Stage 6: the final "Brundlefly" creature (referred to as the "space bug" by the film's crew), depicted by various partial and full-body cable- and rod-controlled puppets. Stage 5: the second full-body suit, with more exaggerated deformities, and which also required Goldblum to wear distorting contact lenses that made one eye look larger than the other. Stage 4-B: deleted from the film, this variant of stage 4 was seen only in the "monkey-cat" scene, and required Goldblum to wear the first of two full-body foam latex suits, as Brundle has stopped wearing clothing, at this point. Stages 3 and 4-A: piecemeal prosthetics covering Goldblum's face (and later his arms, feet, and torso), wigs with bald spots, and crooked, prosthetic teeth (beginning with stage 4-A).
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Stages 1 and 2: subtle, rash-like skin discoloration that leads to facial lesions and sores, with tiny fly hairs dotting Goldblum's face, in addition to the patch of fly hairs growing out of the wound on Brundle's back. The transformation was broken up into seven distinct stages, with Jeff Goldblum spending many hours in the makeup chair for Brundle's later incarnations. Critic Drew McWeeny discusses encountering autistics who love this character in the Screen Drafts episode ranking David Cronenberg's filmography (it was ranked #2). Other traits he has that are often observed in autistics include his difficulty in making small talk but eloquence in and enthusiasm for explaining his interests and work, his talent for logical thinking, his work virtually defining his life even as he brings Veronica into it, his stuttering/fumfering, his extravagant hand/arm gestures as he speaks, and his straightforwardness (he's an amusingly Bad Liar when he attempts it). Between that and his famously Limited Wardrobe (Einstein-inspired or no), he seems to want repetition and familiarity in his life, a common autistic trait. In the episode of The Projection Booth podcast covering this movie, critic Samm Deighan argues that Seth Brundle could be on the autism spectrum when the conversation turns to the screenplay-only detail that he always goes to the fast food place for lunch because he likes the predictable uniformity of the cuisine.
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When they spoke, Cronenberg told him "apparently we made a hit movie together."
Cronenberg and Pogue didn't actually meet until after the film had come out. Pogue was ultimately booted off the project once again once David Cronenberg demanded to be able to re-write the script to his own satisfaction, as a condition of coming on board to direct. It was decided that Green's draft was even worse than Pogue's, so he was fired and Pogue was re-hired. Pogue was therefore booted off the project, and Walon Green was hired in his place. Brooks agreed to allow Cornfeld to use Brooksfilms to produce the picture, but decided a new writer was needed. Ohman ultimately found producer Stuart Cornfeld, who had previously produced Людина-слон (1980), and therefore knew Mel Brooks. Ohman finally convinced Fox to distribute the picture if they could get someone else to finance it. Not only would they not finance the picture, they refused to relinquish the rights so that Ohman and Pogue could take it to another studio. After reading Pogue's first draft, however, they rescinded the offer. They pitched the idea to Twentieth Century-Fox, who agreed to finance it.
He had recently landed Charles Edward Pogue as a client, and suggested that he should be the one to write it. Mick Garris also wrote a treatment, with elements incorporated into the final film.Ĭo-producer Kip Ohman was the person who originally had the idea of remaking the original film. However, a later treatment written by Jim Wheat and Ken Wheat was used as the basis for the final script, written by Frank Darabont. Geena Davis was open to doing a sequel (and only pulled out of Муха 2 (1989) because her character was to be killed off in the opening scene), while Goldblum was not (although he was okay with the cameo), and this treatment reflects that. David Cronenberg endorsed the concept at the time. Eventually, Veronica frees Brundle by conspiring with him to reintegrate a non-contaminated version of his original body. Brundle becomes able to communicate with Veronica through the computer, and he eventually takes control of the Bartok complex's security systems to gruesomely attack the villains. Brundle's consciousness had somehow survived within the Telepod computer, and the Bartok scientists had enslaved him and were using him to develop the system for cloning purposes.
An early treatment for a sequel, written by Tim Lucas, involved Veronica Quaife dealing with the evils of the Bartok company.
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