more financially successful than a parody, so many of the comedic scenes were edited out and new horror scenes were shot and added to the film. Sachs said he felt the film was taken away from him, and that it suffered as a result because the producers tried to make it both a comedy and horror film, thus failing at both. Sachs said of the decision, "How can a serious horror movie end with the monster being shoveled into a garbage can?" Makeup artist Baker provided the special makeup effects for The Incredible Melting Man, which included the gradual melting of Steve West. Rebar wore facial appliances that simulated melting flesh, and his hands and feet were fitted with liquid substances that dropped off as he walked, creating the appearance that West's body was falling apart. During one scene, a murdered fisherman's severed head falls down a waterfall and smashes on the rocks below. To create the effect, Baker used a gelatin head with a wax skull and fake blood inside, which burst out upon impact. Baker created four distinct stages of makeup design so that West would appear to melt gradually as time passed. However, after the film went through two separate stages of editing, these makeup stages were ultimately eliminated from the final cut, and the character looks generally the same throughout the film. Richard Meyers, author of The World of Fantasy Films, said actor Rebar was impatient and uncooperative with the extensive makeup sessions required for the effects, and thus did not wear all of the facial appliances Baker designed. This, Meyers said, might have been an additional factor in the lack of makeup effect stages in the final film. The version of the film shot by Sachs had not included any scenes with West before he sustained the radiation poisoning that caused his body to melt. Such scenes were, however, re-shot later by the producers without Sachs' participation. Harry Woolman worked on the special effects along with Baker, and Willy Curtis worked as the film's cinematographer. Some scenes included photography errors, including one in which light shines through a kitchen window from outside even though it is supposed to be nighttime. Michel Levesque provided art direction, and the musical score was composed by London Philharmonic Orchestra conductor Arlon Ober. During post-production, as the producers decided to change the film into a more serious horror film, they