12 Sharp Facts About Hellraiser

Image Entertainment
Image Entertainment

Thirty years ago, on September 18, 1987, New World Pictures released Hellraiser, a horror film about a family who opens a puzzle box and invites hell in their lives in the form of pleasure-pain creatures known as Cenobites, who are lead by Pinhead (played by Doug Bradley). Unlike many other horror films at the time, Hellraiser wasn’t a slasher film, and Pinhead wasn’t a boogeyman.

British novelist, playwright, and screenwriter Clive Barker wanted to direct a feature film, so he adapted his 1986 horror novella, The Hellbound Heart, into Hellraiser. Despite the graphic nature of the film, it’s really a love story between Julia Cotton and her demented—and skinless—lover Frank ... whose relationship just so happens to revolve around sadistic torture.

Hellraiser was produced for around $1 million and grossed $14 million, making it lucrative enough to spawn nine sequels, including this year’s Hellraiser: Judgment. (Bradley hasn’t starred in a Hellraiser film since 2011’s Hellraiser: Revelations, and Barker didn’t direct or write any of the sequels, most of which were direct-to-DVD releases.) On the 30th anniversary of its release, let's take a look back at this horror classic.

1. THE ORIGINS OF PINHEAD CAME FROM A 1973 PLAY.

Before Doug Bradley uttered the catchphrase “We’ll tear your soul apart,” Clive Barker directed him in a 1973 play called Hunters in the Snow, in which Bradley played the Dutchman, a torturer who would become the basis for Pinhead.

“The character I played in Hunters, the Dutchman, I can see echoes of later... Pinhead in Hellraiser," Bradley said. "This strange, strange character whose head was kind of empty but who conveyed all kinds of things.”

Barker’s mid-1980s short story “The Forbidden”—which was adapted into Candyman—from his "Books of Blood" series, featured the first incarnation of Pinhead’s nails. “One image I remember very strongly from 'The Forbidden' was that Clive had built what he called his nail-board, which was basically a block of wood which he’d squared off and then he’d banged six-inch nails in at the intersections of the squares,” Bradley said. “Of course, when I saw the first illustrations for [Pinhead], it rang a bell with me that here was Clive putting the ideas that he’d been playing around with the nail-board in 'The Forbidden,' now 10, 15 years later. He’d now put the image all over a human being’s face.”

2. CLIVE BARKER CAST “REAL ACTORS.”

Unlike many other horror movies of the time, which were more concerned with gore than great acting, Barker insisted that they look for real talent in the casting. “I’m not just taking the 12 most beautiful youths in California and murdering them,” Barker told The Washington Post in 1987. “I’ve got real actors, real performers—and then I’m murdering them.” The “real” refers to British theater actors like Bradley, Clare Higgins, and Andrew Robinson.

3. PINHEAD WASN’T SUPPOSED TO BE ON THE POSTER.

New World Pictures

Bradley said the filmmakers wanted skinned Frank to be on the poster, but the studio said no to the grotesque imagery, so Pinhead was used on the poster instead. “Maybe that came from Clive, because what we get in that image of Pinhead with the box is the heart of the Hellraiser mythology,” Bradley said. “If you put The Engineer or the skinned man on the poster, it’s an amazing image but it’s just an image, and it could come from any movie.” Bradley thought using Pinhead’s face made more sense. “The big success of Pinhead is because the image is so original, so startling. It is just an incredible image to look at, and that made a big difference in terms of the public's perception of the movie.”

4. NO ONE KNEW THAT DOUG BRADLEY WAS PINHEAD.

Bradley’s Pinhead mug was everywhere—on the cover of magazines and on the movie’s poster—but no one mentioned his name. “It was great to be so heavily featured, but there was no way to prove to anyone that it was actually me,” Bradley said. “Those who were following Hellraiser at the time were wondering where the guy with the pins was! Well I can tell you where I was—I was sitting at home in England, watching it all happen from the sidelines.”

5. THE CENOBITES' DESIGN WAS INSPIRED BY S&M CLUBS.

In the box set’s liner notes, Barker wrote that the Cenobites' “design was influenced amongst other things by punk, by Catholicism, and by the visits I would take to S&M clubs in New York and Amsterdam.” Costume designer Jane Wildgoose created the costumes, based on Barker’s instruction of “repulsive glamour.”

“The other notes that I made about what he wanted was that they should be ‘magnificent super-butchers,’” Wildgoose said.

