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Production began in the mid-1970s as a faithful adaptation of the novella, following 1951's The Thing from Another World. The Thing went through several directors and writers, each with different ideas on how to approach the story. Filming lasted roughly twelve weeks, beginning in August 1981, and took place on refrigerated sets in Los Angeles as well as in Juneau, Alaska, and Stewart, British Columbia. Of the film's $15 million budget, $1.5 million was spent on Rob Bottin's creature effects, a mixture of chemicals, food products, rubber, and mechanical parts turned by his large team into an alien capable of taking on any form.
Clark kennels the sled dog, and it soon metamorphoses and absorbs several of the station dogs. This disturbance alerts the team, and Childs uses a flamethrower to incinerate the creature. Blair autopsies the Dog-Thing and surmises it is an organism that can perfectly imitate other life-forms. Data recovered from the Norwegian base leads the Americans to a large excavation site containing a partially buried alien spacecraft, which Norris estimates has been buried for over a hundred thousand years, and a smaller, human-sized dig site. Blair grows paranoid after running a computer simulation that indicates the creature could assimilate all life on Earth in a matter of years. The group implements controls to reduce the risk of assimilation.
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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]
The Thing's special effects were largely designed by Bottin,[32] who had previously worked with Carpenter on The Fog (1980).[64] When Bottin joined the project in mid-1981, pre-production was in progress, but no design had been settled on for the alien.[64] Artist Dale Kuipers had created some preliminary paintings of the creature's look, but he left the project after being hospitalized following a traffic accident before he could develop them further with Bottin.[12][64] Carpenter conceived the Thing as a single creature, but Bottin suggested that it should be constantly changing and able to look like anything.[28] Carpenter initially considered Bottin's description of his ideas as "too weird", and had him work with Ploog to sketch them instead.[64] As part of the Thing's design, it was agreed anyone assimilated by it would be a perfect imitation and would not know they were the Thing.[14] The actors spent hours during rehearsals discussing whether they would know they were the Thing when taken over. Clennon said that it did not matter, because everyone acted, looked and smelled exactly the same before (or after) being taken over.[40] At its peak, Bottin had a 35-person crew of artists and technicians, and he found it difficult to work with so many people. To help manage the team, he hired Erik Jensen, a special effects line producer who he had worked with on The Howling (1981), to be in charge of the special make-up effects unit.[65] Bottin's crew also included mechanical aspect supervisor Dave Kelsey, make-up aspect coordinator Ken Diaz, moldmaker Gunnar Ferdinansen, and Bottin's longtime friend Margaret Beserra, who managed painting and hair work.[65]
The team originally wanted to shoot the film in black-and-white, but Universal was reluctant as it could affect their ability to sell the television rights for the film. Instead, Cundey suggested muting the colors as much as possible. The inside of the sets were painted in neutral colors such as gray, and many of the props were also painted gray, while the costumes were a mix of somber browns, blues, and grays. They relied on the lighting to add color.[49] Albert Whitlock provided matte-painted backdrops, including the scene in which the Americans discover the giant alien spaceship buried in the ice.[25] A scene where MacReady walks up to a hole in the ice where the alien had been buried was filmed at Universal, while the surrounding area, including the alien spaceship, helicopter, and snow, were all painted.[14]
A distress call from New Vulcan. A base littered with dead bodies. Captain Kirk and Lieutenant Spock must team up against a violent breed of aliens in Namco Bandai's new action game based on J.J. Abrams' Star Trek films.
Using the resort municipality of Whistler as their area of inquiry, the team partnered with Margo Supplies, a wildlife management technology solutions company based in High River, Alberta. Using agent-based computer modelling, researchers were able to simulate the movement of black bears in and around Whistler, identifying the potential attractants luring them in.
I got my companion, who described the above, to turn on some of thefireworks while I looked through one of the holes for cups of coffee.First there was a hiss, as of escaping steam, then the sullen roar ofa fall like great Niagara. Sometimes it was hot, at other times it wascold. Oh, conflagrations and volcanoes, where would you be beneathjets like this? Now and then I could catch a view of my companionthrough the clouds of spray and steam. At one moment he was like adeity surrounded by rainbows. At another moment he was like an imp ofdarkness working the[Pg 129] machinery of the infernal regions. The thunderof the douche was appalling. I shrieked to him to retire. The roaringof the waters prevented his hearing my warning cries. Suddenly thedeluge ceased. He had turned another tap and produced a gentle spray,like that which waters budding plants in spring. The exhibition wasmarvellous, and it made me change my opinion about Australians beingnon-inventive. My friend asked me, when all was over, to have a bath.I felt the satire, and did not answer. The volcanic energy pent upbehind the silver taps of that establishment have produced too deepan impression ever to be forgotten. To have a bath which will washyour friends, stretch your muscles, give flexibility and tone toyour larynx, extinguish volcanoes, put out fires, kill your enemies,create a nervous excitement sufficient to turn black hairs grey, alarmintruders, amuse the children, flood the streets, is a luxury denied toall but Victorians.
We expected to find Kingston, as it was described in a trade reportby an American consul, a flourishing little township. All that wedid find was a solitary house, on the edge of a black-looking lake,surrounded by precipitous mountains covered with snow. This house wasthe hotel. Of course there were no visitors. New Zealanders are wiserthan strangers. At Queenstown, which you reach by a small steamer, theaccommodation is much better. But still, even if you had the PalaceHotel from San Francisco, Lake Wakatipu is not the place for weathersuch as we had. The scenery of ragged peaks whitewashed with snow,and black cliffs frowning upon a blacker lake, may be fine in summerweather, but it was sufficient to make us fly away from it at the firstopportunity. At the Kingston end of the lake, there are to be seen somevery remarkable terrace formations marking the ancient level of thelake. These are cut in glacial moraine, indicating that Wakatipu at onetime may have been the basin of a huge glacier.
A few miles after starting we passed close to a place called Onehunga,where there are some large works for the conversion of iron-sandinto iron. The sand is collected on the sea-shore, then dried, andpassed through a magnetic arrangement by which the black sand isseparated from earthy impurities with which it may be[Pg 255] mixed. Next itis mixed with charcoal and deoxidized in retorts. From the retorts,where it ought not to come in contact with the air, it is passed intoreverberatory furnaces, where it is puddled and made into blooms. Afterthis it passes through shingling machines, steam-hammers, and rolls, asin ordinary ironworks.
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