The first incarnation of the story of Aaron Boone and his place within the Nightbreed is as the novel, Cabal. This was written in 1987
and published in 1988 as a standalone novel in the UK and packaged with four stories from volume 6 of the Books of Blood in the
US.
After Decker's death, the destruction of Midian and Baphomet's encounters with both Boone and Ashberry,
the book closes with three sequences establishing the characters and their roles for the book's (currently unwritten) sequels. First
Lori pleads with Boone (now Cabal) to bite her and so
convert her to be one of the Breed, like him, so that she can join him on his quest to re-establish Midian - a plea only granted after
she stabs herself with one of Decker's knives. The second and third sequences are shown below, setting Ashberry and
Eigerman on a path as the Breed's future tormentors before closing on the wanderings of the dispersed Breed.
It was Pettine who found Ashbery, but it was Eigerman who recognized the remnants for the man they'd been. The priest still had
life in him, a fact - given the severity of his injuries - that verged on the miraculous. Both his legs were amputated in the days
following, and one of his arms up to mid-bicep. He didn't emerge from his coma after the operations, nor did he die, though every
surgeon opined that his chances were virtually zero. But the same fire that had maimed him had lent him an unnatural
fortitude. Against all the odds, he endured.
He was not alone through the nights and days of unconsciousness. Eigerman was at his side twenty hours out of every twenty-four,
waiting like a dog at a table for some scrap from above, certain that the priest could lead him to the evil that had undone both their
lives.
He got more than he bargained for. When Ashbery finally rose from the deep, after two months of teetering on extinction, he rose
voluble. Insane, but voluble. He named Baphomet. He named Cabal. He told, in the hieroglyphs of the hopelessly lunatic, of how
the Breed had taken the pieces of their divinity's body and hidden them. More than that. He said he could find them again. Touched
by the Baptiser's fire, and its survivors, he wanted the touch again.
'I can smell God,' he'd say, over and over.
'Can you take us to Him?' Eigerman asked.
The answer was always yes.
'I'll be your eyes then,' Eigerman volunteered. 'We'll go together.'
Nobody else wanted the evidence Ashbery offered, there were too many nonsenses to be accounted for as it was, without adding to
the burden on reality. The authorities gladly let Eigerman have custody of the priest. They deserved each other, was the common
opinion. Not one sane cell between them.
Ashbery was utterly dependent on Eigerman: incapable, at least at the beginning, of feeding, shitting or washing without help.
Repugnant as it was to tend the imbecile, Eigerman knew Ashbery was a God-given gift. Through him he might yet revenge
himself for the humiliations of Midian's last hours. Coded in Ashbery's rantings were clues to the enemy's whereabouts. With
time he'd decipher them.
And when he did - oh when he did - there would come such a day of reckoning the Last Trump would pale beside.
The visitors came by night, stealthily, and took refuge wherever they could find it.
Some revisited haunts their forebears had favoured; towns under wide skies where believers still sang on Sunday, and the
picket fences were painted every spring. Others took to the cities: to Toronto, Washington, Chicago, hoping to avoid detection
better where the streets were fullest, and yesterday's corruption today's commerce. In such a place their presence might not be
noticed for a year, or two or three. But not forever. Whether they'd taken refuge in city canyon or bayou or dustbowl none
pretended this was a permanent residence. They would be discovered in time, and rooted out. There was a new frenzy abroad,
particularly amongst their old enemies the Christians, who were a daily spectacle, talking of their martyr and calling for purges in
His name. The moment they discovered the Breed in their midst the persecutions would begin again.
So, discretion was the by-word. They would only take meat when the hunger became crippling, and only then victims who were
unlikely to be missed. They would refrain from infecting others, so as not to advertise their presence. If one was found, no other
would risk exposure by going to their aid. Hard laws to live by, but not as hard as the consequences of breaking them.
The rest was patience, and they were well used to that. Their liberator would come eventually, if they could only survive the
wait. Few had any clue as to the shape he'd come in. But all knew his name.
Cabal, he was called. Who Unmade Midian.
Their prayers were full of him. On the next wind, let him come. If not now, then tomorrow.
They might not have prayed so passionately had they known what a sea-change his coming would bring. They might not
have prayed at all had they known they prayed to themselves. But these were revelations for a later day. For now, they had
simpler concerns. Keeping the children from the roofs at night; the bereaved from crying out too loud; the young in summer from
falling in love with the human.
