I’ve been a diehard Halloween fan for twenty years and there’s little that I don’t know, but friends, Taking Shape changed all that. It contains a wealth of new knowledge for even the most informed scoundrel.
The book is a movie-by-movie history and examination, and while it does touch on the basics, it glosses over the familiar histories we’ve been told a hundred times and delves deeper into the little nuggets and kernels that really shed light on the development and evolution of the franchise. This is done through a rich analysis into each film’s production, as well as an in-depth look into deleted and alternate scenes–those that have been filmed as well as those that were only ever written. Even the novelizations get a thorough analysis. Each chapter then ends with an interview or two with crew members of whatever film is being discussed. And they certainly dish the goods.
Authors McNeill and Mullins pull no punches, and neither do those who are being interviewed in their book. Taking Shape is a refreshingly candid read. Unlike a making-of featurette on a DVD, the interviewees are not here to only sing the praises of a certain sequel. Here, we find out exactly where the bodies lie, and on whose hands is the blood. Names are given and blame is directed.
By the book’s end, we find the true villain of the Halloween franchise is not Michael Myers, but studio heads Bob and Harvey Weinstein. Their meddling in the series is well documented, and often hilariously so, by the likes of "Halloween: The Curse of Michael Myers" screenwriter Daniel Farrands, "Halloween: Resurrection" screenwriter Larry Brand, and "Halloween" 2007-"Halloween II" 2009 writer-director Rob Zombie, just to name a few. Farrands even makes a poignant plea to the fans not to hate on "Curse" director Joe Chappelle, as any blame tossed his way is misguided; Chappelle was simply at the mercy of the Weinsteins when it came to the film’s controversial reshoots.
So much of the brilliance (and fun) behind Taking Shape lies within the scope and breadth of how each film’s origins are traced. Reading the play-by-plays on early treatments and scripts is a true treat. Of special note is a detailed synopsis of the coveted original Halloween III screenplay written by Nigel Kneale. But also, seeing who pulled the strings or dashed the dreams on certain ideas is very interesting, and certainly profound when you consider how some decisions have altered the entire trajectory of the series, for better or worse. Where there have been certain failures in the series, or where there have been long periods when the franchise has lagged in development hell, oftentimes the fault can’t be placed on any one person, just studio politics and legal red tape–not to mention the occasional poorly represented test screening.
Definitely give this book a read. The juicy what-ifs and what-could-have-beens are, at this point in the franchise, almost as stimulating as the films themselves. But bad blood or commercial-critical failures aside, one important lesson to be learned from this book is that no one ever sets out to make a bad movie. Every sequel has a cult following in its own right. Look into any of the creators in the Halloween franchise, and you’ll find individuals with a lot of heart, passionate about the material and looking to write a good story.