Only four American work permits were requested of the British government for the production: for director John Landis, makeup artist Rick Baker, and actors David Naughton and Griffin Dunne. The first three work permits were granted by the British government without question. But the British office of Actors' Equity questioned the necessity of a work permit for actor Dunne, claiming that there were already plenty of young American actors living in Great Britain who could portray the role of Jack. It was only when director/screenwriter Landis threatened to rewrite the script and re-title the movie "An American Werewolf in Paris" that the equity office reconsidered the application and granted Dunne his work permit.
John Landis had to avoid filming any full-frontal nudity of David Naughton during the transformation scene and dream sequences after Naughton informed Landis that he was not circumcised, even though his role, David Kessler, was written as being Jewish.
Rick Baker claimed to have been disappointed by the amount of time spent shooting the face changing shot for the transformation after having spent months working on the mechanism. John Landis only required one take lasting about seven seconds. Baker felt he had wasted his time until seeing the film with an audience that applauded during that one seven second shot.
John Landis wrote the screenplay for this film following an incident while shooting Kelly's Heroes (1970) (while he was a go-fer) in the countryside of Yugoslavia. While driving along a country road with a colleague, Landis encountered a gypsy funeral. The body was being buried in a massively deep grave, feet first, while wrapped in garlic, so he would not rise from the dead.
During a preview of the film the marquee said, "From the Director of Animal House (1978)." Because of this, many people in the audience thought they were seeing a comedy. Reportedly, people ran out of the theater when they discovered it was a horror film because they were frightened.
While John Landis was trying to get this film made, Rick Baker became tired of waiting (over eight years) and decided to use what he had been planning for this film on The Howling (1981). Eventually Landis called Baker and told him, "I have the money. Let's make 'American Werewolf'!" to which Baker replied that he was already doing a werewolf picture. Landis started yelling at Baker over the phone. Baker decided to leave The Howling (1981) in the hands of his protégé Rob Bottin and would only consult on that film, leaving him free to do this one. Reportedly, Rick Baker's initial decision is something for which John Landis has never forgiven him.
Because of this film, makeup and industry technological contributions became recognized by the Academy Awards in 1981. Makeup artist Rick Baker was the first to receive an Oscar in the new category. William Tuttle was the first makeup effects artist to receive an Oscar (being an honorary one) for his work on 7 Faces of Dr. Lao (1964).
The opening scene of the movie - also the first scene filmed - depicts friends David (David Naughton) and Jack (Griffin Dunne) on a walking tour of Yorkshire, Northern England, traveling on foot toward the nearest town. Because of the cold and dampness of the location, Dunne's nose was running. While delivering a line of dialogue, Naughton glanced over at Dunne just in time to see Dunne catching and wiping away a stream of snot running from his nose. Naughton laughed at the sight of Dunne's discomfort, making Dunne begin to laugh while responding to Naughton's line of dialogue. Because of the spontaneity of the shot - and because the scene was largely improvised anyway - director John Landis decided to use that imperfect shot in the film's release print.
When trying to call home, David Kessler gives the operator a phone number (516-472-3402) that contains a Long Island, New York, area code. It is also an unusual case in which an actual phone number is used.
At the close of the credits is a congratulatory message for the wedding of Prince Charles and Princess Diana (as Lady Diana Spencer). It was included because when David is trying to get arrested, he shouts, "Prince Charles is a f--got!" The film was shot months before the preparations for the couple's July 1981 wedding.
Rick Baker and John Landis had several disagreements over what the design of the werewolf should be. Baker wanted it to be a two-legged werewolf saying he thought of werewolves as being bipedal. Landis wanted a "four-legged hound from hell", the werewolves in the Howling (1981) were depicted as bipedal.
During the infamous transformation scene, David's screaming evolves into a series of monstrous roars. In this scene, there is a shot where he is on his back and staring at the camera, reaching out. From this moment to the end of the scene, listen carefully; the audio track of the werewolf roars is the exact same track used in the opening scene of Michael Jackson: Thriller (1983).
