#Greg Cannom

[monstersonscreen]

For the 1987 Werewolf series, the show's producers reached out to Rick Baker to realize its creature effects. Baker designed the werewolves, but the actual realization would fall to Greg Cannom.

Baker and Cannom designed the 'good' and 'evil' werewolves - however, the good werewolf (Eric Cord) was made second, as the initial design was too scary and thus relegated to the show's evil werewolf!

Baker recounted in Fangoria #68, 'What they wanted was one werewolf that is really bad and another that is sort of the good werewolf. I designed the good werewolf first. When I finished, everybody thought it was so scary that it had to be the bad werewolf. So that became the bad one, and I went ahead and designed the good one. The good one is pretty scary too. Hopefully, people will be able to tell the difference.'

[fatalefame]

Zepotha just doesn’t work. Aside from it being a marketing ploy. Who is the production studio, what’s the story, who are the actors.

It being some forgotten/straight to VHS 80s movie isn’t an excuse. It’s neglecting the actual inspiration. 80s slasher films had established production teams, plenty of actors would be in random bit parts in small movies, AND THE SPECIAL FX TEAM! The Goncharov crowd understood this and knew Scorsese’s work. The built around this narrative.

Throw in a producer name like Lloyd Kaufman, Brian Yuzna, Julie and Roger Corman

Maybe a studio was New World Pictures, Concorde Pictures, Manson International etc.

God makeup crew, maybe this was something Robert Short worked on, Larry Carr, Bill Munns, hell you wanna go with a bigger name Tom Savini or Greg Cannom.

Have some respect for the Genre

[santacarlacarousel]

Fangoria issue #66 featured an interview with makeup artist Greg Cannom, and the cover photo gives us a pretty nasty look at the "holy water burns" makeup on Brooke, as well as an AMAZING tagline in "they're hot, they're sexy, they're undead!"

You can read the whole issue in their archives here:

[moviesludge]

masterlist of sfx wizards (PLEASE suggest big ones I'm missing because I want to tag gifs with these too and I have not spent enough time learning who makes all this great stuff and I want to)

John Carl Buechler

Rob Bottin

Stan Winston

Tom Savini

Chris Walas

Chiodo Bros

Rick Baker

Dick Smith

ILM

Makeup Effects Lab (Doug White, Allan Apone, Frank Carriosa)

Joe Alves (Jaws 3D)

John Dods & Tim Hildebrant (Deadly Spawn)

Greg Cannom

Tom Burman (Cat People)

Peter Knowlton (Cujo)

Bill Munns (Boogens)

Giannetto De Rossi (Fulci)

Screaming Mad George

Tom Sullivan (Evil Dead)

Steve Johnson (Ghostbusters/Night of the Demons)

Ed French (T2)

Mark Shostrom (Evil Dead 2, The Mutilator)

Alec Gillis & Tom Woodruff Jr (Aliens, Tremors)

Steve Wang (Guyver)

Chih-Hung Kuei (Boxer's Omen)

Hsiu-Ju Chang (Devil Fetus)

Richard (Richie) Alonzo (The Jitters/The Boneyard)

Sergio Stivaletti (Demons, Opera, The Church, Cemetery Man, Wax Mask)

Germano Natali (Argento Movies, Starcrash)

Carlo Rambaldi

Ray Harryhausen

Stephen Kostanski

[werewolf-news]

Full Moon Features: Werewolf (1987)

Craig J. Clark laments the Shout! Factory release of '80s TV series Werewolf the world was denied in this month's Full Moon Feature.

It’s been nearly 15 years since Shout! Factory had to scuttle its proposed release of the ’80s TV series Werewolf due to unforeseen music rights issues they weren’t able to resolve, but the disappointment is still palpable. Boasting werewolf characters designed by the great Rick Baker (although the day-to-day makeup, effects and transformations were left to Greg Cannom), the series wasn’t enough…

[docrotten]

A NIGHTMARE ON ELM STREET 3: DREAM WARRIORS (1987) – Episode 224 – Decades Of Horror 1980s

“Welcome to prime time, bitch!” Not words I’d use in front of my mother, but they are iconic just the same. Join your faithful Grue-Crew – Chad Hunt, Bill Mulligan, Crystal Cleveland, and Jeff Mohr, along with guest host Ralph Miller  – as they enter another Wes Craven nightmare, A Nightmare on Elm Street 3: Dream Warriors (1987). Expect a lot of FX talk with Ralph in the house!