It was a life.
Cabal - 1987
Clive had planned to adapt Cabal into a screenplay, renamed Nightbreed, early in its writing and, like the book, the screenplay always anticipated sequels.
"The whole idea of Nightbreed began with my novel Cabal. It's a book
I'm very fond of and, as I was finishing it, I realised that it would
lend itself very nicely to movie adaptation: it was economic in terms
of narrative structure and I thought it might be something I'd want to
do myself.
"One of the things I love about making a movie from
something I've written is the pleasure of being able to reinvent your
imagination: you've done it once, you know the way it looked when you
wrote it, and then you reinvent it entirely. Nightbreed doesn't look
the way I imagined it when I was writing Cabal. It has turned out to
be much larger in scale than I originally anticipated, but it's still
manageable for someone like me who is only making his second picture.
"The book is about Boone and his journey; the movie is about the
Nightbreed, this hidden tribe of mythological beings, shape-changers
and strange people who come from the Old Country of the imagination."
Nightbreed Presskit
By [ ], 1990
FADE IN:
253. EXT. NECROPOLIS GATES. NIGHT.
We track among the wounded, devatated MOB MEMBERS until we find ASHBERRY, blind, his face
horribly scarred, crawling out of the gates.
ASHBERRY: ... I saw Him... I saw God... I heard God talk...
His hands find someone's boot. A hand reaches down, takes ASHBERRY's hand and EIGERMAN kneels down beside him. He
looks sick and dangerous.
EIGERMAN: Where? ... where is he?
ASHBERRY: It was God. He bonded with me. I can smell Him... he's out there, I can smell him still...
EIGERMAN: And you can find him, can't you Padre?
ASHBERRY: Oh yes. I can find Him. He's waiting for me.
EIGERMAN: You'll lead us to him. I'll be your eyes.
ASHBERRY: Yes...
EIGERMAN: And when we find him... there'll be such a day.
ASHBERRY: And night... and night...
The scene FADES. We MOVE IN, leaving only the echo of ASHBERRY's one visible eye until it becomes...
254. EXT. THE MOON. NIGHT.
The moon is full.
255. EXT. NEAR MIDIAN. NIGHT.
In the distance, the burning ruins of Midian. The wind sighs in the moonlit reeds. CABAL and LORI reach the top of the hill, turn
and look down, standing apart.
CABAL: I'll have to start tonight.
LORI: I'll go with you Boone.
CABAL: I'm not Boone, Lori. Do you understand? I belong to the Breed now.
LORI: Then make me belong too; they made you one of them, you can do it to me...
CABAL: I can't...
LORI: I want to be with you.
CABAL: I'll come back for you when I'm finished...
LORI: And when's that gonna be, when I'm ninety and you're still the way you are? I went through hell to find you and you just, just
walk away from me?
(pause; brokenhearted)
Well go on, then, just go. Go on! What more do you want? Leave me some dignity for Christ's sake!
Pause. She turns away, trying not to show him her pain. CABAL turns to go. LORI turns back, sees him going. She can't bear it,
looks around. Sees Decker's briefcase lying beside the police car. Gets an
idea. Runs to it, finds a knife.
LORI: Boone!
He turns. She puts the blade to her belly and drives it in, crying out.
CABAL: Lori, NO!
She sinks to the ground, in terrible pain, as he reaches her, holds her in his arms.
LORI: I lied, I lied, you're all I want, I'd rather be dead.
CABAL: Don't die, God, Lori, don't die...
LORI: Well why don't you do something about it, God damn it... remember what you said...
(fading)
... quickly...
He raises her neck to his mouth. Her eyes flicker closed. He bites. A fatal, bloody kiss. He rises from her. Her eyes are closed.
CABAL: ... too late? ... Oh God, too late...
Her eyes open. She's turned.
LORI: You said you'd never leave me.
She grins, presses up to kiss his bloodied mouth. CAMERA MOVES UP off then to find the moon and we: DISSOLVE TO:
256. EXT. MOON. NIGHT.
Shining, full. We MOVE DOWN to find a derelict barn, standing alone in a vast field. DISSOLVE TO:
257. INT. BARN. NIGHT.
We TRACK through the darkness to find RACHEL, BABETTE, KINSKI and a number of other REFUGEES and CHILDREN of Midian,
staring out at the night.
BABETTE: Who will come for us?
KINSKI: His name is Cabal. He unmade Midian.