As for Pinhead, Barker said he “had seen a book containing photographs of African fetishes: sculptures of human heads crudely carved from wood and then pierced with dozens, sometimes hundreds, of nails and spikes. They were images of rage, the text instructed.”

6. IT'S REALLY A LOVE STORY.

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Julia is forced to bring men back to her house and murder them for Frank so that he can replenish his flesh. Barker looked at Hellraiser as more of a love story, with Julia committing these heinous acts in the name of love, not just to be brutal for no reason.

“She’s not committing murder in the way that Jason in the Friday the 13th films commits murder—just for the sake of blood-letting —she’s doing it for love,” Barker told Samhain. “So there is a sympathetic quality about her, enhanced hugely in my estimation by the fact that Clare Higgins does it so well.”

7. BARKER’S GRANDFATHER INSPIRED THE PUZZLE BOX.

When a person twists the box, known as the Lament Configuration, it summons the Cenobites from the gates of hell into the individual's world. “I wanted to have access to hell in the book and in the first movie, explored by something rather different than drawing a circle on the floor with magical symbols around it,” Barker told WIRED. “That seemed rather stale and rather old.”

Barker explained his grandfather was a cook on a ship and brought back a puzzle box from the Far East. “So when I went back to the problem of how to open the doors of hell, the idea of [using] a puzzle box seemed interesting to me. You know, the image of a cube is everywhere in world culture, whether it’s the Rubik’s Cube or the idea of the [Tesseract] in The Avengers movies. There’s a lot of places where the image of a cube as a thing of power is pertinent. I don’t know why that is, I don’t have any mythic explanation for it, but it seems to work for people.”

8. ROGER EBERT WASN'T A FAN OF THE FILM.

Roger Ebert gave Hellraiser just a half star when he reviewed it in 1987. “Who goes to see movies like this? This is a movie without wit, style, or reason,” he wrote, adding that, “I have seen the future of implausible plotting, and his name is Clive Barker.”

9. SOMEONE HAD THE JOB OF MAGGOT AND COCKROACH WRANGLER.

In England, there was a law in which cockroaches of both sexes weren’t allowed on set, because they could have mated and caused an infestation. So Barker had to hire someone to oversee the situation. “The wrangler, this is the honest truth, had to sex the roaches,” Barker told an audience at a Hellraiser screening. “They were all male. And we had a fridge. They move very fast, so the only way to slow them down was to chill them. We chilled the maggots and the roaches. We'd open it up and it was all reassuring. It was fun.”

10. BARKER PREFERS "HELL PRIEST" TO "PINHEAD."

In The Hellbound Heart, the Cenobite with pins sticking out of his head is called The Hell Priest. One of the special effects guys who worked on the movie gave the character his nickname. “I thought it was a rather undignified thing to call the monster, but once it stuck, it stuck,” Barker told Grantland.

In 2015, Barker published a sequel to The Hellbound Heart, The Scarlet Gospels, which features Pinhead getting annoyed when people call him that—as well as Pinhead’s demise. “He will not be coming back, by the way," Barker said. "That I promise you."

11. A HELLRAISER VS. HALLOWEEN MOVIE ALMOST HAPPENED.

In an interview with Game Radar, Bradley said the success of Freddy vs. Jason led Hellraiser distributor Dimension Films to flirt with a Hellraiser vs. Halloween film. “I was actually getting excited by the prospect of this because Clive said he would write it and John Carpenter said he would direct it,” Bradley said. “I actually spoke to Clive about it a couple of times and he was interested in finding the places where the Halloween and Hellraiser worlds intermeshed.” But Moustapha Akkad, who owned the rights to Halloween, extinguished the idea.

12. THE BRITISH BOARD OF FILM CLASSIFICATION HAD TO CHECK THAT NO RATS WERE HARMED IN THE MAKING OF THE MOVIE.

While the MPAA requested that a spanking scene be cut for its American release, England's BBFC agreed to release the movie as it was, if they were assured that the rats used in the film weren’t hurt. “I had to bring three remote-control rats into the censor’s office and make them wriggle about on the floor,” producer Christopher Figg told The Telegraph. “They wanted to be sure we hadn’t been cruel to them.”

Looking to Downsize? You Can Buy a 5-Room DIY Cabin on Amazon for Less Than $33,000

Five rooms of one's own.
Five rooms of one's own.
Allwood/Amazon

If you’ve already mastered DIY houses for birds and dogs, maybe it’s time you built one for yourself.

