Fangoria talked to the folks behind the upcoming werewolf flick Big Bad Wolf and found out some really interesting points.  To start with it appears that within the next month or so the film company will be gearing up for another week of shooting which will include the big finale scene.

Here is part of the report from Fango:

With weather concerns having halted the finish of principal photography in January Hutchinson says, “Based on screenings of our rough cut, we have decided to punch up the opening by filming an all-new sequence to grab the audience by the throat, and give ’em what they came for from the get-go. This will include creating a new makeup prosthetic and a death which, as far as I know, has never been seen before.”

Echoing Dreesen’s previous raves about digital artist Michael Shelton’s work on BIG BAD WOLF, Hutchinson adds, “He’s in full swing creating kick-ass state-of-the-art transformations!” With the film’s number of visual FX shots having increased from 20 to 45, werewolf enthusiasts will more than likely receive the onscreen man-to-wolf metamorphosis they crave, and according to Hutchinson, it’ll be more AN AMERICAN WEREWOLF IN LONDON than CURSED. “Lance and I also have been disappointed with those sequences in recent werewolf films. We are huge fans of AMERICAN WEREWOLF—which is why we have David Naughton in a cameo—and wanted to do a transformation that, while using up-to-date effects, makes it appear biologically plausible. Our biggest complaint with modern werewolf films is that despite having access to amazing effects resources, AMERICAN WEREWOLF IN LONDON is still the best.

“Nowadays, it seems filmmakers get lazy and rely too much on CGI, and hokey ‘morphing’ effects. We want the audience to hear tendons pop, and cartilage crack—to feel the pain of a human body undergoing immense stress as it transforms. We are going to raise the bar for transformation sequences, and believe audiences will freak when they see ours! We have opted for a combination of makeup effects and cutting-edge CGI—married seamlessly with a great performance by our lead—so that you’re not sure how it is done. For us, the best special effects are those that just seem real. You don’t say, ‘Oh, cool bladder effect!’ or ‘Nice CGI.’ You just get caught up in the story. Michael is rendering that level of detail to the physiology of the beast.”

The Fango article as features some great new pics, one of which you see at the top of this article.  To view the rest, click here.