Makeup Artists Archives

rick baker

Rick Baker


Special effects and make-up artist Rick Baker, after seven Oscar wins and dozens of film, music video, and television credits to his name, has announced plans to retire. But fans of his work will have a chance to own a piece of his deep legacy.

Baker, who may be most widely known for creating Michael Jackson’s iconic look in the “Thriller” music video, told radio station 89.3 KPCC of his intent to hang up the prosthetics and wigs after decades of memorable work.

“I said the time is right, I am 64 years old, and the business is crazy right now,” Baker told KPCC. “I like to do things right, and they wanted cheap and fast. That is not what I want to do, so I just decided it is basically time to get out.”

Baker clarified that he’s not opposed to continuing to consult or pitch in on projects, but that he doesn’t want to run such an involved operation has he has at Cinovation Studios.

His career not only includes the memrable make-up from “Thriller,” but everything from alien designs in Men in Black to creature design of Ron Pearlman’s Beast from Beauty and the Beast.

Baker’s last major project was work on last year’s Maleficent, but because of the industry’s shift to more CGI effects and less practical work, Baker’s seen less of a need for his specialty.

“I could’ve done [Maleficent] in a garage basically,” Baker said of the project’s size.

But Baker’s work will live on, as over 400 pieces are set to be auctioned off by The Prop Store in California on May 29. Everything from the Grinch’s Santa costume from the 2001 live-action How the Grinch Stole Christmas to Harry’s suit from Harry and the Hendersons will be available at the live auction.

Baker said he may continue to work on projects on his own terms, and he has been posting some of his work on his Twitter account and YouTube channel. Listen to Baker discuss his plans to retire on KPCC’s official website.

Kiana Jones Zombie

Kiana Jones Freakmo SFX


GM: When did you make the decision to enter the field?
KJ: I always liked putting a lot of time and effort into costumes for parties, which lead to an interest in learning makeup effects. I was invited to a Zombie Crawl at my university in August 2012, and I put some time into learning how to use latex and fake blood on Youtube. My costume and makeup got a lot of attention at the zombie crawl, so I posted it onto Reddit. It made the front page, and I got a lot of praise and encouragement, and since then I’ve been practicing makeup consistently. Around Halloween that year, I started a Youtube channel which is the main area I practice makeup in currently.

GM: Who inspired you to start – who was your influence?
KJ: Stuart Bray has been my strongest influence from the early days until now. He works in the industry (including working on Game of Thrones!) but also has a Youtube channel, posts makeup tutorials to instructables, and has online e-courses, and DVD’s available for sale. It’s great seeing someone with a lot of experience still take the time to teach others techniques, and to see the magic happen.

GM: What is your Favorite Special Effects memory (from a TV show, Movie or Book)?
KJ: It has to be from The Walking Dead. Greg Nicotero just pushes the makeup to limits and has these disgusting practical makeup ideas, then works them into the storyline. In particular, I think it’s in the second season, there’s a car crash, and a zombie tries to stick its face through the broken windshield, which rips and pulls back the flesh on their cheeks.

Kiana Jones severed fingers

Kiana Jones severed fingers

GM: How did you get started working in the industry?
KJ: I went into a store here in Perth called Kirkside Products which supplies a lot of the mold-making materials, and started talking to a really nice guy called Will Huntly who works there. Will was a makeup artist back in LA before he moved to Australia, and I excitedly showed him some of the makeup I’d been working on for Halloween. He wanted to introduce me to another MUA in Perth, called Kate Anderson. Kate Anderson called me shortly afterwards asking if I’d like some experience doing makeup on set for an indie film being made in Perth (Fallout: Lanius). Since then she’s been kind enough to invite me onto a few other projects of hers, include a John Butler music video, some private events, and a new TV show being made for our ABC.

GM: What current projects are you working on or excited about?

KJ: I really want to create the makeup of someone who’s whole face has been degloved – to have it as a single piece which you can hold in your hand, and then to create the muscles and bone structure behind that. This is what I’m most excited about currently.

I just finished work on a show for ABC 2 here in Australia, which involved my first assistance with bald cap application, and learning how to use an air brush, which was really fun.

Kiana Jones Maggot Eye

Kiana Jones Maggot Eye

GM: What was your toughest job?
KJ: When I first learned how to encapsulate silicone, I made a large piece to go onto my own face. It went quite far around the side of my head to my ears, and that eye was mostly covered. I didn’t consider how I’d be able to see what I was doing or blend the sides out, so that ended up being quite difficult.

GM: What was your favorite job?

KJ: My favorite job was a look I did on myself for the Warm Bodies premiere. I worked out how to create a gouged eye, with an arrow coming out of it.

Kiana Jones Arrow Wound in Eye

Kiana Jones Arrow Wound


GM: What was the best advice or training you ever received?
KJ: It was from a Stuart Bray DVD – how to apply blood more realistically, or how to create a messy look which doesn’t look too carefully placed, while not hiding your makeup underneath the blood. But basically he uses tissues to smudge and remove a lot of the blood, while leaving hints of it, and shows where to place splatter or drips to get a maximum effect with minimal blood.

GM: How do you pick your makeup for a project?  Do you make your own?

KJ: A lot of it is having used the products before and knowing their qualities and how easy they are to apply. If it’s something I want to do quickly and cheaply, and doesn’t have to withstand a lot of time or movement, then I could use something as simple as nose and scar wax. If it has to last a long time and be flexible, I will use silicone (Sculpt Gel). And just considering exactly how the injury was made – how old the blood will be (whether to use fresh or aged blood) how old the bruise would be (whether to include yellows and greens), etc.  The only thing I’ve made so far is gelatine, and the experience was… interesting. It smelt very strongly of parmesan cheese and vomit.

