The Boogeyman’s ‘Lovecraftian’ Design Honors Stephen King’s Original Short Story

H.P. Lovecraft, a reclusive horror creator from Rhode Island, famously wrote tales about monsters so massive and weird that merely glimpsing them might trigger folks to expertise a psychological breakdown. He constructed a complete pantheon of uncaring deities that merely awaited being launched from a millennia-long jail sentence in order that they might as soon as once more take their spot within the cosmos and lay waste to human life. They weren’t a lot evil as they have been detached to humankind. Lots of Lovecraft’s language is dedicated to how ineffable and unknowable the deities are. 

Rob Savage needed to speak that sense of Lovecraftian largesse, making his monster one thing that the viewers won’t be able to see or perceive fully, at the very least not throughout the first half of the film. He additionally likened his method to a different well-known monster story from the Seventies. In his phrases: 

“I wanted it to feel like there was an unknowable quality to this creature. For a large part of the movie, we were just doing the fin above the water in ‘Jaws.’ We weren’t really showing this creature. It needed to be kind of stark and striking, but mostly it needed to bleed off into the shadows and be something that the audience could use their imagination to fill in the rest. Then when you finally see the creature, the idea was that you’re going to see it, so we are going to fulfill the mandate of this being a big Friday night popcorn horror movie.” 

That meant that, like in “Jaws,” audiences would finally need to see the monster clearly, or at the very least clearly sufficient to observe the movie’s characters combat it to the loss of life. The obfuscation is efficient, however has to finish at simply the correct time.

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