When David calls home to speak to his family, he speaks to his sister Rachel. During the conversation, they talk about their brother Max. Max and Rachel are the names of Director John Landis's children.
The total duration of composer Elmer Bernstein's original score for the film is a total of seven minutes, much to the surprise of film music aficionados who have wanted for a release of this music for years. The music is more in the vein of transitional orchestral cues in between the prerecorded songs featured throughout the film, to give the film more dramatic weight where needed.
Rick Baker performed the action of the werewolf biting off Inspector Villier's head,in the movie itself when the werewolf bites off the Inspector's head in the left edge of the screen you can briefly and barely make out Rick Bakers bearded face as he operates the wolf to bite off his head.
John Landis originally wanted three other songs to add to the soundtrack: Cat Stevens wouldn't allow "Moonshadow" to be used because he had stopped allowing his secular music to be licensed for films following his conversion to Islam; Bob Dylan wouldn't allow his version of "Blue Moon" to be used in an R-rated film, as he had just begun his brief conversion to Christianity; and Elvis Presley's version of "Blue Moon" proved unavailable due to the ongoing lawsuits involving his estate.
Because David calls Prince Charles' sexuality into question in the film, a disclaimer was added to the credits which read "Lycanthrope films limited wishes to extend its heartfelt congratulations to Lady Diana Spencer and His Royal Highness the Prince of Wales on the occasion of their marriage - July 29th 1981".
Griffin Dunne recalled stopping to use the facilities in the sole trailer with a restroom only to be interrupted partway through when a driver hooked it to a pick-up and towed it away from the set with him still inside it.
'East Proctor' is in reality the tiny village of Crickadarn and the 'Slaughtered Lamb' is actually a cottage located in Crickadarn, about six miles southeast of Builth wells off the A470, the 'Angel of Death' statue seen outside the Slaughtered Lamb was a prop added for the film-but the red phone box was real enough though the Welsh road signs were covered by a fake tree.
The attack scene saw Griffin Dunne just going for it with the screams because he knew that was what John Landis wanted, Dunne noted "it was just half a wolf on a wheelbarrow" but the primitive nature of the effect was buoyed by the intensity of the performance.
David Naughton and Griffin Dunne both shared make-up memories including Dunne finding himself incredibly depressed the first time he had on the stage-one make-up applied during tests in California, "I looked like I'd been killed just a few minutes earlier and it was really unsettling", Naughton remembers walking through Piccadilly circus with Dunne in the final stage make-up "people were clearing a nice big path" recall's Naughton.
All the people gathered around the porno theater at the end really thought there was a wild animal inside the theater. John Landis didn't tell any of them that it was fake to get the right reaction out of everyone, so when it bursts out of the theater some of the screams were genuine.
The nightmare with the Nazi werewolves confused audiences and led to some walk-outs. David Naughton and Griffin Dunne both loved it although Naughton doe's recall one issue he had "the stuntman who was holding that real knife to my throat couldn't see out of the mask,so that kinda concerned me".
Griffin Dunne had never done a feature film before and didn't even audition for this one, but a ten-minute talk with John Landis (along with a quick read of the script) got him the role of Jack, David Naughton recalls a similar situation but in his conversation, Landis mentioned the Dr. Pepper commercials "he was a pepper, and I was a pepper so we hit it off" Naughton recalled.
In 1997, the movie was re-recorded as a Radio drama by Audio Movies Limited for BBC Radio 1 in Britain. It was broadcast during Halloween that year, in short snippets throughout the day. Brian Glover, John Woodvine and Jenny Agutter reprised their roles from the movie.
The hospital to which David is brought after being attacked by the werewolf was a disused hospital - Princess Beatrice Hospital, in London (room 21, Floor 4). The building is now used as a homeless clinic.