GM: Are there brands you recommend?
KJ: I really like all the products that Mouldlife makes; they’ve all been great quality. I have their sculpt gel, baldiez, super baldiez, silicone pigments, flocking powder, platsil gel-10 and deadener, and their Kensington Gore blood is fantastic.

Kiana Jones Bloody Eye

Kiana Jones Bloody Eye


GM: How do you envision the future of makeup effects?  Do you think that CG is hurting the industry?

KJ: I don’t think so. I think they work well together. If it can be created with makeup effects, I think it’s easier for the actors to respond to it, and it involves a lot less post-production, and will usually look more realistic than the CGI stuff (if you’re looking for it). But there are situations where you need to have a whole part missing from a face or body, which can only be achieved with CGI, but with makeup surrounding those parts, it’s perfect.

GM: Are there any breakthroughs in the industry that excite you?

KJ: It’s not a recent breakthrough, but boy I’m glad I’m learning this while encapsulated silicone is a thing. Melting away cap plastic for seamless edges is exciting, and the movement and feel of silicone is just amazing. The most comfortable and realistic makeup that I’ve worn was encapsulated silicone.

GM: Is there someone new to the industry that you like? Someone we should watch for?
KJ: Kate Anderson. I have been able to work under her for most of my makeup jobs in Perth, and on top of being a cinephile/film geek, she’s an amazing makeup artist; I’ve never seen someone get so excited over makeup products, her passion shows through, and she’s also one of the loveliest people to work with. She’s been making an impression in Perth’s film sphere, and has begun assisting in makeup departments on feature films, and being the head of makeup for music videos.


Kiana Jones more Maggot Eyes


GM: Whose current work do you admire?
KJ: As mentioned before, Stuart Bray, and Neill Gorton, and also Greg Nicotero, these are my current favorites.

GM: Do you have advice for the beginner or someone just getting started in the business?

KJ: Practice as often as you can, learn as much as you can. If you’re passionate enough to always be investigating makeup tutorials, learning about new products and techniques, and practicing whenever you get the urge to be creative, I think these things help the most. If you’re not the kind of person to be self motivating, then schools can help, but so many in the industry are self taught. Lastly, make sure you know the safety requirements of all of the materials that you’re working with; it’s really important.

GM:: What are your top five special effects movies?  (The movies can have practical or visual effects).
KJ: Jurassic Park, Terminator 2, Any Lord of the Rings movie, Gravity, and Pan’s Labyrinth.


Visit Kiana’s sensational Youtube channel Freakmo SFX to see video demos of her amazing special effects work!




FROM: EmipreOnline

The Godfather of Makeup has passed away

by Ben Kirby


Dick Smith, the renowned “Godfather of Makeup”, has died aged 92. Smith was a legend in the field, pioneering an astonishing number of different techniques and trickery in-camera. He’s best known for his work on an impressive list of classics, including Taxi Driver, The Godfather, The Exorcist and Amadeus. Indeed, it’s a tribute to his talents that – The Exorcist aside – audiences often forget that these films had such extraordinary special effects and makeup, all hiding in plain sight.

Born in June 1922, Smith began his career in television as head of the New York NBC make-up department in 1945. He was one of the first pioneers in using small sections of foam latex (instead of one whole mask), which freed an actor up to be far more expressive and mobile. During that time, he worked on shows from Roald Dahl’s Way Out to cult hit Dark Shadows. However, it is for his work in films for which Smith is primarily remembered.

The list of his achievements is remarkable, beginning with his first big job on The Godfather. Here, he transformed Marlon Brando from a matinee idol to the aged, jowly Vito Corleone, using a variety of techniques that were all the more impressive considering this was the same year Brando was naked and far more youthful in Bertolucci’s Last Tango In Paris.

One year later, Dick Smith became a part of horror legend with The Exorcist in 1973. The gruesome transformation of Regan (Linda Blair) from a sweet 12 year-old girl into a demon-possessed monster was vivid and wholly believable, thanks in large part to Smith’s astounding work. As if this wasn’t enough, three years later he helped bring the bloody climax of Scorsese’s Taxi Driver to life. In fact, so realistic were the prosthetic injuries shown onscreen that Scorsese famously had to desaturate the colours, making the blood less red, in order to be granted the necessary R rating.

From there, Smith went on to work on Marathon Man, The Deer Hunter and Amadeus, where he transformed the then 44 year-old F. Murray Abraham into a 73 year-old Antonio Salieri. Together with Paul LeBlanc, Smith won the 1984 Academy Award for Best Makeup, while Abraham also won Best Actor. Smith himself recalled afterwards, “It was the best job I ever had. I did all the work, had plenty of time, total co-operation, [and a] proper screen test.”

Following this triumph, Smith continued to work on various projects, including on the TV show Monsters and Robert Zemeckis’ effects spectacular Death Becomes Her. He also continued to offer training and courses on movie makeup, passing on his pioneering techniques to new generations of artists. In 2011, he received one of the film industry’s highest accolades when he was given an Honorary Award from the Academy. Accepting the award, he said, “This has been an incredible joy… I have loved being a makeup artist so much, but this kind of puts a crown on all of that.”

A younger legend of movie makeup, Rick Baker, said of Smith, “There’s never going to be another Dick Smith. Dick is, without a doubt, the greatest makeup artist who’s ever going to live.”



Barney Burman Grimm NBC makeup

Barney Burman making up a monster from NBC's Grimm


Every episode, Grimm fans are taken in by its many monsters and twists on the fairytales they’ve grown up on. Make-up FX artist Barney Burman is the man who takes the series’ monsters from the script pages and on to the screen.

With his own shop, Proteus Make-up FX, in North Hollywood, Burman comes from an accomplished line of make-up FX artists. His grandfather made masks and props for the original Wolfman and Twilight Zone series. His father, Emmy-winner Thomas R. Burman, worked on Body Snatchers, Star Kid, Powder, Carrie 2 and The X Files, among others.