BABETTE: How soon?
RACHEL: On the next wind. If not tonight, then tomorrow.
DISSOLVE TO:
258. EXT. HILL. NIGHT.
CABAL and LORI, standing on the hill, against a background of stars.
BABETTE (V.O): ...if not tonight... tomorrow...
DISSOLVE TO:
259. INT. BELOW MIDIAN. NIGHT.
MOVING THROUGH the ruined chambers, illuminated by dying flickers of flame, we find and TRACK ALONG the end of the heroic
mosaic/mural. It tells, in a rush of images, the story of the ruin of Midian.
CAMERA comes to a stop on the final image: CABAL and LORI, as we just saw them, on a hill, framed against the star-filled heavens.
The sound of the wind...
FADE TO BLACK:
THE END
Second draft - December 1988
Ahead of the start of principal photography, this ending, which tracked the novel reasonably faithfully, was amended to give Ashberry more power and presence after his encounter with Baphomet. With Ashberry's autonomy, Eigerman's role became redundant and the re-draft eliminated the policeman from the movie's sequels.
255A. EXT. NECROPOLIS. DAY.
We TRACK through the ruins of the Necropolis. The walls are
blackened by fires that are almost extinguished; CORPSES (human and
Breed) lie in barely distinguishable bundles, from which partially
cremated limbs jut. Smoke hangs in the air. From the distance we see
EIGERMAN, going amongst the CORPSES, reclaiming guns, bullets and
grenades. As we get CLOSER we realize that he is a broken man, his
face dirty, his eyes lunatic. He's been crying, the tracks marking
the dirt.
Suddenly, he hears a noise, and stands up to see a large FIGURE appearing from the smoke.
He goes for his own gun, levelling it at
the FIGURE as it approaches.
EIGERMAN: Keep your distance!
The figure keeps coming, emerging from the smoke. It's ASHBERRY. He
has been transformed by the confrontation with BAPHOMET. His hair has
been almost burned away entirely and there is a subtle
reconfiguration in the shape of his skull. His clothes are in
tatters. There are hints that his once broken body, poisoned by
alcohol, has taken on new strength. He looks as insane as EIGERMAN,
but stronger in his lunacy. There's a dangerous fervour in his eyes.
ASHBERRY: I saw their God...I saw him...
EIGERMAN: What the hell are you talking about?
ASHBERRY: I can still smell him. He's out there...
ASHBERRY walks on past EIGERMAN towards the exit from the Necropolis.
EIGERMAN: You mean you can find them?
ASHBERRY: Oh yes.
EIGERMAN: We'll go together then. You can lead me to the bastards.
Then I'll wipe them all away.
ASHBERRY: No. They're mine. Their God burned me. I want to burn him
back. All of them. Burn them all away.
EIGERMAN: You can't, you don't have the wits...
ASHBERRY turns on him, his face wild. He takes hold of EIGERMAN by
the neck, his fingers digging into the muscle. Blood runs. EIGERMAN
tries to raise the gun but ASHBERRY takes hold of the man's hand, and
summarily snaps his wrist. The gun is dropped. ASHBERRY starts to
lift EIGERMAN up off the ground. The policeman's flailings stop
suddenly. The head lolls. ASHBERRY flings the body aside, and starts
out of the Necropolis. As he approaches the exit he looks up.
Sunlight falls on his face.
Revised draft - Pink pages, 9 February 1989
With this replacement scene inserted, the screenplay ran through the three sequences - Boone biting Lori after she stabs herself, Ashberry killing Eigerman and leaving Midian on his quest to find the Breed and the gathering of the Breed in a barn talking of Cabal before closing on the mural of Boone and Lori on the hillside. This was the script that was filmed, with the sole changes in 27 February's amendments to the shooting script being an extra line for Babette and the planned addition of an on screen graphic to make audiences aware of the intention for a Nightbreed 2, as follows:
257. INT. BARN. NIGHT.
We track through the darkness to find RACHEL, BABETTE, KINSKI and a
number of other REFUGEES and CHILDREN of Midian, staring out at the
night.
BABETTE: ...who will come for us?
KINSKI: His name is Cabal. He unmade Midian.
BABETTE: How soon?
RACHEL: On the next wind. If not tonight, then tomorrow.
BABETTE gazes out over the cornfields.
BABETTE: On the next wind...
