Between Tom Hanks, Kyle MacLachlan, and Arnold Schwarzenegger, Tales from the Crypt is responsible for putting some very surprising names […]
Between Tom Hanks, Kyle MacLachlan, and Arnold Schwarzenegger, Tales from the Crypt is responsible for putting some very surprising names in the director’s chair.
One of the greatest joys of an anthology series is that there are greater opportunities to pull in top talent because of the self-contained and standalone nature of the format. Brad Pitt, Sandra Bullock, and Benicio Del Toro may not be willing to commit to a full season of television, or even an extended story arc, but a single installment of heightened genre storytelling is another story. It also doesn’t hurt that Tales from the Crypt’s executive producers included some of the biggest names in the film industry, including Richard Donner, Walter Hill, Robert Zemeckis, and Joel Silver.
Tales from the Crypt is a series that gave its actors the runway to do fearless, experimental performances. Tim Curry, for instance, played three characters in an episode that earned him a Guest Actor Emmy nomination. Additionally, Tales from the Crypt was just as generous to these actors when it came to showcasing their skills behind the camera. The anthology series has a murderer’s row of talent in the director’s chair, some of whom have yet to direct again. Between Michael J. Fox, Arnold Schwarzenegger, and Kyle MacLachlan, Tales from the Crypt’s directorial choices are just as surprising as their episodes’ twists.
“The Switch” is one of Tales from the Crypt’s earlier episodes, and it functions as a pulpy take on body horror, but not how one might suspect. “The Switch” is almost like a body swap story by way of The Substance, with some Ship of Theseus thrown in for good measure. An elderly bachelor who is at death’s door undergoes an experimental procedure so that he switches bodies with a physically fit younger man, piece by piece. “The Switch’s” final act twist shouldn’t come as a surprise to most seasoned Tales from the Crypt fans. However, what makes “The Switch” such an interesting episode is that it’s directed by Arnold Schwarzenegger in his directorial debut.
Tales from the Crypt has its share of episodes that embrace the action genre and feel more within Schwarzenegger’s wheelhouse, but it’s fascinating to see him turn to a story that pulls more from the comedic side of his career. There’s a surprising amount of personality in Schwarzenegger’s directorial style that’s full of unique shots and a surreal tone that works in the episode’s favor. He also shows some restraint when it comes to not casting himself in the role of Hans, the East German body that’s presented as the ultimate prize.
Schwarzenegger isn’t present in the episode’s story, but he does appear in the intro, complete with a too-small Tales from the Crypt t-shirt. Schwarzenegger looks like a kid in a candy store as he chums it up with the Crypt Keeper and even gets the honor of introducing the episode. Schwarzenegger would only direct one more film, a TV movie from ‘92 titled Christmas in Connecticut. As it stands, “The Switch” is Schwarzenegger’s shining directorial achievement.
Tom Hanks
“None But The Lonely Heart” – Season 4, Episode 1
Courtesy of HBO
Tales from the Crypt loved to kick off a season with flashy guest stars and a notable director, and it doesn’t get much bigger than Tom Hanks. Hanks would cut his teeth as a director in Tales from the Crypt before slowly tackling more directorial projects like That Thing You Do!, Larry Crowne, and episodes of Band of Brothers and From the Earth to the Moon. “None But the Lonely Heart” is Hanks’ only foray into horror as a director, and he proves to have a strong grasp on the genre’s elasticity. “None But the Lonely Heart” follows a murderous gold digger who marries elderly widows and then offs them to pocket their wealth. This conman’s sociopathic tendencies catch up with him when the story begins to verge into I Know What You Did Last Summer territory.
“None But the Lonely Heart” showcases a strong mix of suspense, dark humor, and brutal horror. There’s a very Coen Brothers quality to Hanks’ style, and he gets an unforgettable performance out of Treat Williams. The fact that “None But the Lonely Heart” is held in such high regard among Tales from the Crypt fans is a testament to Hanks’ strong instincts as a director. Another unusual detail about this episode is that its writer, Terry Black, wrote it under the pseudonym Donald Longtooth, Malcolm McDowell’s character from one of his earlier episodes, “The Reluctant Vampire.”
Michael J. Fox
“The Trap” – Season 3, Episode 3
Courtesy of HBO
Some of the very best Tales from the Crypt episodes involve a truly reprehensible individual steadily receiving cathartic comeuppance. “The Trap” is a beautiful example of how satisfying it can be to watch a horrible character get what’s coming to them. Michael J. Fox seems to deeply understand the comedic value in such an exercise, right down to the casting of typical Michael Mann cohort, Bruce McGill, as the lead. Fox directs a script from Scott Alexander, half the screenwriting duo responsible for masterpieces like Ed Wood, Man on the Moon, and The People vs. Larry Flynt.