Burman’s own credits include How the Grinch Stole Christmas, Planet of the Apes, Men in Black 2, Haunted Mansion, and JJ Abrams’ 2009 Star Trek, which earned the make-up FX artist an Academy Award.

“The Star Trek film was definitely a huge challenge,” Burman tells The Hollywood Reporter. “It was the biggest film I had done to date and it was about six months of sleeping four hours a night and just keep going and going and going and it took so much of my focus — just a crazy amount of energy that it took to get that done.”

Grimm’s production schedule is challenging, as well. Burman and his team may have as few as four days to create a monster from scratch. In comparison, Burman says he’d usually ask for at least three weeks for a straight make-up assignment. He must also deal with distance, since the series shoots in Portland.

“It really does vary quite a bit per episode, which is one of the things I really love about it is that it isn’t just kind of doing the same thing,” he says of the many creatures for the series. “It’s creating over and over again each episode. Often we’ve had situations where we’ve had to make a full dead body in five days or we did an episode with some Bigfoot characters and we had four days to get our first one done. I’ve had up to about seven or eight people in my shop in L.A. plus as many as three or four people up in Portland all working at the same time.”

For Friday’s Cinderella-inspired episode titled “Happily Ever Aftermath,” the series tasked Burman with creating the “Murcielago,” a bat-like creature with red eyes, rows of teeth and a death-inducing scream.

For more pictures and video visit:




The Horror of Frankenstein is a 1970 British horror film by Hammer Film Productions that is both a semi-parody and remake of the 1957 film The Curse of Frankenstein. It was produced and directed by Jimmy Sangster, starring Ralph Bates, Kate O’Mara, Veronica Carlson and David Prowse as the monster. The original music score was composed by Malcolm Williamson.


Baron Victor von Frankenstein, a cold, arrogant and womanizing genius, is angry when his father forbids him to continue his anatomy experiments. He then sabotages his father’s shotgun, killing him as a consequence. Inheriting the family fortune, he uses the money to enter medical school in Vienna, but is forced to return home when he impregnates the daughter of the Dean. There, he sets up his laboratory, starting a series of experiments involving the revival of the dead, eventually building a composite body from human parts, which he then brings to life.

The Horror of Frankenstein


Kate O'Mara

Kate O'Mara

Ralph Bates … Victor Frankenstein
Kate O’Mara … Alys
Veronica Carlson … Elizabeth Heiss
Dennis Price … The Graverobber
Jon Finch … Lt. Henry Becker
Bernard Archard … Prof. Heiss


Make Up Department
Tom Smith … makeup supervisor
Pearl Tipaldi … hair styles supervisor

Veronica Carlson

Veronica Carlson


Amazon Specials!


Roger Corman’s ‘A Bucket of Blood’ movie poster

Roger Corman’s ‘A Bucket of Blood’ movie poster

A Bucket of Blood is a 1959 comedy horror film directed by Roger Corman and starring Dick Miller. The film, produced on a $50,000 budget, was shot in five days, and shares many of the low-budget filmmaking aesthetics commonly associated with Corman’s work. Written by Charles B. Griffith, the film is a dark comic satire about a socially awkward young busboy at a Bohemian café who is acclaimed as a brilliant sculptor when he accidentally kills his landlady’s cat and covers its body in clay to hide the evidence. When he is pressured to create similar work, he becomes murderous.

A Bucket of Blood was the first of three collaborations between Corman and Griffith in the comedy genre, followed by The Little Shop of Horrors and Creature from the Haunted Sea. Corman had made no previous attempt at the genre, although past and future Corman productions in other genres incorporated comedic elements. The film works as a satire not only of Corman’s own films, but also of the art world and teen films of the 1950s. The plot has similarities to Mystery of the Wax Museum (1933). However, by setting the story in the Beat milieu of 1950s Southern California, Corman creates an entirely different mood from the earlier film.

A Bucket of Blood was remade in 1995 as a made-for-television film for the Showtime network. The character name of Walter Paisley has been adapted by actor Dick Miller as an in-joke in productions such as The Howling and Shake, Rattle and Rock!, which credit otherwise unrelated characters played by Miller under the character name.

Dick Miller in a scene from Roger Corman's 'A Bucket of Blood'

Dick Miller in a scene from Roger Corman's 'A Bucket of Blood'

One night after hearing the words of Maxwell H. Brock (Julian Burton), a poet who performs at a café called The Yellow Door, socially awkward busboy Walter Paisley (Dick Miller) returns home to attempt to create a sculpture, in the face of Carla (Barboura Morris), a girl frequently hanging out where he works that he has a crush on. As much as he tries, he cannot form the clay to resemble a human face. He stops when he hears the meowing of Frankie, the cat owned by his inquisitive landlady, Mrs. Surchart (Myrtle Vail), who has somehow gotten himself stuck in Walter’s wall. Walter attempts to get Frankie out using a knife, but accidentally kills Frankie when he sticks the knife into his wall. Disgusted with himself, Walter cries himself to sleep and hears the poetry of Brock pour through his tormented mind, giving him a radical inspiration. Instead of giving Frankie a proper burial, Walter covers the cat in clay, even leaving the knife stuck in it.