DISSOLVE TO:
258. EXT. HILL. NIGHT.
CABAL and LORI, standing on the hill, against a background of stars.
BABETTE (V.O): ...if not tonight... tomorrow...
DISSOLVE TO:
259. INT. BELOW MIDIAN. NIGHT.
MOVING THROUGH the ruined chambers, illuminated by dying flickers of flame, we find and TRACK ALONG the end of the heroic
mosaic/mural. It tells, in a rush of images, the story of the ruin of Midian.
CAMERA comes to a stop on the final image: CABAL and LORI, as we just saw them, on a hill, framed
against the star-filled heavens.
The sound of the wind...
FADE TO BLACK from which these simple words appear:
THE STORY OF THE NIGHTBREED WILL CONTINUE
THE END
Revised draft - Pink pages, 27 February 1989
Storyboards of the closing sequence of Boone and Lori on the hill and the Breed in the barn supported the screenplay and principal photography started at Pinewood Studios on 6 March 1989 for a scheduled nine-week shoot.
258. EXT. HILL. NIGHT.
CABAL and LORI, standing on the hill, against a background of stars.
259. INT. BELOW MIDIAN. NIGHT.
MOVING THROUGH the ruined chambers, illuminated by dying flickers of flame, we find and TRACK ALONG the end of the heroic mosaic/mural. It tells, in a rush of images, the story of the ruin of Midian.
259. INT. BELOW MIDIAN. NIGHT.
CAMERA comes to a stop on the final image: CABAL and LORI, as we just saw them, on a hill, framed against the star-filled heavens.
Storyboards - 1989
Writing the introductory notes to the movie's "making of" book, Clive reflected on the development of scenes under the myriad of contributing influences on a production.
"Movies change; and change; and change.
"The images that first play on the screen inside your skull as you set pen to paper are subject to constant configuration.
First you cast the faces to go with the characters, and costume them, and make them up; then the actors add their own
embellishments to the dialogue, and the lighting cameraman has his contribution, and the set dresser his, and so on and so forth.
But that's only the beginning. The image, though fixed on celluloid, is still malleable in countless ways. The editor, placing one
action beside another, can change the significance of each; can re-order dialogue, making new sense of old ideas. The optical
effects men may create paintings that will put cities where there were none before, and just as magically remove them. The labs
can make noon into twilight, or vice versa. Then, sound: another world of significance, transforming the way we perceive the picture
on the screen; and music, to signal our responses.
"What at first may seem the most immutable of media is in fact capable of being transformed at dozens of stages on its way from
screenplay to screen.
"As both a writer and a director I am involved in the full spectrum of these processes. Inevitably, during the long, long trail from
word to premiere, spirits soar and dive, ideas one day seeming God-given and the next rejected as hellish; decisions becoming
badges of honour or yokes.
"Somewhere half way through this journey I'm setting these words on paper. Maybe the profoundest doubts about this project
are past, and I'm finally on safe ground, believing we've made a good movie: but I'm laying no bets. We've still got another two
weeks of shooting to do, much of it related to special effects; that material has then to be cut into the picture. Mattes have yet to
be painted, cells animated, titles created, music composed..."
Introduction: Nightbreed
By Clive Barker, Clive Barker's Nightbreed - The Making of the Film, 1990
"Midian is destroyed and the second movie does not happen minutes
later. It happens after the passage of some time. Nightbreed leaves a
lot of questions unanswered, a lot of long-term questions. The second
movie is not what will happen tomorrow.
"There are people out there in the world who have been waiting for
Ashberry. Just as there are people out there who have been waiting for
Boone. Secret orders who have been waiting for their own particular
Lucifer. Armies waiting to rise who want a leader, and Ashberry is
going to walk into their lives like I guess Hitler did; to stir up
some deep feeling."
A Hymn To The Monstrous: The Making Of Nightbreed
By Mark Salisbury and John Gilbert, Clive Barker's Nightbreed - The Making Of The Film, 1990
With the screenplay shot and the footage edited into an initial cut, Nightbreed moved into the first phase of what was to be a protracted "post-production" period. The ability for others to change and mutate a movie that Barker had anticipated in the 'Making of...' book was pushed to its limits...
In late July 1989, it was announced that the release date for the movie was being pushed back from its original Autumn 1989 date to early February 1990 instead. The press release cited "the complex demands of the film's ground-breaking post-production optical effects currently underway at Pinewood Studios in London." These included Ralph McQuarrie's mural and matte paintings but a week of additional shooting in late August would also see key parts of the narrative re-shot.