Decades of Horror 1980s Episode 224 – A Nightmare on Elm Street 3: Dream Warriors (1987)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

A psychiatrist familiar with knife-wielding dream demon Freddy Krueger helps teens at a mental hospital battle the killer who is invading their dreams.

  [NOTE: Effects crew credits are listed as they appear in the film credits.]

Director: Chuck Russell

Writers: Wes Craven (story) (screenplay) (characters); Bruce Wagner (story) (screenplay); Frank Darabont (screenplay); Chuck Russell (screenplay)

Music: Angelo Badalamenti

Storyboard Artist / Visual Consultant: Peter von Sholly

Stop-Motion Skeleton and Marionette Effects: Doug Beswick Productions, Inc.

Stop-Motion Animation: Doug Beswick

Effects Photography Supervisor: Jim Aupperle

Stop-Motion Puppet Construction: Yancy Calzada

Marionette Construction: Mark Bryan Wilson (as Mark Wilson)

Miniatures: James Belohovek

Illustrator: Larry Nikolai

Makeup effects Sequences: Greg Cannom

Assistants to Greg Cannom: Larry Odien, Earl Ellis, John Vulich, Keith Edmier, Brent Baker

Krueger Makeup effects: Kevin Yagher

Assistants to Kevin Yagher: Jim Kagel, Mitch DeVane, Gino Crognale, Brian Penikas, David Kindlon, Steve James, Everett Burrell

Makeup Effects Sequences: Mark Shostrom

Assistants to Mr. Shostrum: Robert Kurtzman, Bryant Tausek, John Blake Dutro, James McLoughlin (as Jim McLoughlin), Cathy Carpenter

Additional Makeup Effects: Matthew W. Mungle (as Mathew Mungel)

Assistant to Mathew Mungel: Russell Seifert

Mechanical Effects: Image Engineering

Special Effects Coordinator: Peter Chesney

Lead Technician: Lenny Dalrymple

Mechanical Designers: Bruce D. Hayes (as Bruce Hayes), Joe Starr, Anton Tremblay (as Tony Tremblay)

Effects Technicians: Bernardo F. Munoz (as Bernard Munoz), Rod Schumacher, Bob Ahmanson

Effects Crew: Scott Nesselrode, Tom Chesney, Kelly Mann, Phillip Hartmann (as Phillip Hartman), Ralph Miller III (as Ralph Miller), Joel Fletcher, Brian Mcfadden, Sandra Stewart (as Sandy Stewart), Terry Mack (as Troy Mack), Blaine Converse, Ron MacInnes, Brendan C. Quigley

Selected Cast:

Heather Langenkamp as Nancy Thompson

Craig Wasson as Dr. Neil Gordon

Patricia Arquette as Kristen Parker

Ken Sagoes as Roland Kincaid

Ira Heiden as Will Stanton

Rodney Eastman as Joey Crusel

Jennifer Rubin as Taryn White

Penelope Sudrow as Jennifer Caulfield

Bradley Gregg as Phillip Anderson

Laurence Fishburne as Max Daniels (credited as Larry Fishburne)

John Saxon as Donald Thompson

Priscilla Pointer as Dr. Elizabeth Simms

Clayton Landey as Lorenzo

Brooke Bundy as Elaine Parker

Nan Martin as Sister Mary Helena

Stacey Alden as Nurse Marcie

Dick Cavett as Himself

Zsa Zsa Gabor as Herself

Paul Kent as Dr. Carver

Guest host Ralph Miller III, who worked behind the scenes on Dream Warriors provides insights and many effects development photos that are shown in the YouTube version of the podcast. Post-recording, the crew wants to clarify that Kevin Yagher was responsible for the Freddy Snake, and Mark Shostrom was in charge of the Penelope Sudrow dummy that smashes into the Freddyvision TV.

