Columbia Pictures
Columbia Pictures

12 Burning Facts About Hellboy

Columbia Pictures
Columbia Pictures

Two decades before he would become a two-time Oscar-winner for The Shape of Water, Guillermo del Toro set out to make a movie about his favorite superhero: a big red demon with a big gun and a heart of gold. It took years to finally get the film off the ground, but in 2004 Hellboy finally made it to theaters, adding another piece to the beloved supernatural filmography that’s made del Toro a favorite among genre fans for a quarter of a century.

Though it never rose to the box office heights of The Avengers, and it never reached the end of its planned trilogy, Hellboy remains one of the most imaginative, thrilling superhero films of the 21st century. From early script changes to an accidentally deleted scene, here are 12 facts about how it was made.

1. HELLBOY WAS GUILLERMO DEL TORO’S FAVORITE SUPERHERO WELL BEFORE HE MADE THE MOVIE. 

Guillermo del Toro grew up with comic books, noting that he was flipping through them before he even knew how to read the words. That childhood fondness for the medium stayed with him into adulthood, and by the time he’d reached his early 30s he’d not only discovered the work of Mike Mignola, but began to consider the Hellboy creator one of his great comic book visual influences alongside legends like Will Eisner, Bernie Wrightson, and Richard Corben.

“Mignola, in my later years, already as a young adult, fascinated me with his use of light and shadow, with his amazing bold line work, but also with the way he gave birth to my favorite superhero in my adult years, which is Hellboy,” del Toro said during the recording of the Hellboy Director’s Cut commentary track.

When del Toro and Mignola finally met during the making of Hellboy, they bonded over a mutual love of folklore and pulp fiction, becoming fast friends and collaborators. 

2. THE ORIGINAL SCRIPT FEATURED INTERVIEWS WITH HELLBOY WITNESSES.

In the world of the film, Hellboy is viewed as an urban legend and tabloid story, not unlike Bigfoot. The film’s opening credits underline this with blurry photos, grainy videos, and newspaper headlines meant to depict widespread eyewitness accounts of the creature. Agent Myers (Rupert Evans) further emphasizes this point when he exclaims “He’s real!” upon meeting Hellboy for the first time. 

According to del Toro, this idea was initially supposed to play out in a much more overt way through the film’s screenplay. In early drafts, parts of the film’s story were told through eyewitness interviews with characters claiming to have seen Hellboy.

“So people would be saying ‘I saw Hellboy over here. I saw him jump,’ and a kid saying, ‘I saw him on the rooftop.’ Now everybody does it, but back then it was 1997, '98, and I thought that was a great idea,” del Toro said. “That was the first thing we cut out of the shooting schedule because [the studio executives] didn’t understand it.”

3. IT COULD HAVE BEEN MADE MUCH SOONER.

Though Hellboy’s live-action debut occurred relatively early in the 21st century’s superhero movie boom, he could have been more of a comic book trailblazer than he turned out to be. According to del Toro, if it weren't for reluctant studio executives, the film could have come out as early as 1998, making it a contemporary of Blade rather than Spider-Man 2.

“The one thing that particularly infuriates me is that this movie could have been made in 1998,” del Toro said, noting that the film would have then pre-dated X-Men (2000), Spider-Man (2002), and even The Matrix (1999). At the time, though, many studio executives considered the comic book movie label “almost an insult,” and so Hellboy kept getting pushed back. In between the time it could have been made and the time it was actually released, del Toro made his comic book movie debut with another dark superhero film, Blade II, in 2002.

4. DEL TORO WROTE HIS OWN CHARACTER BIOGRAPHIES.

By the time Hellboy hit theaters, creator Mike Mignola had already been building his own mythology and supporting cast around the character for a full decade. While the film is a loose adaptation of the first major story arc of the comic, “Seed of Destruction,” del Toro couldn’t help adding his own touches to everyone’s backstory. Even before he began work on the script, del Toro wrote out detailed character biographies for each major player in the Hellboy story, which were then included on the eventual Director’s Cut DVD release.

A particularly amusing example from these backstories: The fictionalized version of historical figure Grigori Rasputin (Karel Roden) is said to have disliked “greasy food,” and while he really did die in 1916, he was resurrected in 1936 when Nazi occultists mixed his stolen ashes with the blood of the innocent.

