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anamorphic format aspect ratio, believing that it allowed for placing several
actors in an environment, and making use of the scenic vistas available, while
still creating a sense of confinement within the image. It also enabled the
use of negative space around the actors to imply something may be lurking just
offscreen. [14] Principal photography began in August 1981 in Juneau, Alaska .
Principal photography began on August 24, 1981, in Juneau, Alaska. [12] [47]
Filming lasted about twelve weeks. [48] Carpenter insisted on two weeks of
rehearsals before filming as he wanted to see how scenes would play out. This
was unusual at the time because of the expense involved. [34] Filming then
moved to the Universal lot , where the outside heat was over 100 °F (38 °C).
The internal sets were climate-controlled to 28 °F (−2 °C) to facilitate their
work. [36] [47] The team considered building the sets inside an existing
refrigerated structure but were unable to find one large enough. Instead, they
collected as many portable air conditioners as they could, closed off the
stage, and used humidifiers and misters to add moisture to the air. [49] After
watching a roughly assembled cut of filming to date, Carpenter was unhappy
that the film seemed to feature too many scenes of men standing around
talking. He rewrote some already completed scenes to take place outdoors to be
shot on location when principal photography moved to Stewart, British Columbia
. [25] [40] Carpenter was determined to use authentic locations instead of
studio sets, and his successes on Halloween and The Fog (1980) gave him the
credibility to take on the much bigger-budget production of The Thing . A film
scout located an area just outside Stewart, along the Canadian coast, which
offered the project both ease of access and scenic value during the day. [25]
On December 2, 1981, roughly 100 American and Canadian crew members moved to
the area to begin filming. [48] During the journey there, the crew bus slid in
the snow toward the unprotected edge of the road, nearly sending it down a
500-foot (150 m) embankment. [44] Some of the crew stayed in the small mining
town during filming, while others lived on residential barges on the Portland
Canal . [40] They would make the 27-mile (43 km) drive up a small, winding
road to the filming location in Alaska where the exterior outpost sets were
built. [36] [40] [50] The sets had been built in Alaska during the summer,
atop a rocky area overlooking a glacier, in preparation for snow to fall and
cover them. [25] They were used for both interior and exterior filming,
meaning they could not be heated above freezing inside to ensure there was
always snow on the roof. Outside, the temperature was so low that the camera
lenses would freeze and break. [36] The crew had to leave the cameras in the
freezing temperatures, as keeping them inside in the warmth resulted in foggy
lenses that took hours to clear. [47] Filming, greatly dependent on the
weather, took three weeks to complete, [49] with heavy snow making it
impossible to film on some days. [40] Rigging the explosives necessary to
destroy the set in the film's finale required 8 hours. [51] Keith David broke
his hand in a car accident the day before he was to begin shooting. David
attended filming the next day, but when Carpenter and Franco saw his swollen
hand, they sent him to the hospital where it was punctured with two pins. He
returned wearing a surgical glove beneath a black glove that was painted to
resemble his complexion. His left hand is not seen for the first half of the
film. [40] Carpenter filmed the Norwegian camp scenes after the end scenes,
using the damaged American base as a stand-in for the charred Norwegian camp.
[52] The explosive destruction of the base required the camera assistants to
stand inside the set with the explosives, which were activated remotely. The
assistants then had to run to a safe distance while seven cameras captured the
base's destruction. [51] Filmed when the heavy use of special effects was
rare, the actors had to adapt to having Carpenter describe to them what their
characters were looking at, as the effects would not be added until post-
production. There were some puppets used to create the impression of what was
happening in the scene, but in other cases, the cast would be looking at a
wall or an object marked with an X . [36] Art director John J. Lloyd oversaw
the design and construction of all the sets, as there were no existing
locations used in the film. [49] Cundey suggested that the sets should have
ceilings and pipes seen on camera to make the spaces seem more claustrophobic.
[49] Post-production [ edit ] Several scenes in the script were omitted from
the film, sometimes because there was too much dialogue that slowed the pace
and undermined the suspense. Carpenter blamed some of the issues on his
directorial method, noting that several scenes appeared to be repeating events
or information. Another scene featuring a snowmobile chase pursuing dogs was
removed from the shooting script as it would have been too expensive to film.
One scene present in the film, but not the script, features a monologue by
MacReady. Carpenter added this partly to establish what was happening in the
story and because he wanted to highlight Russell's heroic character after
taking over the camp. Carpenter said that Lancaster's experience writing
ensemble pieces did not emphasize single characters. Since Halloween , several
horror films had replicated many of the scare elements of that film, something
Carpenter wanted to move away from for The Thing . He removed scenes from
Lancaster's script that had been filmed, such as a body suddenly falling into
view at the Norwegian camp, which he felt were too clichéd. [23] Approximately
three minutes of scenes were filmed from Lancaster's script that elaborated on
the characters' backgrounds. [40] A scene with MacReady absentmindedly
inflating a blow-up doll while watching the Norwegian tapes was filmed but was
not used in the finished film. The doll would later appear as a jump scare
with Nauls. Other scenes featured expanded or alternate deaths for various
characters. In the finished film, Fuchs's charred bones are discovered,
revealing he has died offscreen, but an alternate take sees his corpse impaled
on a wall with a shovel. Nauls was scripted to appear in the finale as a
partly assimilated mass of tentacles, but in the film, he simply disappears.
[53] Carpenter struggled with a method of conveying to the audience what
assimilation by the creature actually meant. Lancaster's original set piece of
Bennings's death had him pulled beneath a sheet of ice by the Thing, before
resurfacing in different areas in various stages of assimilation. The scene
called for a set to be built on one of Universal's largest stages, with
sophisticated hydraulics, dogs, and flamethrowers, but it was deemed too
costly to produce. [54] A scene was filmed with Bennings being murdered by an
unknown assailant, but it was felt that assimilation, leading to his death,
was not explained enough. Short on time, and with no interior sets remaining,
a small set was built, Maloney was covered with K-Y Jelly , orange dye, and
rubber tentacles. Monster gloves for a different creature were repurposed to
demonstrate partial assimilation. [53] [54] Carpenter filmed multiple endings
for The Thing , including a "happier" ending because editor Todd Ramsay
thought that the bleak, nihilistic conclusion would not test well with
audiences. In the alternate take, MacReady is rescued and given a blood test