Barboura Morris

Barboura Morris

The next morning, Walter shows the cat to Carla and his boss Leonard (Antony Carbone). Though Leonard is dismissive of the oddly morbid piece, Carla is enthusiastic about the work, and the piece goes on display in the café, where Walter gets newfound respect from the beatniks and poets who hang out in the café. He is approached by an adoring fan, Naolia (Jhean Burton), who gives him a vial of heroin to remember her by. Not knowing what it is, he sticks it in his pocket, and is followed home by Lou Raby (Bert Convy), an undercover cop. Lou attempts to intimidate him into confessing being a narcotics mule by brandishing his gun. When Lou attempts to arrest Walter, Walter in a blind panic accidentally smashes his frying pan into Lou’s head. The fracas alerts his landlady and Walter fast talks her out of the apartment as he tearfully tries to hide the body. Meanwhile, Walter’s boss finds out the secret behind Walter’s “Dead Cat” piece. The next morning, Walter uneasily works while plainclothes police case the coffeehouse, much to the chagrin of the stoners and barflies. Leonard starts sarcastically praising Walter until Carla and the others come to his defense. Walter haltingly tells them he has a whole new piece, which he calls “Murdered Man.” Knowing Walter’s secret, Leonard is horrified. While attempting to call the police, Leonard is approached by an art collector who offers him $500 for “Dead Cat,” and so, he hangs up the phone. Both Leonard and Carla come with Walter as he unveils his latest work and are simultaneously amazed and appalled at the sight of it. Walter is very uneasy as well but his mood improves as Carla critiques it as “hideous and eloquent” and deserving of a public exhibition. Leonard is aghast at the idea, even as he realizes the potential for wealth if he plays this right. He and Carla quarrel over giving Walter a show, a prospect that delights the simpleton, especially as Leonard gives him a paltry cash advance to keep quiet. Once they leave, Walter gleefully shows off the statue to his horrified landlady.

The next night, Walter is treated like a king by pretty much everyone, except for Alice (Judy Bamber), who has been out of town for the last few nights. Despite being pinup gorgeous and pop-culturally savvy for the time, it is clear she is not very much liked. Seeing Walter at the table with Brock, she wonders what the busboy is doing sitting with them. As Brock explains that a great artist is in their midst, Alice goes mercenary and preens a bit at Walter, declaring her fee outright. Leonard tries to interdict any notion of him doing more figure work, even despite Carla’s insistence. The stoners put their two cents in and eventually the bristling Alice escalates the conversation into an argument that seriously angers Walter and he leaves in a huff.

scene from Roger Corman’s ‘A Bucket of Blood’

scene from Roger Corman’s ‘A Bucket of Blood’

Walter later follows her home, trying to apologize and getting the door slammed in his face. His reaction is one of seething rage but he calms down and persists, explaining that he wants her to be his model and is willing to pay her price. At that notion, she is all ears and eager to work. At Walter’s apartment, Alice strips nude off camera, and poses in a chair. Walter suggests she put back on her scarf and, in a pretense of adjusting it to look right, uses it to strangle her. The latest work is brought to Brock’s house, where the gang is gathered for a sumptuous organic breakfast. Once unveiled, the statue of Alice renders them awestruck and Carla is so pleased that she kisses Walter on the lips. Brock is so impressed, he throws a party at the Yellow Door in Walter’s honor. Costumed as a carnival fool, Walter is wined and dined to excess. Leonard keeps an eye on him, worried that he will make some mistake that will blow this deal. Brock composes a poem especially for Walter that provides him more twisted inspiration.

In the middle of 1959, American International Pictures approached Roger Corman to direct a horror film, but only gave Corman a $50,000 budget, and a five-day shooting schedule. Corman accepted the challenge, but was uninterested in producing a straightfoward horror film. Corman and screenwriter Charles B. Griffith developed the idea for producing a satirical black comedy horror film about the beatnik culture. Corman and Griffith proceeded to research the film at various coffeehouses along the Sunset Strip, developing the film’s plot structure by the evening’s end, partially basing the film’s story upon Mystery of the Wax Museum.

The film was shot under the title The Living Dead. According to actor Antony Carbone, “[The production] had a kind of spirit of ‘having fun,’ and I think [Corman] realized that while making the film. And I feel it helped him in other films he made, like [The Little Shop of Horrors]—he carried that Bucket of Blood ‘idea’ into that next film.” Actor Dick Miller was unhappy with the film’s low production values. Miller is quoted by Beverly Gray as stating that “If they’d had more money to put into the production so we didn’t have to use mannequins for the statues, if we didn’t have to shoot the last scene with me hanging with just some gray makeup on because they didn’t have time to put the plaster on me, this could have been a very classic little film. The story was good, the acting was good, the humor in it was good, the timing was right, everything about it was right—-but they didn’t have any money for production values, and it suffered.”

American International Pictures’ theatrical marketing campaign emphasized the comedic aspects of the film’s plot, proclaiming that the audience would be “sick, sick, sick—from laughing!” The film’s poster consists of a series of comic strip panels humorously hinting at the film’s horror content. When Corman found that the film “worked well,” he continued to direct two more comedic films scripted by Griffith, The Little Shop of Horrors, a farce, and Creature from the Haunted Sea, a parody of the monster movie genre.

The film is in the public domain and has been widely distributed on home video from various companies. The film’s negative was acquired by MGM Home Entertainment upon the company’s purchase of Orion Pictures, which had owned the AIP catalog. MGM released A Bucket of Blood on VHS and DVD in 2000. MGM re-released the film as part of a box set with seven other Corman productions in 2007. However, the box set featured the same menus and transfer as MGM’s previous edition of the film.

Cast – in credits order  (verified as complete)
  Dick Miller … Walter Paisley
  Barboura Morris … Carla
  Antony Carbone … Leonard de Santis
  Julian Burton … Maxwell H. Brock
  Ed Nelson … Art Lacroix
  John Brinkley … Will
  John Shaner … Oscar
  Judy Bamber … Alice
  Myrtle Damerel … Mrs. Swickert
  Burt Convy … Lou Raby

Bob Mark was the makeup artist for the film. He also did the makeup for many, many films and TV shows like Lost in Space, Angel and the Badman and Rio Grande

Source(s): Wikipedia, IMDB


Guillermo del Toro Birthday October 9




Guillermo Del Toro

Guillermo Del Toro



Guillermo del Toro Gómez (Spanish pronunciation: [ɣiˈʎermo ðel ˈtoɾo ˈɣomeθ]; born 9 October 1964) is an Academy Award-nominated Mexican director, producer, screenwriter and designer whose work has gained both critical acclaim and a devoted fanbase. He is mostly known for his acclaimed films, Pan’s Labyrinth and the Hellboy film franchise. He is a frequent collaborator with Ron Perlman and Doug Jones. His films draw heavily on sources as diverse as weird fiction, fantasy and war.

