It’s not hard to look at Halloween II and realize the film’s one mission seems to be to destroy the original’s mysterious killer. (And if he made a few bucks off the franchise in the process, well, no one was more entitled to such than him.) Fueled, as Carpenter tells it, by a six-pack of beer a night, he hammered out the script for Halloween II. So Carpenter, while a firm “no” on directing, returned to finish off his monster with his typewriter. Loomis, must have felt a measure of responsibility for unleashing Michael Myers on the world. That famous last shot had come around to bite him in the ass if Michael Myers wasn’t dead, financiers queried, surely there was a sequel to keep that gravy train rolling? A logical thought from the money men, and Carpenter, much like his crazed Dr. Somewhat to his dismay, John Carpenter discovered he was one of those filmmakers. Small wonder, then, that by 1981 the low-budget film industry was lousy with filmmakers planting flags (and pitchforks and machetes) on every holiday on the calendar, lining up for some of that easy slasher money. Halloween made a bundle, and was for 20 years the most profitable independent film of all time. It ended the film on a perfect note of fear and unease and helped cement the film as a genre staple.
After all, Carpenter was responsible for that amazing final moment from 1978’s Halloween - the one where The Shape has vanished from the spot where he’d surely been shot dead seconds earlier. John Carpenter wanted Michael Myers dead.
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