As Simplemost reports, there are a number of house kits that you can order on Amazon, and the Allwood Avalon Cabin Kit is one of the quaintest—and, at $32,990, most affordable—options. The 540-square-foot structure has enough space for a kitchen, a bathroom, a bedroom, and a sitting room—and there’s an additional 218-square-foot loft with the potential to be the coziest reading nook of all time.

You can opt for three larger rooms if you're willing to skip the kitchen and bathroom.Allwood/Amazon

The construction process might not be a great idea for someone who’s never picked up a hammer, but you don’t need an architectural degree to tackle it. Step-by-step instructions and all materials are included, so it’s a little like a high-level IKEA project. According to the Amazon listing, it takes two adults about a week to complete. Since the Nordic wood walls are reinforced with steel rods, the house can withstand winds up to 120 mph, and you can pay an extra $1000 to upgrade from double-glass windows and doors to triple-glass for added fortification.

Sadly, the cool ceiling lamp is not included.Allwood/Amazon

Though everything you need for the shell of the house comes in the kit, you will need to purchase whatever goes inside it: toilet, shower, sink, stove, insulation, and all other furnishings. You can also customize the blueprint to fit your own plans for the space; maybe, for example, you’re going to use the house as a small event venue, and you’d rather have two or three large, airy rooms and no kitchen or bedroom.

Intrigued? Find out more here.

[h/t Simplemost]

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15 Fascinating Facts About Alfred Hitchcock

Peter Dunne, Express/Getty Images
Peter Dunne, Express/Getty Images

The shower scene in Psycho. The biplane chase in North by Northwest. The gas station attack in The Birds. They’re some of the most memorable and terrifying scenes in cinema history—and they came from the mind of one man: Alfred Hitchcock. The Master of Suspense, who went by the nickname “Hitch,” is also one of the most recognizable Hollywood icons, and his life was as fascinating as his films. Here are 15 things you might not have known about the legendary filmmaker, who was born in London on August 13, 1899.

1. Alfred Hitchcock was afraid of law enforcement ... and breakfast.

Hitchcock’s mastery of thrillers may have earned him the nickname the “Master of Suspense,” but the plucky filmmaker had phobias of his own.

His lifelong fear of police stemmed from an incident in his childhood when his strict father, William, punished him by sending him to the local Leytonstone police station on the outskirts of his family's home in east London. “I was just sent along with a note, I must have been four or five years of age, and the head of the police read it and then put me into the cell and said, ‘That’s what we do to naughty boys,’” Hitchcock later recalled of the experience.

Also, omelettes were decidedly not his favorite breakfast food. "I'm frightened of eggs, worse than frightened, they revolt me," he once said in an interview. "That white round thing without any holes … Have you ever seen anything more revolting than an egg yolk breaking and spilling its yellow liquid? Blood is jolly, red. But egg yolk is yellow, revolting. I've never tasted it."

2. Alfred Hitchcock began his work in silent films.

Known for the complex title sequences in his own films, Hitchcock began his career in cinema in the early 1920s, designing the art title cards featured in silent films. The gig was at an American company based in London called the Famous Players-Lasky Company (it would later become Paramount Pictures, which produced five Hitchcock-directed films). As Hitchcock later told French filmmaker François Truffaut in their infamous Hitchcock/Truffaut conversations, “It was while I was in this department, you see, that I got acquainted with the writers and was able to study the scripts. And, out of that, I learned the writing of scripts.” The experience also led Hitch to try his hand at actual filmmaking. “If an extra scene was wanted, I used to be sent out to shoot it,” he told Truffaut.

3. Alfred Hitchcock learned from another cinema master.

In 1924, Hitchcock and his wife Alma were sent to Germany by Gainsborough Pictures—the British production company where he was under contract—to work on two Anglo-German films called The Prude’s Fall and The Blackguard. While working in Neubabelsberg, Hitchcock was taken under the wing of expressionist filmmaker F.W. Murnau, who created the chilling Dracula adaptation Nosferatu, and was shooting a silent film called The Last Laugh. “From Murnau,” Hitchcock later said, “I learned how to tell a story without words.”

4. Most of Alfred Hitchcock's early films are lost, but a 1923 silent melodrama was discovered in New Zealand.

Only nine of Hitchcock’s earliest silent films still exist. The earliest surviving film he worked on, a 1923 melodrama titled The White Shadow—about twin sisters, one good, one evil—was thought lost until three of the film’s six reels were found sitting unmarked in the New Zealand Film Archive in 2011. The film reels were originally donated to the Archive in 1989 by the grandson of a Kiwi projectionist and collector.

