About The Locations
For the 20th year reunion, the H20 producers once again utilized
the Southland for their locations, though this time the Los Angeles
area would be doubling for Northern California.
The two principle shooting locations were the small town of La
Puente as the fictitious Summer Glen, California (coincidentally
only several miles away from the original location of Rosemead),
and a remarkable hilltop mansion in the Silver Lake area near
Hollywood that was built in the 1920s for silent film star Antonio
Moreno and is now on the registry of historical landmarks.
Production designer John Willet elaborates, "The design [for
this film] all stems from the [Michael Myers] mask. I wanted to
create a visual metaphor for it; kind of plain, a bit uncomfortable
but calm on the exterior, while inside it's totally crazy, just
This motif was repeated in almost every location. "Take the
school," notes Willet, "The corridors and hallways are
bare, not much going on, but when you start opening doors you're
assaulted by all this clutter and confusion. It's an exaggerated
style that's meant to emphasize the suspense, make you wonder
what's around the next corner.
While the Moreno mansion and grounds constitute the bulk of the
film's setting, only two on-site interiors were used during production,
specifically the main hall with its elaborate stain-glass work,
and a library. This book-laden space was redressed as a class
room for a sequence that echoes a similar interlude from the first
film where Laurie Strode suffers through an English Lit. class.
Now it's an adult Laurie Strode who is doing the lecturing, elaborating
on the relationship between Dr. Frankenstein and his monstrous
There are many similar subtle homages to the original HALLOWEEN
throughout H20. The casting of Nancy Stevens as Marion Wittington,
Dr. Loomis' nurse from the original, and the film's judicious
use of the HALLOWEEN theme music are only two of the most obvious.
Also returning in H20 is the original Panavision widescreen format
that director John Carpenter used to such great effect in 1978.
Carpenter's utilization of the format was deft and sophisticated,
his small picture inducing big scares by subtley manipulating
the viewer with a low, constantly moving camera and surrounding
his hapless babysitters with deep shadows from which held the
promise of sudden terror striking out at any moment. This approach,
as well as the Carpenter-composed and performed score of minimalistic
keyboard patterns, ratcheted up the suspense to heart-stopping
States cinematographer Daryn Okata, long-time Steve Miner collaborator.
"With the wide frame anything can happen," avers Okata.
"HALLOWEEN had a pattern of waiting; using long sustained
takes where really nothing much happened. The times have changed,
the audience is more sophisticated thanks to home video, but we
don't want to give them all their candy at once either. So we're
taking a similar approach but with more happening within the shot
as it evolves. There's more variety to the shots, but they all
serve to keep the necessary mood happening. It makes it more participatory
for the audience, more tied to the emotional status of the story,
but not calling attention to itself either. We had to be a bit
more clever, I'd say.''
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