the final scene, the werewolf gradually returns to Larry Talbot's human form through the standard technique. FX makeup Stories about the makeup and transformation scenes have become legendary and are mostly apocryphal. The transformation of Chaney from man into a monster was certainly laborious; the entirety of the makeup took five to six hours to apply and an hour to remove. Jack Pierce had initially designed it for Henry Hull in Werewolf of London (1935), but Hull argued that the disguise made no sense within the plot since "Dr. Glendon" needed to be recognizable by the characters even in his werewolf form. Pierce was ordered to design a second version which left more of Hull's face recognizable. Pierce then recycled his original design for the 1941 film. Chaney claimed he was forced to sit motionless for hours as the scenes were shot frame by frame. At times he claimed he was left to remain sitting while the crew broke for lunch and was also equivocal about using the bathroom. Chaney even said special effects men drove tiny finishing nails into the skin on the sides of his hands so they would remain motionless during close-ups. However, there may be some exaggeration involved - studio logs indicate that during the filming of Abbott and Costello Meet Frankenstein (1948), the entire crew, including Chaney, took a two-hour break during the filming of a transformation and filmed the rest of the scene later that day (though the makeup for Abbott and Costello Meet Frankenstein had significantly been redesigned and streamlined by Bud Westmore over the original Jack Pierce makeup). What happened was a plaster mold was made to hold his head still as his image was photographed and his outline drawn on panes of glass in front of the camera. Chaney then went to makeup man Jack Pierce's department, where Pierce, using grease paint, a rubber snout appliance, and a series of wigs, glued layers of yak hair to Chaney's face. Then Chaney would return to the set, line himself up using the panes of glass as a reference, and several feet of film was shot. Then Chaney would return to the makeup department. A new layer would be applied to show the transformation being further along. He would then return to the sound stage to film. This was done about a half-dozen times. Talbot's lap dissolve transformation on screen only took seconds,