While the film was technically directed by leading 1920s filmmaker Graham Cutts, the 24-year-old Hitchcock served as the film’s screenwriter, assistant director, and art director.

5. Alfred Hitchcock brought sound to British movies.

The 1929 movie Blackmail, about a murder investigation headed up by the murderer’s fiance, was Hitchcock’s first hit film, and also the first “talkie” film released in Britain. (The first full-length talkie, The Jazz Singer, was released in the U.S. in 1927.)

While Blackmail was originally conceived and created as a silent film, the final cut was dubbed with synchronized sound added in post-production using then-state of the art audio equipment imported from the U.S.

6. Alfred Hitchcock popped up on screen all the time.

The most constant image in Hitchcock’s films seem to be Hitchcock himself. The filmmaker perfected the art of the cameo, making blink-and-you’ll-miss-them appearances in 39 of his own films.

His trickier appearances include the single-location film Lifeboat, where he appears in a weight-loss advertisement in a newspaper read by one of the film’s characters. The only film he actually speaks in is 1956’s The Wrong Man; his traditional cameo is replaced by a silhouetted narration in the introduction. That replaced a scrapped cameo of the director exiting a cab in the opening of the film.

7. Alfred Hitchcock was as successful in front of the camera on the small screen as he was behind the camera on the big screen.

By 1965, Hitchcock was a household name. That was the same year his long-running anthology TV series, Alfred Hitchcock Presents—which began in 1955 and was later renamed The Alfred Hitchcock Hour after episode lengths were stretched from 25- to 50-minute runtimes—came to an end.

The series was known for its title sequence featuring a caricature of Hitchcock's distinctive profile, which was replaced by Hitchcock himself in silhouette. But Hitchcock also appeared after the title sequence to introduce each new story. At least two versions of the opening were shot for every episode: An American opening specifically poked fun at the show’s network advertisers, while Hitchcock usually used the European opening to poke fun at American audiences in general.

7. Alfred Hitchcock literally wrote the encyclopedia entry on how to make movies.

The filmmaker would write (at least part of) the book on the medium that made him famous.

Hitchcock personally contributed to writing a portion of the “Motion Pictures, Film Production” entry in the 14th edition of the Encyclopedia Britannica, giving typically cheeky first-hand insight into the fundamentals and technical aspects of filmmaking.

On the practice of moving the camera during a shot, Hitchcock wrote, “it is wrong to suppose, as is all too commonly the case, that the screen of the motion picture lies in the fact that the camera can roam abroad, can go out of the room, for example, to show a taxi arriving. This is not necessarily an advantage and it can so easily be merely dull.”

8. Alfred Hitchcock popularized the MacGuffin.

Even if you don’t know it by name, you know what it is. The MacGuffin is the so-called motivating element that drives a movie’s plot forward. Think: the eponymous statue in The Maltese Falcon, or the briefcase in Pulp Fiction, or the airplane engine plans in Hitch’s own The 39 Steps.

The term was coined by Angus MacPhail (note the prefix in his surname), Hitchcock’s screenwriting collaborator on films like Spellbound and The Man Who Knew Too Much. Even though such plot details were supposed to be important, Hitchcock didn’t seem to think they truly mattered. “The main thing I've learned over the years is that the MacGuffin is nothing. I'm convinced of this, but I find it very difficult to prove it to others,” Hitchcock told Truffaut in 1962, highlighting how the audience never finds out why the government secrets (a.k.a. the MacGuffin) in North by Northwest truly matter. “Here, you see,” Hitchcock said, “the MacGuffin has been boiled down to its purest expression: nothing at all!”

9. Alfred Hitchcock scrapped his own documentary about the Holocaust.

Hitch’s films flirted with mentioning the escalating tensions in Europe that would spark World War II, like in the shocking plane crash climax of 1940’s Foreign Correspondent. But the film Hitchcock collaborated on about the explicit horrors of the war would go unseen for decades.

Memory of the Camps, a 1945 documentary filmed by crews who accompanied the Allied armies that liberated those in the Nazi death camps at the end of the war, was stored in a vault in the Imperial War Museum in London until 1985. Originally commissioned by the British Ministry of Information and the American Office of War Information, Hitchcock served as a “treatment advisor” at the behest of his friend Sidney Bernstein, who is the credited director of the film. But the final film was scrapped because it was deemed counterproductive to German postwar reconstruction.

The film was put eventually together as an episode of PBS’s FRONTLINE, and aired on May 7, 1985 to mark the 40th anniversary of the liberation of the camps.

