In the screenplay for Halloween, John Carpenter & Debra Hill repeatedly refer to Michael Myers as "the Shape." Featureless. Silent. Oppressively non-specific. Like the idea of the boogeyman, Myers is crafted as a blank canvas upon which the audience might project their own worst fears.
The third entry to the Halloween franchise failed to grasp what made the original so successful: not Michael Myers, but the audience's investment in the lives of the babysitters.
A picture might be worth a thousand words, but the right sound in the right moment can be worth a million nightmares.
His portraits of classic characters forever changed the field of horror illustration, blurring the lines between fine art & kitsch.