5. HE ALSO ADDED THE LOVE STORY.

Long before his fantasy romance The Shape of Water earned him two Academy Awards, del Toro was imagining tales of unusual creatures falling in love with human women, and Hellboy was one of them. The romance between the title character (Ron Perlman) and Liz Sherman (Selma Blair) didn’t exist in Mignola’s original comics, where Sherman’s stronger connection was (ironically, given The Shape of Water’s subject matter) with the aquatic creature Abe Sapien (who is played by The Shape of Water's Amphibian Man, Doug Jones). Latching onto a particular moment in the comics in which Hellboy is enraged by the thought of Liz’s death, del Toro envisioned a story in which his demonic hero could fall in love with a pyrokinetic woman, and was particularly enticed by the image of that woman engulfed in flames kissing a fireproof creature. That particular storytelling decision made del Toro’s Hellboy significantly different from Mignola’s, who modeled the character after his father, but the creator ultimately allowed the departure in the final film.

6. RASPUTIN WAS ORIGINALLY SUPPOSED TO LOSE HIS EYES.

In several sequences throughout the film, the character of Rasputin wears a pair of small sunglasses, even in scenes set at night. This was not done simply to make him look cooler (del Toro recalls comparisons made to The Matrix), but because del Toro originally planned to take away the character’s eyes. In the film’s opening sequence, Rasputin is sucked into the very portal that baby Hellboy is drawn out of, causing him to vanish from Earth for decades until he’s resurrected in the present day. Del Toro wanted the portal to create a “cosmic eye-gouging” effect that would rip the character’s eyes out of his head, but it simply didn’t work in a PG-13 film.

“I thought the eye-gouging, the cosmic eye-gouging, was not graphic enough for people to get the point,” del Toro said.

So, the shot of Rasputin losing his eyes was cut from the theatrical release, but restored for the director’s cut, along with a deleted scene in which the character is given a set of glass eyes.

7. LABYRINTHS ARE A RECURRING THEME IN THE FILM.

Del Toro is a director known for his keen attention to detail. As a result, various recurring visual themes appear in all of his films. For Hellboy, he focused on the idea that “a man is made a man by the choices he makes,” and while the film’s story conveys that as Hellboy must choose between the ideologies of Rasputin and Professor Broom, he also sought to convey it through visual metaphor. To do this, del Toro settled on the recurring motif of the labyrinth. It first appears as part of the opening credits sequence, when the entire logo becomes a kind of maze, then reappears as Ilsa (Bridget Hodson) and Kroenen (Ladislav Beran) weave through mountainous terrain to find Rasputin’s resurrection site. To bookend the metaphor, Rasputin’s mausoleum in Moscow also functions as a kind of labyrinth. Even the metal gates leading to the BPRD’s headquarters resemble the lines of a maze.

8. ONE SCENE WAS ACCIDENTALLY DELETED BY SEVERAL PROJECTIONISTS.

While several scenes from del Toro’s Director’s Cut were left out of the theatrical release, even the version of Hellboy shown in theaters wasn’t always complete. As del Toro later recalled, some “careless” projectionists in “dozens” of theaters accidentally removed one key sequence from the film’s final act as they were assembling the reels. At the end of the scene in which Liz activates her fire powers to burn the Sammael creatures away, a rock flies directly at the camera lens, creating a brief blackout. That scene is supposed to be followed by a shot of an unconscious Myers waking up on the ground to find Ilsa and Rasputin standing over him. The blackout confused some projectionists into skipping over the scene of Myers waking up, so some theatrical audiences were taken directly to the scene that followed, in which Myers has already been captured and chained up. According to del Toro, he set up an email contact form for moviegoers to report this misstep and got numerous replies, though the studio was not able to correct all of the errors.

9. IT FEATURES MANY FREQUENT DEL TORO COLLABORATORS.

Beginning with Cronos (1993), del Toro has built a large and diverse company of frequent collaborators, many of whom continue to work with him to this day. Several of these collaborators contributed to Hellboy, both in front of and behind the camera, including actors Ron Perlman (Cronos, Pacific Rim, Blade II) and Doug Jones (Mimic, Pan’s Labyrinth, The Shape of Water, and more), composer Marco Beltrami (Mimic, Blade II), and cinematographer Guillermo Navarro (Cronos, The Devil’s Backbone, Pan’s Labyrinth, Pacific Rim and more).

10. IT SUFFERED BACKLASH BECAUSE THE WORD “HELL” IS IN THE TITLE.

During the Director’s Cut commentary for Hellboy, del Toro praised the film’s marketing team for finding ways to sell the film to the public, noting that it wasn’t always easy to attract audiences to a film called Hellboy. Some theaters refused to show the movie, while others retitled it Helloboy in an effort to calm potentially offended patrons. The problem was exacerbated by the presence of Mel Gibson’s The Passion of the Christ, which opened a few weeks earlier and remained a big box office draw during the Easter holiday.