Scene 259 was revised to incorporate more of the mural painting which opens the movie and serves as the history - and destiny? - of the Breed.
258. EXT. HILL. NIGHT.
CABAL and LORI, standing on the hill, against a background of stars.
BABETTE (V.O): ...if not tonight... tomorrow...
259. SCENE DELETED
259A. FINAL SCENE MURAL CHAMBER
We cut from the hush of the barn and the hill-top scenes to the ruins of Midian. The soundtrack suddenly erupts with roars of
destruction as the city beneath the Necropolis is claimed by the earth. The floor of the Mural Chamber is sliding away into a fiery
abyss, the walls are cracking; rock and dirt falls from the ceiling; flames burst all around. We move along the walls to scan the
murals. Occasionally sparks of lightning - the last vestiges of BAPHOMET's blood - burst from the toppled bowls.
We glimpse paintings from the story we've just been told: PELOQUIN biting BOONE; LYLESBURG and OHNAKA; DECKER's
mask; EIGERMAN and ASHBERRY; RACHEL and BABETTE; BAPHOMET; NARCISSE...
And as we see the pictures we hear, woven into the epic cacophony of destruction, voices from the past, over-lapping.
NARCISSE (V.O): North of Athabasca. East of Peace River. Near Shere Neck, North of Dwyer...
PELOQUIN (V.O): God's an astronaut. Oz is over the rainbow. And Midian's where the monsters live...
LYLESBURG (V.O): Baphomet. Who made Midian...
RACHEL (V.O): You call us monsters, but when you dream, you dream of flying and changing and living without death...
ASHBERRY (V.O): Arm yourselves for war and let them go and take vengeance on Midian...
EIGERMAN (V.O): ... head to head with the Devil himself...
BAPHOMET (V.O): Follow me, all you tribes of darkness...
BOONE (V.O): I love her! Lori!
LORI (V.O): Why aren't I on these walls? I'm part of this story...
And finally, we come to a part of the Mural we've never seen before. On it, BOONE and LORI standing against a sky filled with
cascading stars.
A plume of flame erupts in front of us, burning the image out.
Darkness
THE CREDITS ROLL
Revised draft - Green pages, 25 August 1989
The August 1989 revisions had one further significant change to the end section, inserting a new scene immediately before the one in which Boone bites the dying Lori. The scene reintroduces Narcisse, a character who dies in the novel and who had suffered the same fate in the screenplays up to this point, his head being lopped off by Decker during the Midian fight sequences. However, during dailies and the initial edit, reaction was that Narcisse might have some ongoing role to play, so he was written back in.
"What I've got to avoid is making the books and films self-referential. I've got to keep them separate. I'll write the second Cabal book after I finish this picture, and as a sequel to the first book, not a sequel to the movie (of the book!). I don't want to keep the characters separate, but what you can't predict of course is how theatre audiences will react to different characters. Narcisse is a big hit in rushes, and maybe that will influence the way we view him in the movie. Maybe we'll bring him back in the movies if he goes down well. But I won't bring him back in the book, absolutely not. That's where there might be divergences."
Nightbreed
By Stefan Jaworzyn, Shock Express, Vol 3 No 1, Summer 1989
254A. EXT. NECROPOLIS
The Necropolis has exploded. Now LORI and BOONE stand in the reeds as the last, bright bloom of the fires dies away on
their faces. Figures move away through the smoke, creatures we recognise. The DRUMMER beats out a tattoo as they depart.
NARCISSE appears from the darkness, and throws BOONE his jacket. As he does so, the final explosion roars up from
the underground, and destroys the necropolis. The creatures all look back.
NARCISSE: Never piss off a God.
LORI looks up into the sky. CUT TO LORI's POV of the sky, with other Breed, spirits of smoke and light, moving away into the
night.
LORI: Where are they going?
NARCISSE: Any hiding place they can find. It'll be dawn soon.
BOONE: When I need you where will I find you?
NARCISSE: You'll find me. And you will need me.
He reaches to shake BOONE's hand.
NARCISSE: Never touched a legend before.
He laughs his manic laugh.
NARCISSE: (to Lori) Good night, pretty.
He fades into the night, the laughter going with him.
Revised draft - Yellow pages, 25 August 1989
This scene was also storyboarded:
254A. EXT. NECROPOLIS
Now LORI and BOONE stand in the reeds as the last, bright bloom of the fires dies away on their faces. Figures move away through the smoke, creatures we recognise.