Fox helps Alexander’s script pop. The episode features some truly inspired, stylized use of color, especially in the final act, that almost looks like a Zemeckis film, curiously enough. “The Trap” is a Tales from the Crypt episode that’s more interested in comedy than horror. Even the way in which Fox’s character leans into the frame, before he’s first seen, turns his introduction into a tongue-in-cheek, comical beat that flawlessly lands. At the same time, there are still some deeply chilling moments in this confidently directed episode. Lou’s death is deeply upsetting.
Tobe Hooper
“Dead Wait” – Season 3, Episode 6
Courtesy of HBO
Tobe Hooper’s The Texas Chain Saw Massacre remains a staggeringly influential film, horror or otherwise. Hooper is no stranger to anthology storytelling between his work on Freddy’s Nightmares, Amazing Stories, Night Visions, Masters of Horror, and even Tales from the Crypt’s sci-fi spin-off, Perversions of Science. Hooper’s contribution to Tales from the Crypt, “Dead Wait,” isn’t necessarily the director’s strongest work. However, there’s still plenty to appreciate in this voodoo-centric episode and it gets Tobe Hooper directing Whoopi Goldberg and Vanity, if nothing else.
Hooper is arguably not the best choice to be telling a plantation revenge story, especially one that’s lacking in tact. It’s still appreciated to get Hooper playing in this sandbox, if only for a single episode. “Dead Wait” also concludes with one of Tales from the Crypt’s strangest outros. The Crypt Keeper, on a replica of The Late Show with David Letterman set, interviews Goldberg about her Oscar win from The Color Purple before she beheads him with a machete. It’s such a bewildering sequence that lampoons rich Americana and filters it through a disturbing lens that Tobe Hooper can do better than anyone else.
William Friedkin
“On a Deadman’s Chest” – Season 4, Episode 3
Courtesy of HBO
William Friedkin is another horror genre titan who is responsible for a little film called The Exorcist, but also other fundamental films like Cruising, Sorcerer, and To Live and Die in L.A. Friedkin is the perfect name to pull into Tales from the Crypt and his episode, “On a Deadman’s Chest,” ends up feeling closest in tone to his film Bug, right down to its bleak ending. Friedkin’s episode is set in the world of heavy metal and he casts several real-life musicians in roles to add an extra layer of authenticity. It’s also kind of adorable that the name of the heavy metal band in Friedkin’s Tales from the Crypt episode is “Exorcist,” of all things. Despite the episode’s rock band setting, “On a Deadman’s Chest” involves a supernatural tattoo that proves to go far deeper than skin deep.
Friedkin utilizes some genuinely alarming effects for Danny’s “living” tattoo that have held up well and still look great nearly 35 years later. It’s a bit of a glimpse into what Manhunter or Red Dragon would have looked like with Friedkin at the helm. Friedkin is no stranger to harrowing conclusions, and so it’s great to see him with a Tales from the Crypt episode that doesn’t hold back with its brutal final image. Friedkin doesn’t always get enough credit for how good he is at creating psychological tension and terror. “On a Deadman’s Chest” highlights just how good he can be at depicting a character slowly unraveling. “On a Deadman’s Chest” is also the perfect double-feature with The X-Files’ “evil tattoo” episode, “Never Again.”
Kyle MacLachlan
“As Ye Sow” – Season 5, Episode 2
Courtesy of HBO
Kyle MacLachlan will forever have credibility as a quirky genre performer thanks to his roles in David Lynch’s oeuvre, particularly Twin Peaks. MacLachlan beautifully played against type in Tales from the Crypt’s season three classic, “Carrion Death,” in which he’s a murderous outlaw who is being stalked by a hungry vulture in a blistering desert. MacLachlan’s experience on Tales from the Crypt was clearly a positive experience for the actor because he would return two seasons later to direct season five’s “As Ye Sow.”
“As Ye Sow” details a twisted take on hard-boiled detective fiction rather than a story about a monster or something that’s explicitly supernatural, which feels like the better fit for MacLachlan’s sensibilities. There’s a very Rian Johnson quality to MacLachlan’s aesthetic, in fact, and “As Ye Sow” feels like the type of episode that Johnson would love. MacLachlan avoids casting himself in his own episode, but fellow Twin Peaks alum and perpetual hothead Miguel Ferrer makes the cut.
MacLachlan has had major roles on many different television series and yet it’s curious that he never felt the compulsion or confidence to direct an episode of TwinPeaks, Desperate Housewives or Portlandia. Tales from the Crypt’s heightened tone and broader sensibilities gave MacLachlan enough freedom to test these waters and create something weird, wonderful, and wicked, even if he never does it again.
Mary Lambert
“Collection Completed” – Season 1, Episode 6
Courtesy of HBO
Female horror directors were few and far between during the ’70s and ’80s, which made Mary Lambert such an exciting discovery when Pet Sematary came out in 1989. Stephen King even personally chose Lambert to direct his novel’s adaptation because of her passion and understanding of the project and genre storytelling. Pet Sematary made such an impression upon its release and Lambert’s Tales from the Crypt episode, “Collection Completed,” would air just two months later. It was such an exciting experience to discover this up-and-coming voice in horror and then have her direct the first season’s finale. It’d be like if a Black Mirror episode directed by Ari Aster dropped while Hereditary was still in theaters.
