Make-up and visual effects
Richard Edlund was the head of visual effects, and his team had just completed work on Ghostbusters, which worked to the advantage of Fright Night. "They had made all of their mistakes with how to do the matte shots and everything on Ghostbusters, with their huge budget", Holland commented, "so they really knew how to do [the special effects] as inexpensively and efficiently as it could be done at the time."
The most excruciating part of the makeup process for the cast was the contact lenses. In those days, the lenses were hard plastic, which Steve Johnson hand-painted (throwing some glitter into the mix), lacquered, and sanded. The cast could only wear them for a maximum of 20 minutes because they were virtually blind in them, and they were thick and painful, and dried out their eyes. A set was made for Stark to wear when he was in his final pursuit of Peter and Charley, but he kept tripping on the stairs. Holland told him to take one out, and he was then able to perform the scene. Three sets were made for Amanda Bearse, but one of them caused her agonizing pain, which she initially tried to endure. When it finally became too much to bear, she took the contacts out and the crew realized they had forgotten to buff them. For the scene in Mrs. Brewster's bedroom, Geoffreys kept his contacts in for nearly 40 minutes, resulting in scratches on his eyeballs for months afterward.
For the transformation sequences, up to 8 hours were needed to prepare Sarandon's makeup. Sarandon was uncomfortable spending that long sitting in a chair doing nothing, and since he had experience doing his own makeup for his work on the stage, he volunteered to help. He did some of the stippling, and while the makeup men were applying prosthetics to his face and head, he worked on the finger extensions. Sarandon has often joked that the rubber fingers caused difficulties whenever he had to urinate, so costume supervisor Mort Schwartz constantly offered to help him. "I said to Morry, 'Thank you, no, I'll just use a coat hanger!'" Co-star Ragsdale recalled one instance when Sarandon spent an entire day in the makeup chair, and when he was finally fully transformed into the monster, a producer informed him that they were not going to be able to shoot the scene that day. "And Chris said, 'Okay,' and turned around and went and took it off, it was amazing!" Ragsdale exclaimed. "I would have gone through the roof, but he didn't. His will had been broken by that point!"
The makeup for Evil Ed's wolf transformation took 18 hours. While he had the wolf head on, the crew began pouring what they thought was methylcellulose into his mouth to create the illusion of saliva, but when Geoffreys began to complain about the taste, Mark Bryan Wilson realized they had been using prosthetic adhesive, which was gluing his mouth shut.
On Christmas Eve, during the shooting of a scene where he is running down a staircase, Ragsdale accidentally tripped and broke his ankle, resulting in the film being temporarily put on a hold until he could recover. "Rod Martin, a trainer for the Los Angeles Raiders, came in every day to wrap the foot for me, and the shooting schedule was rearranged to put off the action sequences until it mended." said Ragsdale. Many scenes were shot with his foot in a cast, including the scene in which Jerry comes to Charley's room to attack him. For shots in which Charley's feet were visible, the costumers slit Ragsdale's shoes in several places, slipped them on and then covered the portions of white cast that peeked through the slits with black cloth. For the scene in which Jerry is carrying Charley by the throat with one hand, Sarandon was simultaneously pushing Ragsdale along on a furniture dolly.
The shot of Jerry pulling the pencil out of his hand was achieved by having a spring-loaded, collapsible pencil glued to his palm and an eraser-tip loosely attached to the back of his hand. When he turns his hand and pulls the spring-loaded piece from his palm, out of shot a monofilament wire jerked away the tip, so when he turns it back, it appears as though he has pulled it straight through his hand. "So we go to the editing room", FX man Steve Johnson recalled of an early cut, "and Tom had put a reaction in the middle of it, ruined the entire shot!"
The crew attempted to achieve the illusion of the cross-scar vanishing from Evil Ed's forehead live on-set, but the effect was a resounding failure. In that predigital age, Edlund's crew was able to alter the film using optical photography to achieve the effect.
Filming of the sequence with the bat was difficult for effects veteran Randall Cook, who kept winding up on film while puppeteering the creature. Further complications ensued when the bat tries to bite Roddy McDowall's character and he forces a bone into its mouth; getting the puppet to bite was difficult, and then McDowall jerked the bone too hard and broke the bat's skull. The bat was quickly patched, but the required repairs forced them to wait two days to shoot more close-ups.
One of the props used in the film was an early or possibly the first example of a vampire killing kit.