With the success of A Nightmare on  Elm Street 3: Dream Warriors (1987), following the critical failure of A Nightmare on Elm Street 2: Freddy’s Revenge (1985), New line Cinema firmly cemented Freddy Krueger and A Nightmare on Elm Street as one of the most iconic horror franchises of its time. Not only does Dream Warriors feature Robert Englund continuing to breathe both humor and fear into Freddy Krueger but also the return of both Heather Langenkamp and John Saxon from the original. The film also features Craig Wasson (Ghost Story) as the male lead and early film roles for Patricia Arquette and Larry Fishburne. Frank Darabont (The Mist) and Bruce Wagner join Wes Craven on scripting chores and Chuck Russell (The Blob, The Mask) directs while Angelo Badalamenti (Twin Peaks, Blue Velvet) provides the score – a winning combination of talent. Surely a Grue-Crew highly recommended selection with special effects by Greg Cannom, Doug Beswick, Mark Shostrom, Kevin Yagher, and more!

Be sure to check out the first time the 80s Grue-Crew took a dive into this film in February 2017, featuring Doc Rotten, Christopher G. Moore, and Thomas Mariani as the Grue-Crew. You can find it here: A NIGHTMARE ON ELMS STREET 3: DREAM WARRIORS (1987) — Episode 102

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film, chosen by Jeff, will be The Changeling (1980), starring George C. Scott, Trish Van Devere, Melvyn Douglas, . . . and a bouncing, red, rubber ball.

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans – so leave them a message or comment on the gruesome Magazine Youtube channel, on the website, or email the Decades of Horror 1980s podcast hosts at feedback@gruesomemagazine.com.

Check out this episode!

[fmp2jessphelps]

the Lost Boys

The film expresses a showcase of SFX makeup, and also displays horror, with the vampires, these are both common topics in my project.

The Lost Boys features the amazing special effects makeup by Greg Cannom. Cannom is a skilled makeup artist, turned the actors into scary vampires, making a big impact on horror movies. He used prosthetics, contact lenses, and detailed makeup to create the vampires' look, with glowing eyes, sharp fangs, and creepy transformations. His work on The Lost Boys showed his talent and creativity, setting a high standard for special effects makeup in horror films.

[monstersonscreen]

The evil werewolf Janos Skorzeny in the 1987 Werewolf series, designed by Rick Baker and realized by Greg Cannom. Skorzeny's design was originally for the series protagonist's werewolf form, but was deemed as too scary and so relegated to Chuck Connors' character!

Sadly no behind the scenes images, and the show is not restored yet, so screenshots will do for now.

[rhetthammersmithhorror]

MONSTERS | Fools' Gold | S1E12 | 1989

[amatesura]

Meridian: Kiss of the Beast (1990) / Bram Stoker's Dracula (1992)

The last element I needed was the Beast. But this couldn’t be a Buechler puppet or a Dave Allen stop-motion special. In any romantic Beauty and the Beast tale, after all, at some point, well… Beauty bangs the Beast. And it can’t look like a woman humping a marionette (although now that I say that out loud, it gives me an idea for a movie… but I digress!). I needed a costume, a rough, scary, but somehow human-looking and kinda sexy beast.

I called Greg Cannom in Los Angeles. He was at that moment doing effects makeup for Francis Ford Coppola’s new horror flick, Bram Stoker’s Dracula, starring Gary Oldman and Winona Ryder. Yes, big-budget horror was becoming a thing. What chance did I have?

Greg was more than helpful. He told me of a costume that they’d just used on set, Dracula in beast form, hypnotizing and seducing the helpless Lucy. “Charlie,” Greg said, “this thing is perfect. But obviously it belongs to the production. I can’t… ” Greg seemed to be struggling with something. He was moving into the big-budget movies, but his roots were in my world. I let him talk.

“I’ll tell you what I’ll do,” he said finally, as though I’d been twisting his arm. “I will steal the costume, dye it, change its look just enough, and you can use it in your movie.”

“Wow,” I said, waiting for the inevitable other shoe to drop. “Just one condition, though, Charlie,” he said. Here it comes, I thought. “Yeah?”

“You have to bring me there. I gotta see that castle.” Word had gotten out.