Del Toro was born in Guadalajara, Jalisco, Mexico. He studied at the Instituto de Ciencias, University of Guadalajara.   Del Toro first got involved into filmmaking when he was about eight years old and studied special effects and make-up with SFX artist Dick Smith.  He participated in the cult series La Hora Marcada along with other renowned Mexican filmakers such as Emmanuel Lubezki, Alejandro González Iñárritu and Alfonso Cuarón.

He executive-produced his first short film, Doña Herlinda y su hijo, in 1986, at the age of 21. After that, he spent eight years as a special effects make-up designer, and formed his own company, Necropia. He also co-founded the Guadalajara International Film Festival. Later on in his directing career, he formed his own production company, the Tequila Gang.

In 1997, at the age of 33, Hollywood opened its doors to his talent. Guillermo received $30 million budget from Miramax studios to shoot his second film, Mimic.

Guillermo del Toro has directed a wide variety of films, from action hero comic book adaptations (Hellboy and Blade II) to historical fantasy and horror films, two of which are set in Spain in the context of the Spanish Civil War under the authoritarian rule of Francisco Franco. These two films, El espinazo del diablo (The Devil’s Backbone) and El laberinto del fauno (Pan’s Labyrinth), are among his most critically acclaimed works. They share similar settings, protagonists (young children), and themes (including the relationship between fantasy/horror and the struggle to live under authoritarian or dictatorial rule) with the 1973 Spanish film The Spirit of the Beehive, widely considered to be the finest Spanish film of the 1970s.

Trade Mark:

Often uses insects or insect imagery.

Uses a lot of religious relics and artifacts. Always mentions Catholicism.

Archangels, symbols and other religious items.

Many of his films have major scenes based in underground areas such as subways systems (Mimic (1997), Hellboy (2004)), sewers (Blade II (2002)), or large basements (El espinazo del diablo (2001)).

Likes to use amber as a dominant color in his movies. This is especially noticeable in Blade II (2002) and Hellboy (2004).

Clockwork designs and motifs (for example, Kroenen’s lair in Hellboy (2004) and the captain’s obsession with his father’s watch in El laberinto del fauno (2006) ).

Often casts Ron Perlman, Doug Jones, and Federico Luppi.

Frequently works with cinematographer Guillermo Navarro.

One or more of his protagonists are often strongly and pivotally influenced by their father figures.


Became a vegetarian after seeing The Texas Chain Saw Massacre (1974) but only for four years. Currently, he’s no longer a vegetarian.

Turned down a chance to direct Blade: Trinity (2004), AVP: Alien vs. Predator (2004) and Harry Potter and the Prisoner of Azkaban (2004) to work on his dream project: Hellboy (2004).

Fought the film studios for almost seven years to get Ron Perlman for the title role in Hellboy (2004). The studio wanted a bigger name to ensure the success of the movie, but del Toro thought that Perlman was the perfect choice and wouldn’t make the movie if he wasn’t cast.

He is friends with fellow successful Mexican directors Alfonso Cuarón and Alejandro González Iñárritu.

Has a photographic memory.

1997: His father was kidnapped in Mexico and held for seventy-two days until his ransom was paid.

In a January 2007 interview on the radio program “Fresh Air with Terry Gross,” said that his strictly Catholic grandmother was a “Piper Laurie in Carrie (1976)” figure in his childhood. He told Gross that his grandmother would require him to mortify himself in self-punishment, in one case placing metal bottle caps into his shoes so that the soles of his feet were bloodied while walking to school. She also tried to exorcise him twice because of his persistent interest in fantasy and drawing monsters from his imagination.

His favorite movie monsters are Frankenstein’s Monster and the Creature of the Black Lagoon.

In 2007, he was one of 10 Mexican Oscar-nominees. The others were Alejandro González Iñárritu, Guillermo Arriaga, Adriana Barraza, Alfonso Cuarón, Guillermo Navarro, Emmanuel Lubezki, Eugenio Caballero, Pilar Revuelta and Fernando Cámara.

Lost 45 lbs. while making El laberinto del fauno (2006), which he admitted in the DVD’s video prologue.

Turned down a chance to direct I Am Legend (2007), One Missed Call (2008), Harry Potter and the Half-Blood Prince (2009) and Halo (2012) to work on Hellboy II: The Golden Army (2008).

Turned down the chance to direct Hellraiser: Bloodline (1996).

States Mimic (1997) as the worst of his films and has disowned it, blaming constant interference from the producers as the reason for the poor result.

Dec. 2007 – Ranked #37 on EW’s The 50 Smartest People in Hollywood.

Was asked to direct End of Days (1999), but he turned it down.

His movie and comic book collection is so huge that he had to buy an extra home to accommodate it.

Is good friends with director Robert Rodriguez.

Amazon Specials!

Amazon Specials!