John Landis fought hard to secure the rights to the Cat Stevens song "Moon Shadow" to use in the film, but because the film dealt with the supernatural, the undead and werewolves, and also because of the graphic (at the time, 1981) violence, Stevens, who had since converted to Islam and had his name changed to Yusef Islam, refused Landis' request. Yusef objected to the themes and subject matter and did not want his song connected in any way to the film. John Landis thought this was hilarious because, as Landis pointed out, "Moon Shadow" , is actually about killing and dismemberment. Landis thought this song was perfect for his movie, but Stevens had other ideas.
Much of the British cast, including actor John Woodvine, playing the role of Dr. Hirsch, were appearing in the Royal Shakespeare Company's London stage production of "Nicholas Nickleby," simultaneous to the film's production.
The wolves used in the London Zoo scene were kept privately by Roger Palmer in the UK and appeared in several TV programmes and in adverts. Roger went on to found the UK Wolf Conservation Trust which keeps wolves to this day.
For the love scene in the shower, David Naughton recalled "There are not a lot of showers in London", so they had to build one for the shower scene between David and nurse Alex. "We had quite a time trying to regulate the water temperature" Naughton recalls. "Right there, it's freezing" suggested Griffin Dunne during the next shot.
The London Underground station used in the film is Tottenham Court Road, and the name sign is visible in some shots. It was refurbished in the late 1980s. The platform with the train arriving and departing is the northbound Northern Line platform. This is NOT Aldwych station as previously reported.
Universal Studios' Halloween event in Orlando Florida, Halloween Horror Nights had a walk through maze based on the movie it was voted the best maze at the 2013 event. Due to its popularity Universal Studios Orlando has confirmed that the house will return for the Halloween Horror Nights 25 this year 2015.
John Landis wanted bad weather for his movie so he purposely shot the movie in February and March, According to the production notes, the Welsh town of Crickadarn had snow, sleet, rain, and extensive sunshine all in one day. This caused problems for David Naughton, because he was told to run as if it was warm. "That's rather difficult to do because it's cold and you've got no shoes on and I don't jog in bare feet in any weather even back in California," he said. "That's the hardest part, you're running in wooded areas, on slick paths, trying not to look like going, 'Ooh, ow, oh, ouch!' And they were saying, 'C'mon, it's warm, this is a dream, you're leaping, you're like a deer.' So I just had to go for it."
Peter Ellis, who plays the 'Bobby in Trafalgar Square', 3 years later went on to star in the famous long-running British police procedural TV series The Bill (1984) although instead of a Police Constable he would play a Chief Superintendent (a much higher rank).
In it's earliest incarnation, John Landis had wanted Donald Sutherland for his lead. Landis had worked with Sutherland on the set of Kelly's Heroes (1970), which is where he got the idea for a werewolf movie in the first place.
In the subway scene just as the chase between man and beast commences, posters for Airplane! (1980) and Life of Brian (1979) are visible" due to the fact that these movies were being show around this time.
Humphrey Bogart can be seen in two posters in Alex's apartment. There is one for Casablanca (1942) on the front wall in the living room, and there's a black-and-white solo shot of Humphrey Bogart in the kitchen.
In the long shot, When Dr. Hirsch sees the newspaper about the murders look behind him you'll see a double-decker bus believe it or not it is the same bus that David gets on in the next scene,it even goes in the same direction.
John Landis tried to land James Bond producer Albert R. Broccoli for his project, after Landis made some uncredited rewriters on The Spy Who Loved Me (1977). It turned out to be a non-starter; when Broccoli read the script, he told Landis, "Hell no, it's weird!"
As a small consolation, the bus driver for the Piccadilly Circus scene in Werewolf was Vic Armstrong, who would later be employed as the stunt coordinator in James Bond movies.