254A. EXT. NECROPOLIS
CUT TO LORI's POV of the sky, with other Breed, spirits of smoke and light, moving away into the night.
254A. EXT. NECROPOLIS
NARCISSE: Never touched a legend before.
Storyboards - 1989
While the process of what Barker later described as "preview testing hell" continued, other studio pressures also mounted...
"I delivered Nightbreed in a first cut with a temporary soundtrack. It didn't test well at all. The characters' motives and the monsters as good guys caused confusion. I cleaned up those narrative lines and the next preview went better. There was this nice feeling at Fox - a sense if we could get a few extras right and offer a punchier ending we'd be fine."
Nightbreed: The Trials And Tribulations Of Clive Barker
By Alan Jones, Starburst, No 145, September 1990
These extra scenes were picked up in three days of additional shooting in Los Angeles in late 1989. The extras included several additional scenes with David Cronenberg, which expanded and clarified Decker's characterisation, focussing more of the story onto his character, as well as the desired "punchier" new ending. The mural segment of the previous drafts was dropped with the re-revised scene 259 altering the dynamic of Ashberry's future role once more...
"We tested this movie, we tested it twice with that ending and the audience said, sorry, don't like that ending and Twentieth Century Fox said, OK, get rid of it. That's the way you go... Originally Decker died..."
Fangoria Weekend Of Horrors
Transcript of a talk by Clive Barker, Weekend of Horrors, Los Angeles. May 1991
FINAL SCENE. EXT. HILLTOP. NIGHT.
We leave BOONE and LORI, together on the hilltop and -- CUT TO:
EXT. NECROPOLIS. NIGHT
The fires are dying down, but the air is still thick with flickering smoke. We move through the chaos, past carbonised corpses that
still smoke. Now we see a structure ahead, emerging from the smoke. The remains of a tomb, which has been turned into a
morbid altar. Around its base, the grotesque bodies of Naturals and Breed. At its centre, a body we can't yet see properly. In front
of this structure, a figure with its back to us. A flare of flame. The figure turns-
It's Ashberry! Horribly transformed by his encounter with Baphomet. On the ground in front of him a barrel containing the
bubbling dregs of Baphomet's bood. He puts his hand into the fluid, which boils up around his hand.
It hurts, but he LIKES the hurt. He raises his hand towards the body on the altar.
ASHBERRY: I saw their God... he burned me...! I want to burn them back...
He plunges his hand into a wound in the middle of the chest of the altar corpse.
ASHBERRY: Burn them all away!
We hear a heart-beat begin. Another flare of light illuminates the head of the altar-corpse.
It's Decker's mask!
A roar from the earth adds terror to the moment. The mask throws back its head.
THE MASK: Boone!
Light pours out of the mouth and eyes. The rest of the image goes to darkness, burning the grinning skull on our retina...
END
Revised pages - late 1989
"We cut the sequences in and tested it to a fabulous response. Even Tim Burton liked it. 'We've got it right,' I thought. I'll admit that the process was invaluable in making the movie slicker, faster, stranger and more intense. Explanations were dropped which weren't needed and Fox were happy."
Nightbreed: The Trials And Tribulations Of Clive Barker
By Alan Jones, Starburst, No 145, September 1990
"It's more of a rollercoaster ride than originally intended. I was surprised at how little time the US audience wanted to spend with dialogue when I tested the movie. The longer cut frankly didn't work for them. They wanted sensation after sensation after sensation. But it's roundabouts and swings in a way, because there's an element of excitement now in the movie. What happens now is the movie gets running and just never stops. I don't think it bores anybody, it moves way too fast to bore... It has a delirious quality; it begins with a dream and it never stops being a dream all the way through, it has the tone of an opium dream movie and I like that a lot. Its weirdness quotient is high, which does tend to delight me."
Flesh And Fury
By Mark Salisbury, Fear, No 22, October 1990
"No movie is perfect. There are screw-ups in Nightbreed and all kinds of things I'd do differently, but that's true of Hellraiser and my books as well. Whatever else you can say about Nightbreed, it's not like anybody else's movie, it's not a tintype. It delivers what I always promised it would - a monster movie that would spill over with weird images and creatures. There are lots of horror movies out there that don't have very much in their minds. Nightbreed does. You don't need to be talking down to people all the time. So yes, the movie has a bleak end. It doesn't cross all the t's and dot all the i's, but neither does Hellraiser. We don't know where the cenobites come from. I like the sense that there's a mythology that you only get a glimpse of. You don't get the whole thing, like you don't know how Freddy Kreuger gets into people's dreams."
