Long before James Gunn gained fame with titles like Superman and Guardians of the Galaxy, he had established himself as a significant figure in horror. From his early writing work on Tromeo and Juliet for Troma to his directorial debut with the horror-comedy Slither, Gunn’s style and voice began to take shape. Slither, which released nearly twenty years ago, showcased his unique approach to the monster movie genre and solidified his reputation as a director to watch. Recently, Gunn reflected on Slither during an interview for Clark Collis’ upcoming book, Screaming and Conjuring, which explores the evolution of modern horror films.
Screaming and Conjuring: The Resurrection and Unstoppable Rise of the Modern Horror Movie, a 504-page hardcover by 1984 Publishing, is set to be released on September 2, 2025. This book delves deeply into the horror industry’s history and influence, and an exclusive excerpt focusing on Slither’s practical effects and its unrealized sequel has recently been shared.
Development and Production of Slither
James Gunn’s transition from screenwriting to directing was marked by Slither, which was announced in early 2005. Variety reported that this directorial debut would take place in a small South Carolina town. The film’s plot centered on a local resident infected by an alien parasite, rapidly spreading the contagion among other townspeople and turning the original host into a monstrous villain. The article emphasized the movie’s reliance on prosthetic special effects rather than digital techniques, highlighting the practical approach Gunn favored.
Gunn intended Slither to pay homage to the era of 1980s horror, inspired by films that were unapologetically gory, imaginative, and fun. In an interview with Film Threat before the film’s release, Gunn named classics such as Re-Animator, The Fly, The Thing, Return of the Living Dead, Basket Case, and Evil Dead II as his creative sources. He commented on the contemporary horror scene, noting its predictability and lack of originality compared to his beloved decade, and expressed a desire to inject fresh, visceral energy into the market. Gunn declared,
“My inspirations were the in-your-face, fun, over-the-top, gory horror films of the 1980s,”
and added,
“Re-Animator, The Fly, The Thing, Return of the Living Dead, Basket Case, Evil Dead II. With the exception of a couple of terrific filmmakers like Eli Roth and Rob Zombie, horror has become so boring and by-the-numbers as of late. We needed some fucked-up color in the marketplace: thus, Slither.”
The Impact of Practical Effects and Todd Masters’ Role
Todd Masters, known for his work on Ernest Dickerson’s Demon Knight, was the special effects makeup artist responsible for Slither’s prosthetics. Masters welcomed Gunn’s commitment to practical effects, emphasizing the value of tangible artistry over purely computer-generated imagery. He remarked,
“We were really fortunate to have a supporter like James for practical effects,”
and added,
“Even if it’s well-made CG, it can just become a big graphics show. You can tell there’s no soul behind it. We were hoping on Slither that people wouldn’t forget how cool this shit is.”
The cast included Nathan Fillion as the town’s police chief, Elizabeth Banks as a schoolteacher, and Michael Rooker as Grant Grant, a man who undergoes a horrific transformation after contact with the alien invader. The film was widely noted for its grotesque and inventive effects, especially the creature designs. One of the film’s highlights was the monstrous Brenda, portrayed by actress Brenda James, who becomes a grotesquely swollen sphere after being impregnated with alien spawn. The prosthetic for Brenda was constructed in Masters’ Los Angeles workshop and then carefully transported to Vancouver for filming. Masters shared the logistical challenge with the quote,
“One of my people in my office got highway information on the height of the overpasses all the way up Interstate 5, and we got the lowest truck we could find, and that’s what determined how big Brenda was. It is, like, 12 feet wide and 13 feet tall. I actually think it is the world’s largest prosthetic.”
Innovative Materials and the Visual Tone of the Prosthetics
Masters’ team utilized a petroleum-based material commonly used in sex toy manufacturing to create many of Slither’s prosthetics. This substance came with the unique properties of flexibility, detail retention, and a realistic tactile feel. Masters explained,
“This was the material that they were [using to] make fleshlights,”
continuing with,
“This material was just amazingly flexible, and still held detail, and felt really good—not that I ever tried it like that.”
The nature of these prosthetics frequently drew comparisons to human erogenous zones, from the grotesquely swollen Brenda to the first alien creature’s orifice. Masters recalled the humor intertwined with darker moments on set:
“The funny thing about James is, even when things get tense, it’s fucking hilarious,”
and recounted a specific moment,
“We’re shooting this yellow organism, and James screams across, ‘Why does everything you fucking do look like a sexual part?!’ He’s calling me out on the yellow organism, which literally has a vagina sculpted on top of it. And I go, ‘Okay, here’s your script, it actually says in the script, ‘The yellow organism has a yellow vagina on it.’ This isn’t a coincidence!’”
