would an alien have known to do that and what effect might the drugs have had on it, even if it had managed to?I take every failure hard. The one I took the hardest was The Thing. My career would have been different if that had been a big hit ... The movie was hated. Even by science-fiction fans. They thought that I had betrayed some kind of trust, and the piling on was insane. Even the original movie's director, Christian Nyby, was dissing me.

The Thing by Alan Dean Foster | Goodreads

The Thing never speaks or gives a motive for its actions, and ruthlessly pursues its goal. [143] Den of Geek 's Mark Harrison and Ryan Lambie said that the essence of humanity is free will, which is stripped away by the Thing, possibly without the individual being aware that they have been taken over. [144] [145] In a 1982 interview, when given the option to describe The Thing as "pro-science" like Who Goes There? or "anti-science" like The Thing from Another World, Carpenter chose "pro-human", stating, "It's better to be a human being than an imitation, or let ourselves be taken over by this creature who's not necessarily evil, but whose nature it is to simply imitate, like a chameleon." [70] Further allusions have been drawn between the blood-test scene and the epidemic of HIV at the time, which could be identified only by a blood test. [14] [146] Billson, Anne (August 27, 2009). "The Thing set on survival". The Guardian. Archived from the original on February 3, 2016 . Retrieved January 24, 2018. The ONE Thing by Gary Keller and Jay Papasan is an easy to read but profound book that helped me to focus on keeping the main thing the main thing in all areas of my life.”Liebman, Martin (September 23, 2008). "The Thing Blu-ray". IGN. Archived from the original on February 8, 2018 . Retrieved February 8, 2018. The Thing From Another World: Climate Of Fear #1 (Of 4)". Dark Horse Comics. 2018. Archived from the original on February 4, 2018 . Retrieved February 4, 2018. The Thing 's special effects were largely designed by Bottin, [32] who had previously worked with Carpenter on The Fog (1980). [64] When Bottin joined the project in mid-1981, pre-production was in progress, but no design had been settled on for the alien. [64] Artist Dale Kuipers had created some preliminary paintings of the creature's look, but he left the project after being hospitalized following a traffic accident before he could develop them further with Bottin. [12] [64] Carpenter conceived the Thing as a single creature, but Bottin suggested that it should be constantly changing and able to look like anything. [28] Carpenter initially considered Bottin's description of his ideas as "too weird", and had him work with Ploog to sketch them instead. [64] As part of the Thing's design, it was agreed anyone assimilated by it would be a perfect imitation and would not know they were the Thing. [14] The actors spent hours during rehearsals discussing whether they would know they were the Thing when taken over. Clennon said that it did not matter, because everyone acted, looked and smelled exactly the same before (or after) being taken over. [40] At its peak, Bottin had a 35-person crew of artists and technicians, and he found it difficult to work with so many people. To help manage the team, he hired Erik Jensen, a special effects line producer who he had worked with on The Howling (1981), to be in charge of the special make-up effects unit. [65] Bottin's crew also included mechanical aspect supervisor Dave Kelsey, make-up aspect coordinator Ken Diaz, moldmaker Gunnar Ferdinansen, and Bottin's longtime friend Margaret Beserra, who managed painting and hair work. [65] The Thing assimilating dogs. Stan Winston was brought in to help complete the effect. It was operated on a raised set with puppeteers working below. Ansen, David (June 28, 1982). "Frozen Slime". Newsweek. New York. ISBN 978-0-7864-9348-7. OCLC 463876256 . Retrieved March 6, 2018. Principal photography began on August 24, 1981, in Juneau, Alaska. [12] [47] Filming lasted about twelve weeks. [48] Carpenter insisted on two weeks of rehearsals before filming as he wanted to see how scenes would play out. This was unusual at the time because of the expense involved. [34] Filming then moved to the Universal lot, where the outside heat was over 100°F (38°C). The internal sets were climate-controlled to 28°F (−2°C) to facilitate their work. [36] [47] The team considered building the sets inside an existing refrigerated structure but were unable to find one large enough. Instead, they collected as many portable air conditioners as they could, closed off the stage, and used humidifiers and misters to add moisture to the air. [49] After watching a roughly assembled cut of filming to date, Carpenter was unhappy that the film seemed to feature too many scenes of men standing around talking. He rewrote some already completed scenes to take place outdoors to be shot on location when principal photography moved to Stewart, British Columbia. [25] [40]