Before James Gunn became famous for his work on superhero blockbusters like Superman and Guardians of the Galaxy, he was known as a dedicated horror filmmaker. His journey began with projects such as Tromeo and Juliet for Troma, culminating in his feature directorial debut with the horror-comedy Slither. Nearly two decades after its release, Gunn discussed the film’s creation and legacy in an interview featured in Clark Collis’ forthcoming book, Screaming and Conjuring.
The book, published by 1984 Publishing and scheduled for release on September 2, 2025, offers an in-depth look into the modern horror film industry. An exclusive excerpt shared ahead of the launch focuses on Slither’s innovative practical effects and the sequel that never materialized.
The Development and Concept Behind Slither
James Gunn wrote the screenplay for Dawn of the Dead’s 2004 remake, which helped revive interest in horror remakes, but with Slither, he created an original story. Announced in early 2005, Gunn’s directorial first feature was set to be shot in Vancouver, with Universal handling distribution in the U.S. The film’s premise was summarized by Variety as follows:
“taking place in a South Carolina town where an inhabitant becomes infected by an alien parasite. It spreads to other townsfolk while its original host turns into a loathsome-looking baddie. Pic will rely heavily on prosthetic effects.”
Gunn designed Slither as an homage to the visceral and flamboyant horror films of the 1980s, aiming to revive the genre’s wild spirit. He told Film Threat,
“My inspirations were the in-your-face, fun, over-the-top, gory horror films of the 1980s,”
“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.”
Practical Effects and the Creation of Grotesque Monsters
The practical effects on Slither were crafted under the direction of Todd Masters, a veteran makeup artist who had previously worked on Demon Knight alongside Ernest Dickerson. Masters welcomed Gunn’s commitment to practical effects over CGI. He stated,
“We were really fortunate to have a supporter like James for practical effects,”
“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 film’s cast featured Nathan Fillion as the local police chief, Elizabeth Banks as a schoolteacher, and Michael Rooker playing Grant Grant, whose body is grotesquely transformed by the alien parasite. One of Slither’s most memorable practical creations was the monster ‘Brenda,’ played by actress Brenda James, who becomes a huge, spherical alien broodmother. Masters described the logistical challenge of transporting the enormous prosthetic to the Vancouver set:
“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.”
Masters and his team used a petroleum-based material commonly found in the production of sex toys to fabricate many of Slither’s prosthetics. He explained,
“This was the material that they were [using to] make fleshlights,”
“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 many prosthetics led to some dark humor on set due to their resemblance to human erogenous zones. Masters recalled,
“The funny thing about James is, even when things get tense, it’s fucking hilarious,”
“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!’”
The Film’s Release and Box Office Performance
Universal Pictures released Slither on March 31, 2006. Despite critical praise for its inventive creature effects and blend of horror and comedy, the movie struggled commercially. It opened in eighth place at the box office during its debut weekend, earning less than $4 million. Its domestic gross eventually reached $7.8 million, falling short of its estimated $15 million budget. James Gunn later admitted that the market for horror-comedies was limited, saying,
“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,”
“Horror-comedies as a rule have not made big money.”
The Unfulfilled Promise of a Sequel
Slither’s post-credits scene hinted at a sequel, but disappointing box office returns prevented the project from advancing. Todd Masters recounted attempting to discuss Slither 2 with producers, only to be quickly dismissed,
“I brought up Slither 2 to one of the producers not too long after,”
“He basically threw me out of his office.”
Despite this, Masters preserved the massive Brenda prosthetic, storing it safely in a Tacoma warehouse. Looking back on this decision, he said,
“At the end of [shooting] Slither, the production manager goes, ‘What do you want to do with this thing?’”
“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 Within the Horror Community
Despite its commercial challenges, Slither gained recognition in the horror community. Fangoria magazine featured Michael Rooker in full monster makeup on its April 2006 cover, something James Gunn holds dear. He stated,
“I don’t really collect articles or covers,”
“But I do have my Fangoria cover up in my office. Fangoria was a huge magazine to me growing up.”
Later that year, Fangoria nominated Slither for three Chainsaw Awards, with the winners announced during a televised ceremony. This marked a milestone as television broadcast introduced a wider audience to the genre’s rising popularity and critical acclaim.
A Broader Look at Horror’s Evolution in “Screaming and Conjuring”
Clark Collis’ book, Screaming and Conjuring, provides a comprehensive exploration of horror’s modern renaissance, starting with the transformative 1996 film Scream. Collis uses exclusive interviews and behind-the-scenes insights to reveal the transformative journey of the genre. He describes the book’s scope as,
“traces the blood-spattered path of horror’s evolution through exclusive behind-the-scenes accounts, untold stories, and in-depth interviews with key figures who shaped the era. For the first time, the full story of horror’s modern renaissance is revealed in one essential volume.”
The book also delves into the production histories of influential films such as The Blair Witch Project, The Sixth Sense, Final Destination, Pan’s Labyrinth, 28 Days Later, Saw, Hostel, Paranormal Activity, Insidious, and The Conjuring.
Clark Collis explains the genre’s turning point:
“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,”
“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 deluxe first edition is set to include high-end production features such as black foil-gilded page edges, textured cover varnish, and heavyweight paper stock, elevating its collectible status.
The Lasting Impact of Slither and James Gunn’s Cult Status
The story of Slither presents a noteworthy chapter in James Gunn’s career and the wider horror genre. Though it did not meet commercial expectations, its inventive special effects and strong creative vision earned it a cult following. The film stands as a testament to Gunn’s passion for practical effects and his desire to revive the infectious energy of 1980s horror. The preserved prosthetics and continued interest signal the enduring appeal of Slither and the possibility—however distant—of a return to its grotesque world.
Our Reader’s Queries
Q. Does James Gunn believe in God?
A. Gunn grew up in a Catholic household, and he has shared that prayer is still a big part of his life. However, he also described himself as “in some ways, anti-religion.”
Q. Is James Gunn no longer with Marvel?
A. After being removed from the Guardians of the Galaxy series in 2018, the director believed his career was finished. Fortunately, in 2022, James Gunn and Peter Safran were chosen to lead DC Studios. This opportunity allowed Gunn to embark on his next superhero venture.
Q. What is James Gunn’s religion?
A. Ozu influenced the new CGI-animated design of Krypto the Superdog in Gunn’s 2025 version of Superman. Gunn grew up in a Catholic family. He has shared that prayer is still significant to him. However, he also describes himself as “in some ways, anti-religion.”
Q. Is James Gunn still with Marvel?
A. James Gunn lost his position with Marvel when old offensive tweets he had posted were brought to light again.
