Wolf Man

The production of Wolf Man showcases the unparalleled natural beauty and talent that New Zealand has to offer. Filmed entirely in the South Island, the landscapes were instrumental in capturing the atmospheric mood of Oregon’s wilderness. Director Leigh Whannell (The Invisible Man) praised the scenery, saying, “The locations in the South Island were beautiful. This allowed us to find something stunning and simply point a camera at it.”

Production designer Ruby Mathers, collaborated with local teams to craft iconic sets such as a classic American farmhouse. To achieve authenticity, Mathers immersed herself in American vernacular architecture and seamlessly integrated it with New Zealand’s natural backdrop. She noted, “We built the farmhouse from scratch, and the towering pine forests surrounding it gave us the perfect cinematic frame.”

Leigh Whannell, experiencing New Zealand’s hospitality for the first time, was struck by the laidback professionalism of the local crew. “It’s a pressure cooker on set, but New Zealanders carry this nonchalant, relaxed attitude through everything. I couldn’t have enjoyed working with them more,” he shared.

New Zealand’s natural beauty doubles perfectly for the natural beauty of Oregon in America’s lush Pacific Northwest. “The Pacific Northwest has a distinctive look,” Mathers says. “The landscape that the South Island of New Zealand has to offer is nothing short of breathtaking.”

Landscape was a crucial element in giving Wolf Man the scale it needed. “If you want that mountainous look that looks like Oregon, you’re going to come to New Zealand,” Leigh Whannell says. The locations in the South Island were beautiful.

As much as he enjoyed shooting in New Zealand, Whannell had never been to the country prior to this shoot. “New Zealanders are so relaxed, and that’s not an easy thing on a film set. It’s a pressure cooker, and they carry this nonchalant, laidback attitude through everything. I couldn’t have enjoyed working with them more.”

New Zealand Talent in Key Roles

New Zealand’s influence extended beyond locations. Milo Cawthorne and Beatriz Romilly, known for their work on Shortland Street, played pivotal roles, while the expertise of New Zealand crew members elevated the film’s technical and creative elements.

Additionally, renowned New Zealand stunt coordinator Steve McQuillan (Borderlands, Sweet Tooth) ensured the film’s action sequences were executed with precision and realism. His efforts were particularly evident in the high-intensity finale, described by Whannell as “pure savagery.”

Visual and Special Effects

The film’s immersive effects work was led by renowned companies and teams. Fin Design + Effects crafted the striking visual effects, including Blake’s transformation sequences and the sensory shifts depicted in “Wolf Vision.” Special effects teams engineered complex setups, such as the cliff-hanging moving truck, while atmospheric elements like fog and mist were incorporated seamlessly into both location and studio shoots. These practical effects were key to delivering the visceral, grounded horror that director Leigh Whannell envisioned.

The film’s Wolf Vision sequences combine practical effects with extensive visual effects work. Early scenes utilise in-camera lighting effects and the sequences then increasingly use VFX as Blake’s transformation progresses. Fin Design + Effects’ VFX team spent months crafting these sequences, developing multiple iterations to achieve Whannell’s vision. The final shots feature an array of visceral elements: CG insects fill the air, actors’ faces momentarily distort into animal-like features, skin becomes translucent revealing pulsing veins, eyes flash with retroreflective highlights, and the air shimmers with a pulsating haze.

For an early scene in the film in which The Lovells’ moving truck crashes and is hanging over a cliff, most of it was achieved practically. “You had the Effects department working with Stunts and the Visual Effects team,” Whannell says. “There were so many elements, it was all-hands-on-deck. I remember freezing my ass off in a forest at 3:00 in the morning, just outside Queenstown in a beautiful forest in the South Island of New Zealand—looking up at a moving truck sitting on its side. It was surreal, to say the least.”

Hair and Make up

Brought to life by hair and makeup designer Jane O'Kane (The Meg, The Lord of the Rings: The Rings of Power) and two-time Oscar®-nominated prosthetic designer Arjen Tuiten (Pan’s Labyrinth, Maleficent: Mistress of Evil), the Wolf Man’s signature look had to reflect unique stages of Blake’s transformation. From myriad lenses and canine teeth to deteriorating skin and wounds that refuse to heal, the transformation marks Blake’s gradual loss of humanity.

In large transformations such as these, the prosthetic designer extensively prepares the talent before the process even begins. “This is very labor heavy and meticulous, and it has to look good every time,” Tuiten says. “It’s rather a mental state. The preparation takes months, with a crew of 25 people back at my shop to get everything ready on time. From sculptors to mold makers, painters and wigmakers, we ran close to 650 prosthetics in total, from hands to chest, chins, cheeks, foreheads and ears.

Leigh Whannell’s vision for Wolf Man came to life with the help of New Zealand’s landscapes, talented crew, and creative professionals. This collaboration not only highlighted the country’s capability to host major international productions, but also reaffirmed its position as a hub for cinematic excellence.

About the New Zealand Screen Production Rebate 

Wolf Man utilised the New Zealand Screen Production Rebate (NZSPR). 

The NZSPR for International Productions is part of the New Zealand Government’s screen incentives scheme, which includes the Post, Digital and Visual Effects (PDV) Rebate. Eligible productions can access a cash rebate on Qualifying New Zealand Production Expenditure (QNZPE). 

Find out more here. 

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