Greg got his wish, and I got my sexy beast-man. It was almost certainly the only monster suit in movie history to be featured in two separate roles… and get laid in both. - Charles Band

[brody75]

Behind the scenes of The Lost Boys

[theoldresort]

Ve Neill, Edward Herrmann, and Greg Cannom behind the scenes on set of The Lost Boys (1987)

[dr-archeville]

The path to success was not a smooth one for Fox. In 1987, the Fox Broadcasting Company was still new to the TV market, and most of its original shows didn’t last beyond one season, if even that.  Yet among the network’s inaugural weekend programming was a brooding horror series like nothing else on the air.  The eighties, a banner decade for all things werewolves, saw a resurgence in these hirsute holdovers from the Universal Classic Monsters era.  People’s desire to see these horrific manifestations of the human id didn’t stop at the big screen; “lyco fever” had spread to television, as well.

Frank Lupo’s cult series Werewolf started out as a feature-length pilot before settling into its Saturday-night timeslot along with other Fox obscurities like The New Adventures of Beans Baxter and a TV version of the movie Down and Out in Beverly Hills.  Lasting a further twenty-eight half-hour episodes, the show chronicled Eric Cord’s (John J. York) endless search for his ancestral sire after he’s cursed to become a fearsome creature of the night.  York, who was cast as the lead only two weeks before the pilot was filmed, was initially hesitant to do a horror series; he later told Fangoria in 1989, “Most of the [horror movies] I’ve seen have scared me to death, but my attitude has changed now that I’ve been on the show awhile.”  With Werewolf being a soft anthology with just one central character, it was important to have an actor who could carry the show on his shoulders and keep audiences coming back.

Fox wasn’t shy about using York’s handsome mug for publicity — a vintage network commercial, centered around the ‘87 slogan of “Don’t Let Fox Weekend Pass You By,” has York being comically fondled by a woman proclaiming “I do believe in werewolves, I do, I do!” —  but people also tuned in to see his character’s hairy alter-ego in action.  Bringing these renowned monsters to life with realism and credibility intact is no easy feat.  So, after getting the go-ahead from Fox, Lupo and producer John Ashley secured the talents of effects and make-up artists Rick Baker (An American Werewolf in London) and Greg Cannom (The Howling).  These practical-effects wizards are a large reason why Werewolf became so considerable, not to mention memorable, for viewers back then.

Baker’s design, a hunchbacked and ursine specimen with gorilla-like arms and handmade, imported fur, was impressive for the budget, medium, and time period.  It wasn’t like Baker’s Oscar Award-winning London werewolf seeing as this creature was obviously a stunt actor walking around upright in a suit.  Even so, the show’s smoky and dark atmosphere, along with ample fast cutting, provided some guise.  Cannom, who admits he wasn’t a fan of television’s pacing and unpredictable schedule, found that the makeup of Eric’s archenemy Janos Skorzeny (Chuck Connors) was the most difficult to pull off.  Quite unlike Eric’s comparably docile werewolf, Skorzeny’s was more gruesome and bestial; he literally peeled his face off to reveal a lycan facade underneath.  To keep costs down, stock footage was usually implemented for the transformations, but a few more unique effects and sequences here and there broke up the routine.

The series protagonist’s arduous journey begins one fateful night when his best friend as well as his girlfriend’s brother Ted (Raphael Sbarge) confesses that he’s a murderous werewolf.  Eric is understandably skeptical, but he promises to stay by Ted’s side all night in a bid to prove him wrong and to prevent him from hurting himself as he had originally planned to do.  This lingering dialogue between two men, sitting in the dark with only one another’s company and candor, not only offers vital exposition, it’s a glimpse into Eric’s possible future.  This scene also depicts Eric’s stalwart nature and the lengths he’ll go to for those he cares about; he initially refuses to shoot his friend in the event he does become a werewolf, but Ted assures Eric he will because he loves him.  When the worst finally happens, Eric is left no choice but to kill Ted.

Unlike in other werewolf stories, someone’s transformation in the show can happen without the presence of a full moon.  Another sizable change to the basic mythology is the inclusion of a cure — if your bloodline’s originator dies, the curse is broken — that motivates Eric to find Skorzeny, the man who destroyed his opportunity for a normal life.  For Eric, he struggles to maintain control so that he doesn’t devolve into a wanton predator like Ted, but his innate goodness affords him some comfort.  Even in beast form, Eric can discern good from bad, and he refrains from harming innocent bystanders.  However, as the series progresses, Eric’s willpower gradually weakens and he has to fight harder once the blood starts to pour from the portentous pentagram etched into his palm.  He infrequently murders those people he deems dangerous to himself or others; his subconscious takes over at that point.  Had Werewolf continued, the writers would have delved more into this subplot of Eric’s ebbing humanity and growing moral ambiguity.  Be that as it may, John Ashley assured the show would “not make Eric a mass murderer” like Skorzeny.