“Especially on Easter, some theaters mysteriously dropped the movie when it was still making money,” del Toro recalled.

11. IT WAS SUPPOSED TO BE THE FIRST FILM IN A TRILOGY.

Hellboy opened on April 2, 2004 to strong reviews and a box office return good enough to merit a sequel. Just weeks after the first film hit theaters, Hellboy II was a go, with del Toro, Perlman, Blair, and Jones returning. With the knowledge that he would get to continue the story, del Toro envisioned a superhero fantasy trilogy, which moved closer to becoming a reality when Hellboy II: The Golden Army opened in 2008 to more critical acclaim. As time passed, though, a third film began to seem increasingly unlikely, with Perlman in particular noting that the epic scope of del Toro’s plans could be too taxing on the budget as well as Perlman’s own physical health. After years of holding out hope that the trilogy could be completed, del Toro finally announced in 2017 that all plans for Hellboy 3 had been scrapped.

12. BUT A REBOOT IS IN THE WORKS.

Del Toro might not get to finish his version of the Hellboy story, but that doesn’t mean Big Red won’t hit the big screen again. In May 2017, just months after del Toro announced an end to his version of the tale, Mignola revealed that the character would be rebooted as part of a new film franchise. Directed by Neil Marshall (The Descent) and starring David Harbour (Stranger Things) in the title role, the new Hellboy film is set to hit theaters on January 11, 2019.

Additional Sources:
Hellboy: The Director’s Cut special features (2004)
Guillermo del Toro: Cabinet of Curiosities (2013)

nextArticle.image_alt|e
Shout! Factory
10 Surprising Facts About Mr. Mom
Shout! Factory
Shout! Factory

John Hughes penned the script for 1983's Mr. Mom, a comedy about a family man named Jack Butler (Micheal Keaton) who loses his job. To ensure their three kids are taken care of, his wife, Caroline (Teri Garr), goes back to work—leaving Jack to fight off a vacuum cleaner and learn why it's never a good idea to feed chili to a baby.

In 1982, Keaton turned in a star-making role in Ron Howard’s Night Shift, but Mr. Mom marked the first time he headlined a movie, and it launched his career. Hughes had written National Lampoon's Vacation, which—oddly enough—was released in theaters the weekend after Mr. Mom. But Hughes himself was still a relative unknown, as it would be another year before he entered the teen flick phase of his career, which would make him iconic.

In the meantime, Mr. Mom hit home for a lot of viewers, as the economy was on the downturn and more and more women were entering (or reentering) the workforce. But some people think that the movie's ending—which sees the couple revert to traditional gender roles—sidelined the movie's message. Still, on the 35th anniversary of its release, Mr. Mom remains an ahead-of-its-time comedy classic.

1. IT'S BASED ON A TRUE STORY.

Mr. Mom producer Lauren Shuler Donner came across a funny article John Hughes had written for National Lampoon. Based on that, she contacted him and the two became friends. “One day, he was telling me that his wife had gone down to Arizona and he was in charge of the two boys and he didn’t know what he was doing,” Donner told IGN. “It was hilarious! I was on the floor laughing. He said, ‘Do you think this would make a good movie?’ And I said, ‘Yeah, this is really funny.’ So he said, ‘Well, I have about 80 pages in a drawer. Would you look at it?’ So I looked at it and I said, ‘This is great! Let’s do it!’ We kind of developed it ourselves.” In the book Movie Moguls Speak, Donner mentioned how Hughes “had never been to a grocery store, he had never operated a vacuum cleaner. John was so ignorant, that in his ignorance, he was hilarious.”

The players involved with the movie told Donner and Hughes they thought it should be a TV movie. Hughes had a TV deal with Aaron Spelling, who came aboard to executive produce. “Then the players involved were upset because John was writing out of Chicago instead of L.A.,” Donner said in Movie Moguls Speak. “They fired John and brought in a group of TV writers. In the end, John and I were muscled out. It was a good movie, but if you ever read John’s original script for Mr. Mom, it’s far better.”