Barker Bites Back
By Anthony Timpone, (i) Fangoria Horror Spectacular, No 1, 1990 (ii) Fangoria : Masters of the Dark
Asked by Fox to cut almost an hour from the initial two-and-a-half hour 'director's cut' of the movie, editor Richard Marden objected and decided to leave the project. Cut first to two hours and then again to just 102 minutes for the eventually-released theatrical cut, Nightbreed is a compromised movie in many respects.
In the final editing, many of the filmed sequences were dropped such that the "final" screenplay which ran:
(a) Narcisse says goodbye to Boone and Lori
(b) Boone explains he's Cabal, Lori stabs herself and Boone bites her, converting her to be one of the Breed
(c) Ashberry kills Eigerman
(d) Rachel, Kinski, Babette and other Breed in the Barn discuss Cabal, who unmade Midian
(e) Ashberry resurrects Decker
becomes a rushed onscreen ending that drops (b) and (c) and deletes the dialogue in (d).
In and of itself, this doesn't destroy the likelihood of any sequel - it simply continues the breakneck speed of the sequences before it and sets the raging, resurrected Decker at the heart of the Breed's future story - but other events were to conspire against the movie's chances of success...
"A television trailer was sent to the MPAA ratings board and rejected twelve times. They won't allow any monster footage ever,
so gradually it was cut down and ended up just showing someone being terrorised in their kitchen with a razor. That was
acceptable by their standards but it constituted only five minutes of my movie. It was hopelessly confusing and didn't convey the
right feel...
"I've tried to analyse over and over again how I could have done it differently. I made errors all down the line. When you finish a
picture you're really tired. With relief you hand it over to the marketing people saying, 'here's my baby, you can look after it can't
you?' 'Of course we can,' they reply, 'we've had years of experience.' I did that and it was the dumbest move I made..."
Nightbreed: The Trials And Tribulations Of Clive Barker
By Alan Jones, Starburst, No 145, September 1990
"Despite the superfice of sophistication that that [film-making] community has, it really works at gutter level. People bully, people connive, this is nothing you haven't heard about Hollywood before, but there it is - and they lie. I want to make movies, I don't want to make movies with dishonourable people. I think I'm probably going to have to once in a while. I would prefer to know the systems better. I made Hellraiser here [in England], I made Nightbreed here. I walked over there to finish post-production on the movie and discovered a whole different system of values, almost anti-values. The politics got so Byzantine that I didn't know who was stabbing me in the back, who was stabbing me in the eye - but they all had knives. All those things happen to directors all the time, but because books aren't like that, it came as a real shock to realise that people would just lie straight to your face and there were times when I thought I really don't know what I'm doing this for. I don't know why I'm bothering to deal with these people - they are total bastards."
Flesh And Fury
By Mark Salisbury, Fear, No 22, October 1990
"What Nightbreed taught me to do is to just get on - fuck, move on. You can lick your wounds and you can blame everybody in sight, but at the end of the day - I still believe that if I could one day get out of the vaults all the fucking stuff that should be in Nightbreed but isn't, and have the half-million dollars that it would take to reinstate it and give people the two-and-a-half-hour Nightbreed, it could be a really splendid movie; but it isn't there. And what is there is broken-backed as a consequence, but even in its broken-backed state, I don't think it's a bad picture. I think there's some very interesting, nice things going on in the picture, and they come out of the fact that the movie is what it is, which is a sort of cri de coeur on behalf of the monster."
The Bastard Child
By Douglas E. Winter, The Dark Fantastic, 2001
As well as the storyboards presented above, a number of photographs of the cut scenes were included in
Nightbreed's 'The Making of the Film' official tie-in book. This book contained an illustrated version of the shooting script with the
August 1989 Narcisse elements incorporated.
The image of Boone and Lori on the hilltop, silhouetted against the sky was included as the final page. The other photos show
Narcisse, Lori and Boone looking up at the sky, the bite on Lori's neck and Ashberry killing Eigerman.
Click here for Anatomy of Nightbreed's opening scene
Click here for Anatomy of two of Nightbreed's deleted scenes...