While it’s true Eric is the series’ only main character, he constantly ran into a persistent bounty hunter named “Alamo” Joe Rogan (Lance LeGault).  Eric was all set to go to trial for Ted’s murder when he fled to find Skorzeny; his lawyer then sicced Rogan on him.  From there, Eric was stalked by the inimical and hatted tracker who appeared in more episodes than the show’s actual antagonist.  Since he was fully aware of Eric’s werewolf side, Rogan came prepared with silver bullets, some of which he handed out to fellow hunters.  He wasn’t necessarily integral to the overall story, but Rogan cast a hefty presence.  So much so the writers awarded him a two-parter that examines his own life and why he hunts Eric so madly — in the episodes, Rogan fears he’s been turned by Eric.  His panic makes more sense after we see an enlightening flashback; Rogan’s stubborn pursuit of Eric is his own way of dealing with a Native American heritage he resents.  The werewolf and hunter never make peace, but there is the rare instance where Rogan sees Eric is the lesser of two evils and helps him in his own distinct way.

Odd jobs during his travels often lead Eric to lost souls who need rescuing in one way or another.  This is where the show’s anthology elements come out; in a number of self-contained stories, we meet one-time characters who are never seen again after Eric helps them solve a certain problem.  That easy compassion gets him in trouble, but Eric aids those in need regardless of his own predicament.  It almost seems like destiny that they would meet because without his affliction, Eric would not have been able to help.  Some notable examples of his special kind of charity include Eric giving a domestic abuser a taste of his own medicine, avenging a white witch who’s vilified by her neighbors, reuniting a father with his estranged daughter, and giving a retired boxer a new lease on life.  With a college-age Eric being raised in urban surroundings  — what looks to be California based on the license plates in the pilot — and living a moderately privileged life, his tour of rural America is very humbling.   His journey ultimately casts a sympathetic light on people regularly forgotten by the masses or abused by those in power.

The series was cancelled before Eric was cured.  And with Chuck Connors’ quick dismissal due to a behind-the-scenes conflict with the showrunners, his Skorzeny character was seen less and less before he was eventually killed off.  The crew worked around Connors’ absence by using stunt doubles, having Skorzeny appear in only his werewolf form, and using his character’s many disciples as villainous stand-ins.  A new storyline eventually came about that did away with Skorzeny altogether: Eric learns that a very powerful, two-thousand-year-old werewolf named Remy (Brian Thompson) is the real progenitor of his bloodline.  This revelation is introduced very late so Werewolf ended on a cliffhanger that the Blackthrone comics — the limited run was merely illustrated adaptations of episodes — didn’t resolve, either.

The production values are relatively crude by today’s standards, and there is a lack of narrative focus thanks to an abundance of filler episodes, but the strengths of this original and remarkable series come out on top.  We see an endearing hero at the heart of Werewolf who found resilience in the face of adversity.  In a decade marred by avarice and self-interest, someone lending a helping hand to characters who are essentially the little man was an important thing to witness at the time; so was the acceptance of those who felt alone and rejected because of an untreatable illness.

Werewolf was at high-risk of becoming another lost TV show after Shout! Factory’s planned release in 2009 was cancelled on account of music rights.  Luckily for people with hazy recollections of Eric’s misadventures in lycanthrophy and a longing to revisit the supernatural drama, French distributor Elephant Films just released the series in full.  Fans, both existing and prospective, now have access to one of horror television’s greatest hidden gems.

---

[dreamilyhauntedmentality]

Five time academy award winner Greg Cannom was the special makeup creator responsible for designing the prosthetics that would transform Mel Gibson into the disfigured Justin McLeod. 

Cannom’s work can also be seen in (amongst many other films) Bram Stoker’s Dracula, Mrs. Doubtfire, Titanic, Hannibal, Forever Young, and The Passion of the Christ. 

In 2016 the original make-up test torso sporting McLeod’s latex burn appliances sold at auction. 

