We built the basement domain of the Tar-Man inside one of our Burbank warehouse sound stages.
I consider character entrances incredibly important. I get angry when I watch a film and see the entrance of an important character just thrown away without any serious thought given to the character’s introduction to the audience.
An example of a great entrance is the first time we fully see Boris Karloff as the Frankenstein monster: Anticipation has been built — we are finally going to see the face of the Frankenstein monster for the very first time. It has been wrapped in bandages up until this point. We see a shape slowly emerging from the shadows — but that shape stays in silhouette. The creature finally steps into the light. But do we see its face? No! The monster has backed into the light; we’re seeing the back of his head. Now, however, there is no way we can look away. The monster slowly, slowly turns around, until, finally, we see that great Jack Pierce make-up for the first time. Then, Wham! Wham! Wham! — we witness a series of three quick jump cuts as the camera zooms in on the monster’s face.
I took the visual introduction of the Tar-Man just as seriously. Here are my storyboards for that scene:
As you can see, I did a similar visual tease of the audience in introducing the Tar-Man. Silhouetted, then a glimpse of a dripping hand hits the light, then ribbons of light showing us pieces of the Tar-Man’s face, then the entire face of the creature itself. As the Tar-Man approaches Tina, the camera moves closer to her face, too, as we are seeing her from the Tar-man’s point of view.