2. JOHN HUGHES REJECTED THE IDEA OF DIRECTING MR. MOM.

Stan Dragoti ended up directing the film, but only after Hughes turned it down, because he preferred to make his movies in Chicago, not Hollywood. “I don’t like being around the people in the movie business,” Hughes told Roger Ebert. “In Hollywood, you spend all of your time having lunch and making deals. Everybody is trying to shoot you down. I like to get my actors out here where we can make our movies in privacy.” Hughes remained in Chicago and filmed his directorial debut, Sixteen Candles, there.

3. MICHAEL KEATON GOT THE ROLE BECAUSE OF NIGHT SHIFT.

In 1982’s Night Shift, Keaton’s character works at a morgue and starts a prostitution ring with co-worker Henry Winkler. Donner had an agent friend, Laurie Perlman, who represented the not-yet-famous actor. She contacted Donner and pitched Keaton to her. “’Look, I represent this guy who is really funny. Would you meet with him?’" Donner recalled of the conversation. "So I met with him. Usually I don’t like to do this unless we’re casting, but I met with him because she was my friend. And then she said, ‘You have to see this movie Night Shift that he’s in.’ So I went to see Night Shift, and midway through I couldn’t wait to get out of that theater to give Mr. Mom to Michael Keaton. Fortunately, he liked it."

Keaton told Grantland that he turned down one of the main roles in Splash to play Jack Butler. “I just remember at the time thinking I wanted to get away from what I’d just done on Night Shift,” he said. “I thought if I do it again, I might get myself stuck. So then Mr. Mom came along. So I said no [to Splash] so I could set up this framework right away where I could do different things.”

4. THE FILM BROKE NEW GROUND.

Teri Garr, Michael Keaton, Taliesin Jaffe, Frederick Koehler, and Martin Mull in Mr. Mom (1983)
Shout! Factory

In 1983, more women stayed at home than worked, so it was a novelty for a man to be a stay-at-home dad. Today, an estimated 1.4 million men are stay-at-home dads, and 7 million men are their children's primary caregiver. “Mr. Mom became part of the vernacular,” Donner told Newsweek. “Mr. Mom represented a segment of men who were at home dealing with the kids who, up until then, really hadn’t been heard from. That’s what really told me about the power of film, because it spoke for a lot of men. It also helped women, because I think that women sometimes, if you’re a housewife, you’re not really appreciated for what you do. This sort of made women feel better about what they did because they knew that men were understanding it.”

5. TODAY, “MR. MOM” IS CONSIDERED A PEJORATIVE TERM.

More than 30 years after the film’s release, stay-at-home dads feel the term “Mr. Mom” should die. The National At-Home Dad Network launched a campaign to terminate the phrase and instead have people refer to men as “Dad.” In 2014 Lake Superior State University voted to banish “Mr. Mom” from the lexicon.

“At least, the pop-culture image of the inept dad who wouldn’t know a diaper genie from a garbage disposal has begun to fade,” wrote The Wall Street Journal, after declaring “Mr. Mom is dead.”

6. TERI GARR DIDN’T KNOW IT WAS A MESSAGE MOVIE.

The movie redefined gender roles, but when the producers pitched the premise to Garr, they hid the plot reversal. “They just told me it was about a guy who does the work that a woman does, because it’s so easy,” she told The A.V. Club. “And I went, ‘Oh, yeah. Ha ha.’ It’s so easy. All the women I know who stay home and take care of their kids, they go, ‘Oh yeah, this is easy.’ Hmm.”

7. MARTIN MULL IMPROVISED THE “220, 221” LINE.

The quote everyone remembers from the movie comes from Jack, holding a chainsaw, standing next to Ron Richardson (Martin Mull) and discussing what kind of wiring Jack will use in renovating the house: “220, 221, whatever it takes,” Jack says.

“We’re doing the scene and it was okay,” Keaton told Esquire. “And I remember saying to the prop guy, ‘Go find me a chainsaw.’ When he comes back with it, he says, ‘You wanna wear these?’ And he holds up some goggles. I go, ‘Yeah.’ You know, they make me look crazy. And when Martin shows up, I know I should look under control, I’m not sweating it. I’m a dude. So we’re standing there, Martin pulls me aside and says, ‘You know what you ought to say? When I ask about the wiring, you oughta just deadpan: ‘220, 221.’ I died. It was perfect. I may have added ‘whatever it takes.’ But it was his.”

“That was a little ad-lib that we just threw in, but every carpenter or construction person I’ve ever worked with, they’re always quoting that line from Mr. Mom,” Mull told The A.V. Club.