anamorphic format aspect ratio, believing that it allowed for placing several

actors in an environment, and making use of the scenic vistas available, while

still creating a sense of confinement within the image. It also enabled the

use of negative space around the actors to imply something may be lurking just

offscreen. [14] Principal photography began in August 1981 in Juneau, Alaska .

Principal photography began on August 24, 1981, in Juneau, Alaska. [12] [47]

Filming lasted about twelve weeks. [48] Carpenter insisted on two weeks of

rehearsals before filming as he wanted to see how scenes would play out. This

was unusual at the time because of the expense involved. [34] Filming then

moved to the Universal lot , where the outside heat was over 100 °F (38 °C).

The internal sets were climate-controlled to 28 °F (−2 °C) to facilitate their

work. [36] [47] The team considered building the sets inside an existing

refrigerated structure but were unable to find one large enough. Instead, they

collected as many portable air conditioners as they could, closed off the

stage, and used humidifiers and misters to add moisture to the air. [49] After

watching a roughly assembled cut of filming to date, Carpenter was unhappy

that the film seemed to feature too many scenes of men standing around

talking. He rewrote some already completed scenes to take place outdoors to be

shot on location when principal photography moved to Stewart, British Columbia

. [25] [40] Carpenter was determined to use authentic locations instead of

studio sets, and his successes on Halloween and The Fog (1980) gave him the

credibility to take on the much bigger-budget production of The Thing . A film

scout located an area just outside Stewart, along the Canadian coast, which

offered the project both ease of access and scenic value during the day. [25]

