How a sitcom pitch about a big dumb cousin became a Hollywood creature feature

Entertainment · Published 3 October 2026 Swipe more like this →

In short: Before it was a 1987 film, the story of a family living with a Bigfoot was envisioned as a television comedy. Director William Dear transformed the concept into a feature, securing Steven Spielberg as executive producer and winning an Academy Award for the creature's impressive makeup design.

The origins of Harry and the Hendersons trace back to 1978, when William E. Martin and Ezra D. Rappaport pitched a story about a friendly sasquatch moving in with an American family. They initially conceived the project as a sitcom, imagining the creature as a clumsy relative hiding from neighbors. After the commercial disappointment of his 1982 film Timerider: The Adventure of Lyle Swann, William Dear revisited the script, refining it into a feature-length narrative.

Dear’s path to production was bolstered by Steven Spielberg, who brought the project to Amblin Productions after being impressed by Dear’s work on the Amazing Stories series. This collaboration caused friction with makeup artist Rick Baker, who held a grudge against Spielberg regarding the unproduced project Night Skies. Dear successfully mediated the tension, ensuring Baker remained to create the iconic creature designs. John Lithgow, initially hesitant due to the script's tone, eventually signed on after seeing Baker’s concept art for Harry.

Upon its 1987 release, the film earned $50 million globally, though it faced mixed critical reception. While some reviewers praised the technical achievements, others felt the film leaned too heavily into Spielberg-esque sentimentality. Critics like Roger Ebert argued that the film lacked a sense of mystery, portraying the creature as too gentle and domesticated. Despite these critiques, the film’s legacy persisted, spawning a television spin-off that ran until 1993 and cementing its place in pop culture as a unique blend of cryptid myth and family comedy.

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