12 Burning Facts About Hellboy

Columbia Pictures
Columbia Pictures

Two decades before he became 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 (though a reboot starring Stranger Things's David Harbour just hit theaters), 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 long 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. Del Toro 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 several of del Toro's regular 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. Having "hell" in the title led to some backlash.

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. A reboot just arrived in theaters.

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 in theaters now.

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

Swear Off Toilet Paper With This Bidet Toilet Seat That's Easy to Install and Costs Less Than $100

Tushy
Tushy

The recent coronavirus-related toilet paper shortage has put the spotlight on the TP-less alternative that Americans have yet to truly embrace: the bidet.

It's not exactly a secret that toilet paper is wasteful—it's estimated to cost 437 billion gallons of water and 15 million trees to produce our yearly supply of the stuff. But while the numbers are plain to see, bidets still aren't common in the United States.

Well, if price was ever the biggest barrier standing in the way of swearing off toilet paper for good, there's now a cost-effective way to make the switch. Right now, you can get the space-saving Tushy bidet for less than $100. And you'll be able to install it yourself in just 10 minutes.

What is a Bidet?

Before we go any further, let’s just go ahead and get the awkward technical details out of the way. Instead of using toilet paper after going to the bathroom, bidets get you clean by using a stream of concentrated water that comes out of a faucet or nozzle. Traditional bidets look like weird toilets without tanks or lids, and while they’re pretty uncommon in the United States, you’ve definitely seen one if you’ve ever been to Europe or Asia.

That said, bidets aren’t just good for your butt. When you reduce toilet paper usage, you also reduce the amount of chemicals and emissions required to produce it, which is good for the environment. At the same time, you’re also saving money. So this is a huge win-win.

Unfortunately, traditional bidets are not an option for most Americans because they take up a lot of bathroom space and require extra plumbing. That’s where Tushy comes in.

The Tushy Classic Bidet Toilet Seat.

Unlike traditional bidets, the Tushy bidet doesn’t take up any extra space in your bathroom. It’s an attachment for your existing toilet that places an adjustable self-cleaning nozzle at the back of the bowl, just underneath the seat. But it doesn’t require any additional plumbing or electricity. All you have to do is remove the seat from your toilet, connect the Tushy to the clean water supply behind the toilet, and replace the seat on top of the Tushy attachment.

The Tushy has a control panel that lets you adjust the angle and pressure of the water stream for a perfect custom clean. The nozzle lowers when the Tushy is activated and retracts into its housing when not in use, keeping it clean and sanitary.

Like all bidets, the Tushy system takes a little getting used to. But once you get the hang of it, you’ll never want to use toilet paper again. In fact, Tushy is so sure you’ll love their product, they offer customers a 60-day risk-free guarantee. If you don’t love your Tushy, you can send it back for a full refund, minus shipping and handling.

Normally, the Tushy Classic retails for $109, but right now you can get the Tushy Classic for just $89. So if you’ve been thinking about going TP-free, now is definitely the time to do it.

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You're Gonna Need a Bigger Boat: How Jaws’s Most Famous Line Came to Be

Universal
Universal

The line "You're gonna need a bigger boat" from Jaws (1975) has gone down as one of the most iconic quotes in movie history. Spoken by Chief Brody moments after the eponymous shark appears behind the Orca, it's been referenced countless times in film and television, and ranks 35th on AFI's list of top 100 movie quotes. It was famously ad-libbed by Roy Scheider, but according to The Hollywood Reporter, the actor didn't pull the line out of thin air.

Carl Gottlieb, who co-wrote the screenplay for Jaws, revealed the origin of "You're gonna need a bigger boat" to The Hollywood Reporter in 2016. Filming Jaws on the water made for a troubled production, with the crew working off a barge that carried the equipment and craft services plus a smaller support boat. Crew members complained to producers that this support boat was too small, which was how they coined the soon-to-be-famous phrase.

"[Richard] Zanuck and [David] Brown were very stingy producers, so everyone kept telling them, 'You're gonna need a bigger boat,'" Gottlieb told The Hollywood Reporter. "It became a catchphrase for anytime anything went wrong—if lunch was late or the swells were rocking the camera, someone would say, 'You're gonna need a bigger boat.'"

Scheider eventually picked up the saying and started sneaking it into takes. One of his ad-libs came after his character's first confrontation with the shark, which is also the audience's first good look at the human-eating antagonist following an hour of suspense-building. Scheider's timing and delivery instantly made movie history. "It was so appropriate and so real and it came at the right moment, thanks to Verna Fields's editing," Gottlieb said.

The stories of the making of Jaws have almost become as famous as the film itself. Here are more facts about Steven Spielberg's classic monster movie.

[h/t The Hollywood Reporter]