Box Office Performance and Challenges of Horror-Comedy
Slither was released by Universal on March 31, 2006, but it struggled commercially, debuting at eighth place and taking in under $4 million during its opening weekend. It quickly dropped out of the box office’s top ten and ended its domestic run with a total of $7.8 million. This was disappointing considering its $15 million production budget and highlighted the difficulty of successfully blending horror with comedy in the marketplace. Gunn later reflected on this challenge, sharing,
“Yeah, if somebody had shown me a breakdown of what horror-comedies had done in the past before I made Slither, I probably would have thought twice about it,”
and added,
“Horror-comedies as a rule have not made big money.”
The Lost Sequel and Preservation of a Horror Legacy
Although Slither included a teaser for a potential sequel in its post-credits scene, the film’s poor box office returns prevented any immediate follow-up. Todd Masters recounted his attempt to revisit Slither 2 with a producer, only to be dismissed:
“I brought up Slither 2 to one of the producers not too long after,”
he said,
“He basically threw me out of his office.”
Despite the setback, Masters has safeguarded the enormous Brenda puppet, preserving a piece of horror history. He shared,
“At the end of [shooting] Slither, the production manager goes, ‘What do you want to do with this thing?’”
and continued,
“I’m like, ‘I can’t really throw her away, I mean, she’s kind of a historical piece.’ Yeah, Brenda is in a warehouse below a shopping center in Tacoma, just waiting for the sequel.”
Recognition from Fangoria and Industry Impact
Fangoria, a defining magazine in horror culture, featured Slither’s Michael Rooker in full monster makeup on its April 2006 issue cover, giving the film valuable publicity. James Gunn, who does not typically collect such memorabilia, expressed pride in owning that particular Fangoria cover, noting its importance during his formative years:
“I don’t really collect articles or covers,”
he said,
“But I do have my Fangoria cover up in my office. Fangoria was a huge magazine to me growing up.”
Later that year, Slither received three nominations for Fangoria’s Chainsaw Awards, which were announced during a televised ceremony in October. This marked the awards’ first broadcast on television, underscoring horror’s rising mainstream appeal.
Screaming and Conjuring: Exploring Horror’s Modern Renaissance
Beginning with 1996’s transformative film Scream, author Clark Collis details the rebirth of the horror genre through meticulous research, exclusive behind-the-scenes stories, and interviews with pivotal filmmakers. Collis’ book presents a comprehensive narrative of how modern horror evolved into a dominant force in cinema. He remarks,
“For decades, horror was regarded as the film industry’s dirty secret, and now it’s one of the genres which is keeping Hollywood alive and cinemas open,”
and emphasizes the book’s focus by adding,
“Screaming and Conjuring shows how a group of filmmakers turned horror into a box office juggernaut by creating some of the scariest movies ever unleashed onto the big screen.”
The book covers key titles such as The Blair Witch Project, The Sixth Sense, Final Destination, The Others, Pan’s Labyrinth, 28 Days Later, Resident Evil, Saw, Hostel, Paranormal Activity, Insidious, and The Conjuring, providing a detailed look at their creation and influence.
Designed as a deluxe limited first-edition hardcover, Screaming and Conjuring features special design elements such as black foil-gilded edges, textured cover varnish, and heavyweight paper, highlighting its status as a collector’s item for horror aficionados and film historians alike.
The Enduring Significance of James Gunn’s Slither in Horror Cinema
Although Slither did not achieve commercial success during its initial release and the planned sequel never progressed, the film remains notable for reviving the spirit of 1980s practical horror effects in an era increasingly dominated by computer graphics. Gunn’s commitment to tangible prosthetics, supported by Todd Masters’ craftsmanship, helped preserve a tactile authenticity that still resonates with genre fans. The film’s grotesque humor and inventive creature work stand as a testament to the enduring appeal of practical effects within horror.
As interest in horror continues to surge in mainstream cinema, the legacy of movies like Slither and the stories behind their creation, as documented in works such as Screaming and Conjuring, provide important insights into the genre’s ongoing evolution and cultural impact. With the Brenda prosthetic preserved and Gunn’s influence growing, the possibility remains that Slither’s legacy could inspire future projects, continuing to shape horror’s practical and creative frontiers.
Our Reader’s Queries
Q. Does James Gunn believe in God?
A. Gunn grew up in a Catholic household and still finds prayer important. However, he also describes himself as being somewhat against organized religion.
Q. Is James Gunn no longer with Marvel?
A. After the director was removed from the Guardians of the Galaxy series in 2018, Gunn believed his career had ended. Fortunately, in 2022, he and Peter Safran were chosen to lead DC Studios, which led to a new opportunity for another superhero film. Toby Emmerich from Warner Bros. supported these decisions.
Q. What is James Gunn’s religion?
A. In Gunn’s 2025 Superman adaptation, the refreshed CGI animation of Krypto the Superdog was inspired by Ozu. Gunn grew up in a Catholic household and has talked about how he still values prayer. However, he also described himself as being “in some ways, anti-religion.”