61st Annual Primetime Emmy Awards

Source: The Academy of Television Arts & Sciences September 20, 2009

Here are the 2009 nominees  and winners for the Makeup Categories:
* emmys_logoEmmy logo is next to winners

Outstanding Makeup For A Miniseries Or A Movie (Non-Prosthetic)

Gifted Hands: The Ben Carson Story · TNT · Sony Pictures Television, Thomasfilm and The Hatchery LLC, Angie Wells, Department Head Makeup Artist , Wynona Price, Key Makeup Artist

Grey Gardens · HBO · Specialty Films and Locomotive in association with HBO Films Linda Dowds, Department Head Makeup Artist Susan Hayward, Key Makeup Artist Vivian Baker, Personal Makeup Artist

Maneater · Lifetime · Sony Pictures Television Kathrine James-Gibson, Department Head Makeup Artist Loretta James-Demasi, Key Makeup Artist Melanie Hughes Weaver, Personal Makeup Artist

emmys_logoThe Courageous Heart Of Irena Sendler (Hallmark Hall Of Fame Presentation) (winner)· CBS · Jeff Most/Jeff Rice Productions in association with Hallmark Hall of Fame Productions Trefor Proud, Department Head Makeup Artist


Outstanding Makeup For A Multi-Camera Series Or Special (Non-Prosthetic)

Dancing With The Stars · Episode 804 · ABC · BBC Worldwide Productions Melanie Mills, Department Head Makeup Artist Zena Shteysel, Key Makeup Artist Patti Ramsey-Bortoli, Additional Makeup Artist Angela Moos, Additional Makeup Artist

emmys_logoMADtv (winner)· Episode 1405 · FOX · Girl Group Company Jennifer Aspinall, Department Head Makeup Artist Alexei O’Brien, Additional Makeup Artist David Williams, Additional Makeup Artist Heather Mages, Additional Makeup Artist

Saturday Night Live · NBC · SNL Studios in association with NBC Studios and Broadway Video Louie Zakarian, Department Head Makeup Artist Josh Turi, Makeup Artist Amy Tagliamonti, Makeup Artist

So You Think You Can Dance · Episode #421/422A · FOX · Dick Clark Productions and 19 Entertainment Amy Elizabeth Strozzi, Department Head Makeup Artist Heather Cummings, Key Makeup Artist Tifanie White, Additional Makeup Artist Marie DelPrete, Additional Makeup Artist


Outstanding Makeup For A Single-Camera Series (Non-Prosthetic)

Grey’s Anatomy · Dream A Little Dream Of Me, Part 1 and Part 2 · ABC · ABC Studios Norman T. Leavitt, Department Head Makeup Artist Brigitte Bugayong, Key Makeup Artist Michelle Teleis, Additional Makeup Artist

Little Britain USA · 106 · HBO · 19 Entertainment/MBST Entertainment Limited in association with HBO Entertainment John E. Jackson, Department Head Makeup Artist Chris Burgoyne, Makeup Artist Matthew Mungle, Makeup Artist

Mad Men · The Jet Set · AMC · Lionsgate Television Debbie Zoller, Department Head Makeup Artist Denise DellaValle, Key Makeup Artist Ron Pipes, Additional Makeup Artist Debra Schrey, Additional Makeup Artist

Nip/Tuck · Gisele Baylock And Legend · FX Networks · The Shepard/Robin Company in association with Warner Bros. Television Productions, Inc. Eryn Krueger Mekash, Department Head Makeup Artist Stephanie Fowler, Key Makeup Artist

emmys_logoPushing Daisies (winner)· Dim Sum Lose Some · ABC · Living Dead Guy Productions, The Jinks/Cohen Company in association with Warner Bros. Television Todd A. McIntosh, Department Head Makeup Artist David Martin DeLeon, Key Makeup Artist Steven Anderson, Additional Makeup Artist


Outstanding Prosthetic Makeup For A Series, Miniseries, Movie Or A Special

CSI: Crime Scene Investigation · A Space Oddity · CBS · A CBS Paramount Network Television production in association with Jerry Bruckheimer Television Matthew Mungle, Prosthetic Designer, Special Makeup Effects Artist Clinton Wayne, Special Makeup Effects Artist Melanie Levitt, Department Head Makeup Artist Tom Hoerber, Key Makeup Artist

emmys_logoGrey Gardens (winner)· HBO · Specialty Films and Locomotive in association with HBO Films Vivian Baker, Special Makeup Effects Department Head Linda Dowds, Department Head Makeup Artist Bill Corso, Prosthetic Designer Sean Samson, Special Makeup Effects Artist

Grey’s Anatomy · Stand By Me · ABC · ABC Studios Norman T. Leavitt, Department Head Makeup Artist Bari Dreiband-Burman, Special Makeup Effects Artist Thomas Burman, Prosthetic Designer Vincent Van Dyke, Prosthetic Designer

Little Britain USA · 105 · HBO · 19 Entertainment/MBST Entertainment Limited in association with HBO Entertainment John E. Jackson, Special Makeup Effects Department Head Matthew W. Mungle, Prosthetic Designer/ Special Makeup Effects Artist Chris Burgoyne, Makeup Artist

Nip/Tuck · Budi Sabri · FX Networks · The Shepard/Robin Company in association with Warner Bros. Television Productions, Inc. Bari Dreiband-Burman, Special Makeup Effects Artist Thomas R. Burman, Prosthetic Designer Dave Dupuis, Special Makeup Effects Artist

Tracey Ullman’s State Of The Union · Episode 205 · Showtime · Showtime Presents in association with Allan McKeown Presents, LLC Matthew Mungle, Prosthetic Designer/ Special Makeup Effects Department Head Sally Sutton Craven, Department Head Makeup Artist Kate Shorter, Additional Makeup Artist

Seth Brundle (Jeff Goldblum), a brilliant but eccentric scientist attempts to woo investigative journalist Veronica Quaife (Geena Davis) by offering her a scoop on his latest research in the field of matter transportation, which against all the expectations of the scientific establishment have proved successful. Up to a point. Brundle thinks he has ironed out the last problem when he successfully transports a living creature, but when he attempts to teleport himself a fly enters one of the transmission booths, and Brundle finds he is a changed man. Directed by David Cronenberg.


