New Stuff

"A Terrorist Ate My Brain"

Zombies, consumer culture, and a plot for world domination...

Quite a fun film to do effects for. And, as an added bonus, you can watch the whole (only 17 minutes) flick here, in streaming Flash video. You need at least the Flash 7 plugin for your browser to play it. A word of caution, it's pretty bloody (you could probably tell that from the shot above) and theres a bit of "bad" language. Just so you know.

"Future"

Cryptic technological torture, eternal surveilance, sex, drugs, and unrequited love kills. Some of the scenes in this made me really uncomfortable to be on set, but in a good way - very effective. Props (the helmet), bullet hits (with an attach to the performer, wireless CO2 powered rig), and some pretty nifty applied on set silicone makeups.

ouch.

"44"

Urban crime drama with a whole lotta mayhem. All based on real characters and situations, there were shootings, stabbings, bludgeonings and slashings abounding. Small budget, great crew, 3 or 4 locations a day, piles of makeup effects, fulltime for a month. It;s been a while since I was so exausted. Heres one shot of one of the leads stitching himself up, after he's been slashed in a fight with his son, who he thinks he's killed.

"Cold Feet, Wet Dreams, and The Kitchen Sink"

They asked me for a big slimy squidhead mask. That talks. No problem.

"Electra Elf"

Don't ask me why, not a clue, but I had turn an early 30's Puerto Rican actor into an aging chinese martial arts master. But that's just how it is working with Nick Zedd. I just do the work. I know there are more than this one thumbnail, but they're somewhere on a hard drive that got yanked out of the machine.

And now, for something completely different...

Well, not entirely. But it is a process that I've learned to love, besides the heat, dirt, molten wax burns, and the occasional narrowly averted molten metal disaster. I spent a good chunk of time as the resident mad scientist and jack of all trades in a somewhat unconventional fine art foundry. That's okay, it meant I got to do the jobs nobody in their right mind would touch. This is my favorite.

An artist, Jude Tallichet, had come to us with a project - to cast a damn near perfect replica of a real bearskin rug in polished aluminum. My first reaction was a rather stupid stunned look, and then some pretty good profanity about impossibilities. When that subsided, I actually got to work..

In essence, it involved making a lifecast of fur, that still looked like fur. Hooo, boy. Not something I'd seen before. I think we nailed it pretty good.

And the Brooklyn Hall of Fame goes to Luis Gispert, who had us do an old skool boombox park bench in polished bronze. It sat in the middle of downtown Brooklyn for a year, and a lot of people sat on it. It wasn't really all that comfy, but people dug it. This picture is from the day the piece had to be delivered, and at the time I'd been up and working for around 43 hours to make sure it got there. Another example of why there's not a person on earth I've worked with who can say I won't go the extra mile to make sure the job gets there on time. It's just a given.