10. Alfred Hitchcock didn't want you to see five of his famous films for decades.

Vertigo may have topped many best-of movie polls, but for over 20 years, between 1961 and 1983, it and four other Hitchcock classics were almost virtually impossible to see. It turns out it was Hitchcock’s fault that Vertigo, Rear Window, Rope, The Trouble with Harry, and The Man Who Knew Too Much were purposefully unavailable to the general public.

The filmmaker personally secured full ownership to the rights of the five films per a contingency clause in the multi-film deal he made with Paramount Pictures in 1953. Eight years after the release of each film, the rights reverted back to Hitchcock, which, in the years before Blu-ray and DVD, seemed like a financially savvy move on Paramount’s part. Three years after Hitch’s death in 1980, Universal Pictures acquired the film rights to all five classics, making them available once again.

11. Alfred Hitchcock didn't want to work with Jimmy Stewart after Vertigo.

Everyman actor Jimmy Stewart worked with Hitchcock a number of times, including as the nosy, wheelchair-bound photographer in Rear Window, and as the dastardly murderer in the “one-take” film Rope. After Stewart appeared in Vertigo in 1958, the actor prepared to appear in Hitchcock’s follow-up a year later, North by Northwest. But Hitch had other plans.

The director felt that one of the main reasons Vertigo wasn’t more of a smash hit was because of its aging star, and vowed to never use Stewart in any film ever again. Hitch wanted actor Cary Grant instead, and, according to author Marc Eliot’s book, Jimmy Stewart: A Biography, “Hitchcock, as was his nature, did not tell Jimmy there was no way he was going to get North by Northwest.” But when Stewart grew tired of waiting, and took a part in the movie Bell Book and Candle instead, “Hitchcock used that as his excuse, allowing him to diplomatically avoid confronting Jimmy and maintaining their personal friendship, which both valued.”

12. Alfred Hitchcock personally funded Pyscho.

When Hitchcock approached Paramount Pictures—where he was under contract—to put up the money to make Psycho, the studio balked at the salacious story. So Hitchcock financed the movie himself, foregoing his normal salary in exchange for 60 percent ownership of the rights to the film; Paramount agreed to distribute the film. To cut costs even more, the filmmaker enlisted his relatively cheaper Alfred Hitchcock Presents TV crew and shot the film on less pricey black and white film. Hitch’s gamble worked: He reportedly personally earned $6 million from Psycho—about $50 million in today's dollars.

13. Alfred Hitchcock wouldn't allow theaters to let anyone—not even the Queen of England—in to see Psycho once it had started.

Psycho (1960) has one of the best twists in movie history—and Hitchcock went to great lengths to not only make sure audiences didn’t spoil that twist, but to make sure they enjoyed the entire movie before the twist.

Hitchcock attempted to buy all copies of author Robert Bloch’s source novel to keep the twist under wraps in cities where the movie opened. The promotional rollout of the film was controlled by Hitchcock himself, and he barred stars Janet Leigh and Anthony Perkins from doing interviews about the movie. He also demanded that theaters in New York, Chicago, Boston, and Philadelphia adhere to strict theatrical showtimes and not allow admittance after the movie had started.

Marketing materials for Psycho included lobby cards meant to be prominently displayed with the message, “We won't allow you to cheat yourself. You must see PSYCHO from the very beginning. Therefore, do not expect to be admitted into the theatre after the start of each performance of the picture. We say no one—and we mean no one—not even the manager's brother, the President of the United States, or the Queen of England (God bless her)!”

14. Alfred Hitchcock loved movies that were not "Hitchcockian."

The filmmaker had a habit of screening films in his studio lot office every Wednesday, and his daughter Patricia revealed that one of his favorite films—and, in fact, the last movie he personally screened before his death—was the 1977 Burt Reynolds movie Smokey and the Bandit.

15. Alfred Hitchcock never won a competitive Oscar.

Hitchcock is in the bittersweet class of venerable filmmakers like Stanley Kubrick, Orson Welles, Charlie Chaplin, Ingmar Bergman, and more who never received their industry’s highest honor as Best Director. Hitchcock did get Oscar nominations for directing Rebecca (which took home Best Picture), Lifeboat, Spellbound, Rear Window, and Psycho. But he personally went home empty-handed every time.

When the Academy finally honored him with the Irving G. Thalberg Memorial Award in 1967, his long-time-coming speech was only five words long: “Thank you, very much indeed.”

This story has been updated for 2020.