I just visited the Superherohype.com forums and there I found the following post in 'The Wolfman' thread...

Posted by mclay18 on October 8 '09:


I think we'll see the first poster for The Wolfman surface shortly. Why?

Yesterday I took an online poll about upcoming movies. Surprise, surprise -- they polled me on which The Wolfman poster is the most best. Here's a brief description of each poster (5 in all):

1. Traditional horror movie poster with Photoshopped floating heads (del Toro, Blunt, Weaving, Hopkins) suspended over a moonlit background silhouetting the werewolf prowling the woods. The tagline and cast/crew listing were at the bottom of the poster.

2. A black-and-white perspective of the shot from the end of the trailer, where a dirty Emily Blunt is pressed up against a tree as the werewolf slowly approaches (del Toro's creature is at the left of the poster while Blunt and the tree dominate the right side). Again, both the title, tagline and cast/crew listing is at the bottom.

3. A unique perspective featuring del Toro's face and jaw in three stages of the werewolf transformation.

4. The background of the first poster is the focus of this poster, featuring the silhouette profile of the wolfman in the woods.

5. Another variation of poster #4.

And the initial tagline for the movie is: "When the moon is full, a legend will rise." (Personally I thought poster #2 was the most interesting.)

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A member by the nickname of Wolfwood replied with the following comment:


I saw some giant versions of those when I was at Universal Studios.

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Any opinions/takes on this? What would be your favorite kind of poster design for this film? I'd really like to have a look at #3, to see how exactely they designed this...

I thought I'd also post all the portions of the new Playboy interview related to 'The Wolfman' in this thread... The interview can be found in the November '09 issue of Playboy, which officially hits newsstands tomorrow, October 16, and it was conducted in the second half of July 2009 in Los Angeles... This interview is of course a first "warming-up" to the upcoming 'The Wolfman' promotional campaign...


PLAYBOY: As star and co-producer of a remake of the classic 1940s horror movie 'The Wolf Man', what can you tell the Internet fanboys who have raised red flags about the film's four rescheduled release dates, its various reshoots and rumors of lots of CGI effects being added to punch it up?

DEL TORO: I'm sure there will be some CGI stuff for the werewolf-transformation scenes and all those other effects but not as much as the film could have had. The wolfman walks upright, as Lon Chaney Jr.'s wolfman does, but when he runs to gather real speed, he goes down on all fours. At this point I've seen only a rough version. We did some reshoots, so I have only an idea of what it's going to be like. But it's The Wolfman. Have fun with it. It's not Hamlet or anything.

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PLAYBOY: You've often been cast as an outsider. The character Chaney plays in the original 1941 'Wolf Man' is also an outsider and an especially sympathetic one. Did that make the project more appealing to you?

DEL TORO: I always loved the Universal horror movies of the 1930s, 1940s and 1950s, and I remember meeting Francis Ford Coppola for a role in Dracula*, but I never necessarily thought about remaking a horror movie. In the 1970s I had a classic scary black-and-white poster of Chaney as the wolfman on the wall of my room. I don't have the original poster anymore, but I found a copy in San Francisco, bought it right away and hung it in my house. My manager, Rick Yorn, saw it, and we talked about a remake. He suggested we go to Universal and propose the idea.

PLAYBOY: What was your earliest connection with old horror movies?

DEL TORO: The first time I saw The Wolf Man was in Puerto Rico on a home projector and an eight-millimeter movie from this company called Castle Films. It had Bride of Frankenstein -- which is a masterpiece -- Frankenstein, Mighty Joe Young. They were eight-minute versions of those movies, with all the monster stuff put right in there. As a kid that was our version of VHS. I later saw the whole Wolf Man on TV and watched Dracula with Bela Lugosi, who put the fear in me. I got panicky and remember going to the bathroom as it was on and just staying there awhile. But my movie was Creature From the Black Lagoon.

PLAYBOY: Why that one?