8. MR. MOM OUTGROSSED HUGHES’S OTHER 1983 SUMMER MOVIE—VACATION.

Mr. Mom only opened on 126 screens on July 22, 1983, but managed to gross $947,197 during its opening weekend. Once the film went wide a month later to 1235 screens, it hit number one at the box office and spent five weeks at the top. By the end of its run, the film had grossed just shy of $65 million, making it the ninth highest-grossing film of 1983 (just between Staying Alive and Risky Business). National Lampoon’s Vacation, Hughes’s other film that summer, came out July 29 and ended its theatrical run with $61,399,552 (at its height, it showed on 1248 screens). Vacation finished the year in 11th place.

9. THE MOVIE LED TO HUGHES BEING CALLED “A PURVEYOR OF HORNY SEX COMEDIES.”

During a 1986 interview with Seventeen magazine, Molly Ringwald asked the writer-director why he never showed teen sex in Sixteen Candles or The Breakfast Club. “In Sixteen Candles, I figured it would only be gratuitous to show Samantha and Jake in anything more than a kiss,” he said. “The kiss is the most beautiful moment. I was really amused when someone once called me a ‘purveyor of horny sex comedies.’ He listed The Breakfast Club and Mr. Mom in parentheses. I thought, ‘What kind of sex?’ Yes, in Mr. Mom there’s a baby in a bathtub and you see its bare butt.”

10. MR. MOM WAS MADE INTO A TV MOVIE AFTER ALL.

In the beginning, producers wanted Mr. Mom to be a TV movie, not a feature film. But a year after the film came out in theaters, ABC produced a TV movie called Mr. Mom, with the same characters and premise. Barry Van Dyke played Jack and Rebecca York played Caroline. A People magazine review of the movie stated: “They and their three kids are immediately likable … But it goes downhill from there as the script lobotomizes all its characters. Here’s a textbook case in how TV takes a cute idea—and a script that does have some good lines—and leeches the wit out of it.”

nextArticle.image_alt|e
Hulton Archive/Getty Images
The Star Trek Theme Song Has Lyrics
Hulton Archive/Getty Images
Hulton Archive/Getty Images

The Star Trek theme song is familiar to pretty much anyone who lived in the free world (and probably elsewhere, too) in the late 20th century. The tune is played during the show's opening credits; a slightly longer version is played, accompanied by stills from various episodes, during the closing credits. The opening song is preceded by William Shatner (as Captain Kirk) doing his now-legendary monologue recitation, which begins: "Space, the final frontier ..."

The show's familiar melody was written by respected film and TV composer Alexander Courage, who said the Star Trek theme's main inspiration was the Richard Whiting song "Beyond the Blue Horizon." In Courage's contract it was stipulated that, as the composer, he would receive royalties every time the show was aired and the theme song played. If, somehow, Star Trek made it into syndication—which, of course, it ultimately did—Courage stood to make a lot of money. And so did the person who wrote the lyrics.

WAIT... THERE WERE LYRICS?

Gene Roddenberry, the show's creator, wrote lyrics to the theme song.

"Beyond the rim of the star-light,
my love is wand'ring in star-flight!"

Why would Roddenberry even bother?

The lyrics were never even meant to be heard on the show, but not because the network (NBC) nixed them. Roddenberry nixed them himself. Roddenberry wanted a piece of the composing profits, so he wrote the hokey lyrics solely to receive a "co-writer" credit.

"I know he'll find in star-clustered reaches
Love, strange love a star woman teaches."

As one of the composers, Roddenberry received 50 percent of the royalties ... cutting Alexander Courage's share in half. Not surprisingly, Courage was furious about the deal. Though it was legal, he admitted, it was unethical because Roddenberry had contributed nothing to why the music was successful.

Roddenberry was unapologetic. According to Snopes, he once declared, "I have to get some money somewhere. I'm sure not gonna get it out of the profits of Star Trek."

In 1969, after Star Trek officially got the ax, no one (Courage and Roddenberry included) could possibly have imagined the show's great popularity and staying power.

Courage, who only worked on two shows in Star Trek's opening season because he was busy working on the 1967 Dr. Doolittle movie, vowed he would never return to Star Trek.

He never did.

THE WORDS

If you're looking for an offbeat karaoke number, here are Roddenberry's lyrics, as provided by Snopes:

Beyond
The rim of the star-light
My love
Is wand'ring in star-flight
I know
He'll find in star-clustered reaches
Love,
Strange love a star woman teaches.
I know
His journey ends never
His star trek
Will go on forever.
But tell him
While he wanders his starry sea
Remember, remember me.

SECTIONS

arrow
LIVE SMARTER
More from mental floss studios