In terms of storytelling, “Collection Completed” is such a traditional Tales from the Crypt episode. Jonah (M. Emmet Walsh) is forced into retirement, and there’s immediate tension between him and his wife, Anita (Audra Lindley), whose obsessive love for pets and animals progressively wears Jonas down. It’s the casting and performances that make “Collection Completed” such successful madness.
Just like how Lambert’s unconventional casting of Fred Gwynne in Pet Sematary worked, Walsh and Lindley make sure that they always come across as ludicrous caricatures. It’s an angle that makes sense for an EC Comics adaptation and proof of how well Lambert understood the source material. ATales from the Crypt episode should be dealing in extremes. Unfortunately, Lambert didn’t direct any other Tales from the Crypt episodes, but she was actually supposed to direct Tales From the Crypt’sDemon Knight at one point before Pet Sematary Two’s poor performance gave investors pause in the project.
Chris Walas
“‘Til Death” – Season 2, Episode 4
Courtesy of HBO
Chris Walas is a special effects and make-up visionary who is responsible for so many iconic creatures and setpieces from horror cinema. Walas created the titular monsters from both Gremlins and Critters, the face-melting Ark of the Covenant sequence from Raiders of the Lost Ark, and his work on The Fly won him an Academy Award for Best Make-Up. Walas managed to expand upon his special effects expertise when he stepped into the director’s chair for the underrated Fly II. Walas’ directorial efforts on feature films are limited to The Fly II and The Vagrant, a bizarre Bill Paxton-led broad horror project that honestly feels like a later-season Tales from the Crypt episode, right down to how it’s shot.
What makes Tales from the Crypt such an exceptional series is that it knew how to get the most out of its directors and gave them episodes that play to their strengths. “‘Til Death” is one of Tales from the Crypt’s several indulgences in voodoo, which in this case involves a love potion that pushes eternal love to disturbing heights. Walas’ design for Margaret’s rotting undead body is some of Walas’ best work and builds upon some of The Fly II’s gorier setpieces. This episode would be unremarkable in less competent hands, and Walas stepping in as director turns this into a smart opportunity to push his limits as an effects artist, just as much as it hones his skills as a director. “‘Til Death’s” revolting corpse is still one of the most disgusting and effective zombie designs of all time, and it’s right up there with Tarman from The Return of the Living Dead.
Bob Hoskins
“Fatal Caper” – Season 7, Episode 1
Courtesy of HBO
Tales from the Crypt’s seventh and final season moved its production to the United Kingdom, which opened the series up to a wide range of British guest stars, such as Daniel Craig, Ewan McGregor, and Steve Coogan. Season seven is often regarded as Tales from the Crypt’s weakest season due to production working on fumes to some extent after going right into production after Demon Knight’s completion. However, the premiere, “Fatal Caper,” is one of the final season’s highlights.
Bob Hoskins is another talented actor who has only directed a couple of features, with Tales from the Crypt reflecting some of his most ambitious work as a director. The episode, which also features Hoskins in a supporting role, plays out like Succession meets Ready or Not, with EC Comics’ signature karmic cruelty. A stipulation in a will regarding a massive inheritance pits two privileged siblings against each other as this life-changing money leads to a domino effect of death. It doesn’t hurt that “Fatal Caper” is co-written by A. L. Katz & Gilbert Adler, who are true Crypt savants, with Hoskins rising to the occasion with a sharp visual style. He brings out the dark, biting humor of this story without ever pushing it too far.
Bob Gale
“House of Horror” – Season 5, Episode 7
Courtesy of HBO
Bob Gale is a legendary screenwriter who came up alongside Robert Zemeckis, penning what’s still one of the best screenplays of all-time in Back to the Future. Zemeckis was the one who would direct his and Gale’s screenplays, but Tales from the Crypt gave Gale the opportunity to flex his muscles as a director. “House of Horror” is Gale’s first proper directorial effort outside of two shorts and a live-action segment from the Back to the Future animated series. Gale does some interesting work in “House of Horror,” and there’s a clear voice that’s on display. However, Gale didn’t really direct much after this experience, which makes his Tales from the Crypt episode a fascinating anomaly in his career.
“House of Horror” tells a story about fraternity hazing that goes too far when a pledge initiation at a haunted house causes a disturbing stir. A feud between a fraternity and sorority, with supernatural mayhem caught in the middle, is right up Gale’s alley. There’s a very quaint, lost-in-time quality to this episode that brings Zemeckis’ earlier films to mind. “House of Horror” is the only Tales from the Crypt episode that Bob Gale wrote or directed. However, Gale and longtime collaborator, Robert Zemeckis, were responsible for the original story and draft of Tales from the Crypt’s second feature film, Bordello of Blood. In fact, it’s the first thing that Gale and Zemeckis ever wrote together, coming out of college.