DEL TORO: It seemed as though Wolf Man and Frankenstein were taking place more in the north country, but the Creature From the Black Lagoon could have been happening in Puerto Rico because of the heat, the water, the tropical atmosphere. I have an original poster for Creature From the Black Lagoon in my house.

PLAYBOY: Did you simply dig these movies, or did they get to you at some other level?

DEL TORO: I liked Batman and Spider-Man and those guys, but monsters were bigger, and I enjoyed them more, the way I enjoyed dinosaurs. Now if I go to someone's house for a party and I don't know anyone, and they have a poster of King Kong, it makes me feel at home. It's an opener. I'm at ease. Even today, if I see a picture of Boris Karloff, it's like, "There's my uncle." I was always in love with those monsters. They're misunderstood. Why are people coming at them with torches? Why are they shooting at them? The idea was to make The Wolfman as a throwback to the monster movies that were my first contact with film and to make it faithful to the original 1941 version about a decent man who is cursed.

PLAYBOY: Speaking of cursed, didn't you lose the original director on 'The Wolfman' when you were about to begin filming?

DEL TORO: The movie did have a bump in the making of it. When we started it was going to be directed by Mark Romanek, who directed One Hour Photo. I was involved in his vision, which included making my character a more grayish guy -- not the good guy he is in the original movie. In some ways we introduced elements of The Curse of the Werewolf, which starred Oliver Reed in the 1960s. Mark and I believed we would collaborate to the end, but when the new director, Joe Johnston, came on, he took it in another direction, making the character a good guy.

PLAYBOY: Did you move easily in that new direction?

DEL TORO: I may have been fighting it. At some point you have to say, "Well, this is what we've got. Let's make that better." It's probably fine to make my character a good guy who happens to have bad luck, as in the original film. The idea of being truthful to the original movie remained, setting it in 1800s England, not modernizing it with cell phones, staying true to the folklore, the silver bullet, the makeup. There are some differences, but the essence of it is a true remake of the original.

PLAYBOY: Oscar-winning special effects makeup artist Rick Baker has said, referring to altering your normal features to those of a wolfman, "Where do you go from there? He's practically there as it is."

DEL TORO: It took around four hours putting it all on -- the makeup and the body suit -- when we started. He really knows what he's doing. He's incredible, and his team got better doing it over and over, so it got faster. But the b*tch is not putting it on; the b*tch is taking it off, because by then everybody is going home, and they're done, but you're not. Wearing that suit, you have to exaggerate every movement. It was a workout having that thing on for, like, 12 hours. It was hot. A couple of times we had to change my shirt five, six, seven times. Every time you want to talk you have to take off the teeth, but if you're wearing [prosthetic] hands, you can't do that without throwing up a sign for someone to come over and help you. To deal with all of it, you've got to be mentally prepared in a Zen way. It made me think of how tough it must have been back in the day for actors like Boris Karloff. I have so much respect for what he went through to play The Mummy and Frankenstein and what Lon Chaney had to do for The Wolf Man and, oh my God, what Lon Chaney Sr. did for The Phantom of the Opera and The Hunchback of Notre Dame.

PLAYBOY: You're known for seriously researching and preparing for your roles. We've heard you even listen to specific music to capture a spirt and mood. What music helped you become a lycanthrope?

DEL TORO: I didn't make a playlist thinking, Oh, let me get some specific songs for The Wolfman. My experience making that movie and a lot of other movies gets marked by the CDs I buy at the time or that I buy earlier and finally get around to listening to. For sitting in the makeup chair a really long time we played Nick Cave's album Dig, Lazarus, Dig!!! all the time, and also Fleet Foxes. We filmed in England, so I thought it would be good to revisit the Who's Quadrophenia, and it was like listening to something brand-new, it's so great. I played a lot of Bon Iver's For Emma, Forever Ago too. That one's a great soundtrack for life, so intense and melancholic -- not that I know what that means. [laughs]




* That's a piece of trivia I haven't heard before.

Source

That goes way fast!