John Landis: [Frank Oz] Frank Oz, known for being the Miss Piggy/Yoda creator/voice talent, plays Mr. Collins of the American embassy, who attempts in vain to console David. His voice is also heard later, during a Britain-only excerpt of The Muppet Show: Señor Wences (1980). He appears in all of Landis' films as a good-luck charm.
David Naughton said the transformation scene took 6 days to complete, roughly 10 hours a day spent on applying the makeup, 5 hours on set, and 3 hours of makeup removal. Because the makeup took so long to apply and remove, there was only enough time for one setup a day. Rick Baker estimated that only half an hour of footage was shot during the entire week. The snout protrusion was the last shot to be filmed and it did not include Naughton, but an animatronic head. In fact it was the last shot in the entire production and was conducted after the wrap party had been held and the cast and crew started going home. Baker found that a little anticlimactic.
Director/screenwriter John Landis advised actor Griffin Dunne that the key to the character of Jack Goodman was that he was always to be encouraging, optimistic, and cheerful as a member of the undead, no matter what his stage of ghastly corporeal decay, deterioration, and decomposition. Dunne claimed to have found this requirement to be difficult as he was, for the first time in his life, seeing what he would look like as a rotting and mutilated corpse.
John Landis had a bit of a communication issue on the set with the effects crew. He told them to take the head of Inspector Villiers and throw it across the hood of a car. They looked at him in puzzlement, and after he picked up the head and threw it himself, they replied, "Oh, you mean the bonnet."
John Landis initially wanted to keep the werewolf's screen time to a minimum, having it only appear in a couple scenes, just enough to give an impression of something huge and ferocious. The long shot of the werewolf cornering Gerald Bringsley on the Underground escalator was an example of this. Landis' decision to show the werewolf as much as it was shown was based on the fact that Landis loved Rick Baker's design of the monster.
The scene when the werewolf runs riot in Piccadilly Circus was filmed at that busy intersection when police stopped the normal traffic and the public. Everyone took their places, it was filmed with multiple cameras and it was all cleaned up within the half hour. It was the first time in many years that filming had been allowed in Piccadilly Circus, due to lingering resentment over an unannounced smoke bomb which director Michael Winner set off while filming a scene for The Jokers (1967), after which he sped off in a taxi with the film magazine while other members of the crew were arrested; however, John Landis' cordial experience in working with the Chicago police on The Blues Brothers (1980) helped overcome official reluctance to approve the filming, especially as he had completely worked out a plan, using a scale model of the area, whereby traffic would be minimally disrupted.
When Jack is killed by the first werewolf, makeup artist Rick Baker told Griffin Dunne to be careful with the wolf's head as it was new and quite delicate. During the first take Griffin rip the foam rubber off the head. Rick was so irritated by this that he considered putting hard teeth in the wolf but instead used the backup head to 'beat the crap out of Griffin'.
In an interview with Mick Garris on "Take One," John Landis stated that in a preview, he included a scene in which you saw more of how the three bums in the junkyard were killed. People reacted so strongly, and loudly for the rest of the preview, that he was afraid that people would miss some of the key plot points at the end of the film. He added that he felt it was a bad idea because it might have made the movie stand out more.
When the barmaid insists to the men in the pub they should go after Jack and David, and the chess player says, "Should the world know our business," the dart player says, "It's murder then," look at the side of the dartboard there is a drawing of a hangman in chalk.
When David's victim are discussing with him in the porno theater on how he should kill himself, one of them-Harry Berman, suggest he shoot himself with a gun which is ironic as at the end when David is in werewolf form, he purposely gets gunned down by the police.
There are three versions of the song "Blue Moon" one as the opening credits song by Bobby Vinton, another during David's first transformation by Sam Cooke, and the third one is the closing credits song by The Marcels.
The scene where Alex is attacked through the hospital room window in David's dream-within-a-dream bears uncanny resemblance to a scene from horror anthology Dead of Night (1945), only in that film, the nurse is not attacked.