I was regrettably unaware of said auction until after it had closed - on a totally unrelated note, should the lucky winner of this auction ever stumble upon this post and decide that they’d like to rehome their prize and be remunerated in the process, please don’t hesitate to reach out.

[docrotten]

THE GATE (1987) – Episode 272 – Decades of Horror 1980s

“We accidentally summoned demons, … who used to rule the universe, …  to come and take over the world!” Accidentally. By reading ancient Latin incantations. R-i-g-h-t. Join your faithful Grue Crew – Crystal Cleveland, Chad Hunt, Bill Mulligan, and Jeff Mohr – as they take in The Gate (1987), a movie that’s more fun than a barrel of special effects!

Decades of Horror 1980s Episode 272 – The Gate (1987)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! Click the alert to get notified of new content! https://youtube.com/gruesomemagazine

Gruesome Magazine is partnering with the WICKED HORROR TV CHANNEL (https://wickedhorrortv.com/) which now includes video episodes of Decades of Horror 1980s and is available on Roku, AppleTV, Amazon FireTV, AndroidTV, and its online website across all OTT platforms, as well as mobile, tablet, and desktop.

Synopsis: Kids left home alone accidentally unleash a horde of malevolent demons from a mysterious hole in their suburban backyard.

Directed by: Tibor Takács (as Tibor Takacs)

Writing Credits: Michael Nankin (written by)

Produced by: John Kemeny

Music by: Michael Hoenig, J. Peter Robinson

Cinematography by: Thomas Vámos

Editing by: Rit Wallis

Production Design by: William Beeton

Set Decoration by: Jeff Cutler, Marlene Graham

Special Visual Effects:

Designed and Supervised by: Randall William Cook

Crew: Jim Aupperle, Fumi Mashimo, Michael F. Hoover (miniatures/computer motion control), 

Illusion Arts: Mark Freund (visual effects cameraman), Lynn Ledgerwood (special rigging), Mark Sawicki (production coordinator), Catherine Sudolcan (animator), David S. Williams Jr. (optical coordinator)

Matte Supervisor: Syd Dutton

Matte Photographer: Bill Taylor

Matte Artist: Mark Whitlock (Illusion Arts)

Additional Matte Effects: Albert Whitlock (uncredited)

Special Makeup: Craig Reardon (prosthetic makeup creator & designer)

Special Effects: Frank C. Carere

Selected Cast:

Stephen Dorff as Glen

Christa Denton as Al

Louis Tripp as Terry

Kelly Rowan as Lori Lee

Jennifer Irwin as Linda Lee

Deborah Grover as Mom

Scot Denton as Dad

Ingrid Veninger as Paula

Sean Fagan as Eric

Linda Goranson as Terry’s Mom

Carl Kraines as Workman

Andrew Gunn as Brad

If you are looking for an entry-level 80s horror film, the 80s Grue-Crew thinks The Gate (1987) might be just the ticket. During a decade of frequently mean-spirited films, The Gate is the opposite, complete with a happy ending. The film is an unexpected showcase of special effects for the time — stop-motion animation, forced perspective, practical effects, suit actors, and matte paintings — seamlessly integrated into the world of the 12- to 16-year-old characters.

If you haven’t seen The Gate for a while, it might be time to check it out. You might come away with a different point of view. The Grue Crew certainly did.

At the time of this writing, The Gate (1987) is available to stream from Hoopla, Tubi, Pluto TV, Freevee, Amazon Prime, and various PPV options. It is also available on physical media as a Blu-ray formatted disc from the Lionsgate Vestron Video Collector’s Series. 

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film, chosen by Chad, will be Without Warning (1980), an alien invasion featuring Jack Palance and Martin Landau, and supported by Sue Ane Langdon, Neville Brand, Ralph Meeker, Cameron Mitchell, Larry Storch, and an early appearance from David Caruso! And don’t forget the alien designs and effects of Rick Baker and Greg Cannom. 

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans – so leave them a message or comment on the Gruesome Magazine Youtube channel, on the Gruesome Magazine website, or email the Decades of Horror 1980s podcast hosts at feedback@gruesomemagazine.com.

Check out this episode!

[noxrose]

Here’s a short video about the Vampire makeup in The Lost Boys from the people who created it!