The Fly (1986) Collector's Edition DVD

The Fly (1986) Collector's Edition DVD

Chris Walas

Chris Walas

The Academy Award-winning makeup seen in The Fly was designed and executed by Chris Walas, Inc. over a period of several months. The final “Brundlefly” creature was designed first, and then the various steps needed to carry protagonist Seth Brundle to that final incarnation were designed afterwards. The transformation was intended to be a metaphor for the aging process. Indeed, Brundle loses hair, teeth, and fingernails, and his skin becomes discolored and lumpy. The intention of the filmmakers was to give Brundle a bruised, cancerous, and diseased look that gets progressively worse as time goes on.

Various looks were tested for the different stages before the perfected versions seen in the completed film were arrived at. Some early test footage can be seen on the 2005 The Fly: Collector’s Edition DVD.

Early versions of the different makeup stages include:

  • A prototype of Stage 2, featuring more exaggerated facial discoloration, open sores, and peeling skin (test footage of this version can be seen on the Fly CE DVD).
  • The first test version of Stage 4-A, which featured the same face sculpt as the final version of the makeup, but also had an enlarged headpiece underneath Goldblum’s wig. The “hernia-bulge” on his side is in a lower position on his torso than the final version, and only Brundle’s face and hands are visibly mutated (also, the sticky pads on his palms are of different colors than the metallic-green pads seen in the final film). The rest of Goldblum’s body is discolored with body makeup, and there are numerous insect-like hair on his arms and torso. In the final version of the makeup seen in the film, Brundle’s entire body is lumpy and deformed (test footage of this version can be seen on the Fly CE DVD).
  • There may also be another version of Stage 4-A (which can be seen in nearly all of the publicity and still photos of that stage). This version appears to have been slightly different arm appliances (with less distorted hands and the lighter-colored palm-pads of the first prototype), and more hair on Brundle’s head (which actually seems to coordinate better with Stage 4-B, since Stage 4-B appears to have more hair than the filmed version of Stage 4-A). It is unclear if this really is a prototype, since most photographs of this version indicate that it was filmed on the set. The apparent differences between the “prototype” and the filmed version may be mere optical illusions created by different lighting schemes and film stocks.

The following is a breakdown of each stage of Seth Brundle’s horrifying transformation as designed and created by the CWI crew (with behind-the-scenes information presented in italics):

stage 1

  • STAGE 1 (on view in the scene where Veronica discovers the small insect-like hair on Brundle’s back): Brundle’s face is discolored, and it looks as though he has a bad allergic rash. Small insect-like hair are growing out of the scratches on his back (an injury sustained prior to Brundle’s fateful teleportation when he accidentally rolled onto a stray circuit board). Actor Jeff Goldblum’s face was painted with dabs of blue, red, green, yellow, and purple makeup. The fly-like hairs growing from the scratches on Brundle’s back were made from monofilament fishing wire that was trimmed, tapered, and tinted black.

stage 2

  • STAGE 2 (on view from the scene where the manic Brundle storms the city’s streets and then enters the bar until the point where he discovers the truth about his fusion with the fly by checking his computer’s records): It looks as though Brundle has a bad case of acne, as his face is full of what appear to be pimples, warts and bumps (and more lesions appear on his face as time goes on). There are also some small fly-like hair growing out of various areas of his face. Many more such hairs are growing out of the scratches on his back. Brundle’s entire body is becoming subtly discolored, and his fingers are swollen, blotchy, and have loose nails. Plastic warts and pimples were applied to Goldblum’s face. He wore foam-rubber fingertips for the nail-pulling scene.

stage 3

  • STAGE 3 (on view in the scene where Veronica visits Brundle after his one-month period of isolation): Brundle’s face is lumpy and discolored. His hair is thinning (with visible bald spots) and he has no eyebrows. He must now walk with the aid of a pair of canes (as a result of the changes to the internal structure of his body) and vomits digestive enzymes on his food in order to dissolve it. His right ear falls off in this stage. Goldblum wore a full face/neck foam-rubber appliance with wig. The “vomit drop” was made from eggs, honey, and milk.

brundle fly vomit

 the fly wall crawling

  • STAGE 4-A (on view in the scene where Brundle demonstrates his wall-crawling and “vomit-drop” abilities to Veronica): Brundle has lost all of his fingernails and toenails, as well as both ears. More of his hair has fallen out, and his teeth are crooked (with receding gums). His face and arms are lumpy and deformed, and coarse insect-like hair are popping up all over his body. A hernia-like bulge has developed on the lower left side of his torso. Sticky, cushion-like pads have appeared on Brundle’s hands and feet, giving him the ability to cling to walls. The index and middle fingers of his right hand are webbed together with a flap of flesh, and are starting to fuse together. Some of the toes on Brundle’s feet are clustering and fusing together. Brundle’s inner structure has changed enough so that he no longer needs to walk with the aid of canes, and his natural posture is now hunched-over and inhuman. He has also begun to exhibit nervous and jerky fly-like twitches and tics. Goldblum wore foam rubber appliances on his head, neck, arms, feet, and abdomen. Various pieces of foam were put under his clothes to suggest a misshapen form underneath. He also wore another wig with sparse hair, and custom-made dentures to show Brundle’s crooked teeth.
  • STAGE 4-B (not seen in the final cut of the film; appears only in the deleted “Monkey-Cat”/insect leg-amputation sequence that can be seen on the 2005 Fly Collector’s Edition DVD): Essentially the same as Stage 4-A, but now Brundle is completely naked. He has lost his genitals, his buttocks have fused together, and his hips have become enlarged. The hernia-like bulge on his side is very noticeable now, and eventually bursts open to reveal a small, fly-like appendage that is messily amputated by the horrified Brundle. This stage used the same sculpting for the face and arms as the Stage 4-A makeup appliances did, but since the scene revealed the entirety of Brundle’s deformed body, Goldblum was required to wear the first of two full-body, foam-rubber bodysuits designed for the film.