On December 2, 1981, roughly 100 American and Canadian crew members moved to

the area to begin filming. [48] During the journey there, the crew bus slid in

the snow toward the unprotected edge of the road, nearly sending it down a

500-foot (150 m) embankment. [44] Some of the crew stayed in the small mining

town during filming, while others lived on residential barges on the Portland

Canal . [40] They would make the 27-mile (43 km) drive up a small, winding

road to the filming location in Alaska where the exterior outpost sets were

built. [36] [40] [50] The sets had been built in Alaska during the summer,

atop a rocky area overlooking a glacier, in preparation for snow to fall and

cover them. [25] They were used for both interior and exterior filming,

meaning they could not be heated above freezing inside to ensure there was

always snow on the roof. Outside, the temperature was so low that the camera

lenses would freeze and break. [36] The crew had to leave the cameras in the

freezing temperatures, as keeping them inside in the warmth resulted in foggy

lenses that took hours to clear. [47] Filming, greatly dependent on the

weather, took three weeks to complete, [49] with heavy snow making it

impossible to film on some days. [40] Rigging the explosives necessary to

destroy the set in the film's finale required 8 hours. [51] Keith David broke

his hand in a car accident the day before he was to begin shooting. David

attended filming the next day, but when Carpenter and Franco saw his swollen

hand, they sent him to the hospital where it was punctured with two pins. He

returned wearing a surgical glove beneath a black glove that was painted to

resemble his complexion. His left hand is not seen for the first half of the

film. [40] Carpenter filmed the Norwegian camp scenes after the end scenes,

using the damaged American base as a stand-in for the charred Norwegian camp.

[52] The explosive destruction of the base required the camera assistants to

stand inside the set with the explosives, which were activated remotely. The

assistants then had to run to a safe distance while seven cameras captured the

base's destruction. [51] Filmed when the heavy use of special effects was

rare, the actors had to adapt to having Carpenter describe to them what their

characters were looking at, as the effects would not be added until post-

production. There were some puppets used to create the impression of what was

happening in the scene, but in other cases, the cast would be looking at a

wall or an object marked with an X . [36] Art director John J. Lloyd oversaw

the design and construction of all the sets, as there were no existing

locations used in the film. [49] Cundey suggested that the sets should have

ceilings and pipes seen on camera to make the spaces seem more claustrophobic.

[49] Post-production [ edit ] Several scenes in the script were omitted from

the film, sometimes because there was too much dialogue that slowed the pace

and undermined the suspense. Carpenter blamed some of the issues on his

directorial method, noting that several scenes appeared to be repeating events

or information. Another scene featuring a snowmobile chase pursuing dogs was

removed from the shooting script as it would have been too expensive to film.

One scene present in the film, but not the script, features a monologue by

MacReady. Carpenter added this partly to establish what was happening in the

story and because he wanted to highlight Russell's heroic character after

taking over the camp. Carpenter said that Lancaster's experience writing

ensemble pieces did not emphasize single characters. Since Halloween , several

horror films had replicated many of the scare elements of that film, something

Carpenter wanted to move away from for The Thing . He removed scenes from

Lancaster's script that had been filmed, such as a body suddenly falling into

view at the Norwegian camp, which he felt were too clichéd. [23] Approximately

three minutes of scenes were filmed from Lancaster's script that elaborated on

the characters' backgrounds. [40] A scene with MacReady absentmindedly

inflating a blow-up doll while watching the Norwegian tapes was filmed but was

not used in the finished film. The doll would later appear as a jump scare

with Nauls. Other scenes featured expanded or alternate deaths for various

characters. In the finished film, Fuchs's charred bones are discovered,

revealing he has died offscreen, but an alternate take sees his corpse impaled

on a wall with a shovel. Nauls was scripted to appear in the finale as a

partly assimilated mass of tentacles, but in the film, he simply disappears.

[53] Carpenter struggled with a method of conveying to the audience what

assimilation by the creature actually meant. Lancaster's original set piece of

Bennings's death had him pulled beneath a sheet of ice by the Thing, before

resurfacing in different areas in various stages of assimilation. The scene

called for a set to be built on one of Universal's largest stages, with

sophisticated hydraulics, dogs, and flamethrowers, but it was deemed too

costly to produce. [54] A scene was filmed with Bennings being murdered by an

unknown assailant, but it was felt that assimilation, leading to his death,

was not explained enough. Short on time, and with no interior sets remaining,

a small set was built, Maloney was covered with K-Y Jelly , orange dye, and

rubber tentacles. Monster gloves for a different creature were repurposed to

demonstrate partial assimilation. [53] [54] Carpenter filmed multiple endings

for The Thing , including a "happier" ending because editor Todd Ramsay

thought that the bleak, nihilistic conclusion would not test well with

audiences. In the alternate take, MacReady is rescued and given a blood test