An American Werewolf in London
Full Moon Edition, Special Edition
Frequently bought together
Customers who viewed this item also viewed
Customers who bought this item also bought
Re-discover one of the most gripping horror films of all-time with the cult classic An American Werewolf in London. Blending the macabre with a wicked sense of humor, director John Landis (National Lampoon’s Animal House) delivers a contemporary take on the classic werewolf tale in this story of two American tourists who, while traveling in London, find their lives changed forever when a viscious wolf attacks them during a full moon. Featuring groundbreaking, Academy Award-winning make-up by Rick Baker (The Wolfman), this digitally remastered Full Moon Edition also includes the new feature-length documentary Beware the Moon.
Would you like to tell us about a lower price?
If you are a seller for this product, would you like to suggest updates through seller support?
Read reviews that mention
Showing 1-4 of 1,319 reviews
There was a problem filtering reviews right now. Please try again later.
The DVD set comes with tons of extras, starting with "Rick Baker - I Walked With A Werewolf", 7:20. We get to see this epic, cool dude. But it's a bit too adulatory, and not so interesting. "Making An American Werewolf In London", 5:20, we find out that Baker did the Star Wars cantina scene, and that John Landis himself did some of the stunts, like smashing through plate glass in the Picadilly Circus scene. "Interview With John Landis", 18:20, we find out that he wrote the screenplay while in Yugoslavia doing Kelly's Heroes with Clint Eastwood and an ensemble cast. His driver Sacha, who is "probably up in front of the war crimes tribunals", met a gang of gypsies at a crossroads burying a man deep, feet first, with garlands of rosaries. Noted that the screenplay seemed to earlier reviewers to be "too funny to be scary and too scary to be funny." The dream within a dream is a reference to "Discreet Charm of the Bourgeoisie", where people kept waking up. Landis calls the transformation a stiff-e metaphor." "Rick Baker on An American Werewolf In London." He mentioned they had a long time to think about the screenplay since they made Schlock together. We see some unused wolf footage - we never get to see the rear end of the wolf. They made change-o-hands and change-o-heads, and when the scene was shown people stood up and cheered! "All right, this is why we did that" they said to each other, reflecting on months of hard work for just a few seconds of film. But Landis wanted the creature to be more of a mystery right up to the end. Rick Baker got the first-ever "Best Make-up" Academy Award. "Casting Of The Hand", 11:00, literally just that, very boring. Chopped up. Cool shots of Rick Baker's shop. "Outtakes", 3:00. Applying fake blood, rolling head scene, "Story boards" 2:30, comparison of over 20 story boards from the Picadilly Circus scene. "Photography montage", 3:40, totally nutso naked pics montage.
Disc 2 has "Beware The Moon: Remembering An American Werewolf In London." "From the director of Animal House - a different type of animal." Talks about how primitive 1969 Yugoslavia was, with its superstitions - "the same year we put a man on the moon." Got the green light to do the film, finally, after making three successful films - The Kentucky Fried Movie, Animal House, Blues Brothers. Talks about the Black Swan in Surrey, aka The Slaughtered Lamb. "Beware the moon, eh" he says as if he were Canadian (lame…). Two leads talk - Griffin Dunne did not even audition. "Are you claustrophobic?" Landis family friend Jenny Agutter, the stunning nurse, talks. The wolf howl is an elephant and a wolf howl played backwards. Very cold in the moors scene. Griffin Dunne was depressed to find that he had to wear full body make-up. "It was like being eaten alive by ants." Body hair shot was done in reverse: they made him up in full, and removed it slowly - coarse hair to light hair. Elmer Bernstein's score was lightly-used in film. Cat Stevens didn't want his "Moon Shadow" used in the film, nor Bob Dylan for his "Blue Moon", so Sam Cooke's is used three times. Interviewed Michael Carte, the Gerald Bringsley character. Steadicam scene! Shot some scenes to slip into the movie theatre scene. Funny anecdote about a miscommunication over throwing the decapitated head onto the car "hood" or the car "bonnet". Discuss the Picadilly Circus scene - live and on set. Censors were more concerned about the nudity than the violence. Objected to the scene where bites of toast are falling through David's corpse jaw.