 brundle fly


  • STAGE 5 (on view from the point where Brundle loses his teeth up until the moment when his jaw is ripped off): Brundle is nearing the end of his metamorphosis. His hair is almost entirely gone, and his head has become swollen and misshapen, with his face becoming even more deformed with each passing day. The right eyelid is puffed up and the left eye is enlarged. The index and middle fingers on Brundle’s right hand have fused together, and the pinky fingers of both hands are “dead” and vestigial. The middle finger of the left hand has swollen grotesquely. Brundle loses a number of teeth in this stage, and the open wound on his torso (from the deleted “Monkey-Cat” sequence) is clearly visible. Goldblum wore a second full-body suit similar to the one seen in Stage 4-B, but this version featured more exaggerated deformities. Goldblum also wore special dentures with missing teeth and custom-made contact lenses that made one eye appear bigger than the other. The most complete makeup job in the film, this stage took nearly six hours to apply to the actor. The shots of Brundle’s jaw flexing in a non-human way so as to vomit corrosive enzymes on Stathis Borans, as well as the shots of Brundle’s jaw being ripped off, were accomplished with mechanized, full-bust puppet replicas of the character. In a shot deleted from the film, Brundle ejects an eight-inch proboscis to suck up the remains of Borans’ foot, a sequence that also used a mechanized bust. This was the last stage of Brundlefly’s transformation to involve actor Jeff Goldblum.


brundle fly final

  • STAGE 6 (seen when Brundlefly tosses Veronica into Telepod 1 and then steps into Telepod 2): Brundle’s dead and decaying outer layer of skin falls off to reveal his final incarnation, the entity previously dubbed “Brundlefly” by the diseased scientist. This grotesque, human-insect hybrid creature has a misshapen head with antennae, insect eyes with enlarged eyelids, and a proboscis. The torso is somewhat segmented, like an insect’s, and the hips are enlarged and deformed. The right leg reverses its joint to become reverse-bending and Brundle’s dead human foot is shaken loose. The creature’s new, hoof-like foot ends in a pair of insect claws. The left leg is vaguely humanoid, but there is an extra joint beneath the knee, and the foot consists of three large, deformed toes that are tipped by insect claws. The left arm is humanoid, and terminates in a deformed, human-type hand with stubby, vestigial fingers. The right arm features a distorted and elongated hand that has two long, tubular fingers (which are also tipped with insect claws), and a small, fly-like leg (similar to the leg that burst out of Brundle’s left side in the deleted “Monkey-Cat” scene) can be seen on the right side of the creature’s torso. This ultimate fusion of man and insect was brought to life through the use of various cable-controlled and rod-operated puppets.


  • “STAGE” 7 (seen in The Fly’s final moments, after Brundlefly is merged with a section of Telepod 2): Not necessarily a stage, but after its failure attempt to reclaim some semblance of humanity by merging with Veronica Quaife, Brundlefly is accidentally fused with a large chunk of its own sending telepod. The resulting fusion of man, insect, and machine crawls out of the receiving pod, mortally wounded and in terrible agony. The
    Complete Guide to Special Effects Makeup

    Complete Guide to Special Effects Makeup

    thing that was once Seth Brundle silently begs Veronica to end its life, and she does. This final incarnation of Seth Brundle, technically not a part of his metamorphosis into Brundlefly, was dubbed the “Brundlething” or “Brundlebooth” by the film’s crew (and is also called “BrundlePod” by some fans). The pathetic creature was created as a rod puppet with cable-controlled facial features.












The Rocky Horror Picture Show is a 1975 British musical comedy film that parodies science fiction and horror films.  Still in limited release nearly 34 years after its premiere, it has the longest-running theatrical release in film history.  It gained notoriety as a midnight movie in 1977 when audiences began participating with the film in theaters across the United States. “Rocky Horror” is the first movie from a major film studio, such as 20th Century Fox, to be in the midnight movie market.  Widely known by mainstream audiences, it has a large international following and is one of the best known and most financially successful midnight movies of all time.  In 2005, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant.”

The film, considered a cult classic,  is an adaptation of the British musical stage production The Rocky Horror Show. Richard O’Brien, author of the stage show, was assisted by Jim Sharman in writing the screenplay. The movie introduces Tim Curry and features Susan Sarandon and Barry Bostwick along with cast members from the original Kings Road production of the play performed at the Royal Court Theatre.

Tagline:  A Different Set Of Jaws.


Make Up Department
  Ramon Gow … hairdresser
  Pierre La Roche … original makeup designs creator
  Peter Robb-King … makeup artist
  Graham Freeborn … assistant makeup artist (uncredited)
  Ernest Gasser … assistant makeup artist (uncredited)
  Helen Lennox … assistant hair stylist (uncredited)
  Mike Lockey … assistant hair stylist (uncredited)
  Jane Royle … assistant makeup artist (uncredited)






Tim Curry, Barry Bostwick, Susan Sarandon

Tim Curry, Barry Bostwick, Susan Sarandon




Special Effects Department
  Colin Chilvers … special effects
  Wally Veevers … special effects
  Roy Spencer … standby special effects (uncredited)

$12.99 Movie Poster

$12.99 Movie Poster


3 Disc Anniversary Edition DVD

3 Disc Anniversary Edition DVD

The set here is a special 3 disc edition with two discs devoted to ROCKY HORROR and a single disc for SHOCK TREATMENT. The ROCKY HORROR portion includes the movie, audience participation tracks and video, commentary by Patricia Quinn and O’Brien, segments from a “Where Are They Now?” special on VH-1, and tons of featurettes featuring cast, crew, and fans.

SHOCK TREATMENT includes a remastered print of the movie (for the first time in widescreen on DVD), a commentary track from the fan club president and his friend (they tell trivia and do some of their “act” for screenings), two features with interviews from cast and crew members about the making of the film and the score, and trailers (which are bizarre and worth a look). Richard O’Brien does not make an appearance in ANY of the extras, so we have to rely on people involved with the production such as director Jim Sharman and Patricia Quinn to fill us in.

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