Steve Neill filmmaker and special effects artist
Special Effects Artist Steve Neill
By J. Jekyll
July 2009
Goremaster.com
Mr. Neill began his journey into special effects and filmmaking in the 1970s and has worked with notable artists such as John Chambers and Rick Baker. He is currently working on his own film "Foo Fighters" about UFO sightings by pilots during WWII. Read on to learn more about his experiences in the world of special effects. |
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GM: When did you make your decision to enter the field?
SN: When I first saw 2001: A Space Odyssey, while in High School. I was so impressed with Stanley Kubrick I learned all I could about him and film making from that point on.
GM: What or who inspired you to start? Who was your influence?
SN: For makeup effects I was most influenced by John Chamber’s work on “Planet of the Apes.” Although I always loved monsters and special effects that movie really perked my interest. “How did they do that?”
Rick Baker was another and gave me my start in the industry.
GM: Favorite early special effects memory – movie scene – book – TV show?
SN: Again it was 2001. Being one who has a deep interest in space travel, aircraft, and contact with extraterrestrial intelligences, no film or piece of work had more power to move me into the world of effects makeup, and film making in general.
Star Trek was number two on the list, as it again represented the human race in the future as successful space travelers. And Spock’s ears were of a keen interest to me (little did I know I would later go on to make his ears for the first movie.)
GM: What are your top five special effects movies?
SN: 2001 (1968)
Planet of the apes (1968)
Quatermass and the Pit (1967)
Jason and the Argonauts (1963)
First Men in the Moon (1964)
GM: What is your favorite makeup special effects scene from a movie? (it doesn’t have to be from one of your movies)
SN: Hands down, Dick Smith’s work on Amadeus. His old age makeup on F. Murray Abraham was breath taking. I’ve never seen better.
GM: Who is your favorite special effects person?
SN: Doug Trumbull.
GM: How did you get started working in the Special Effects industry?
SN: I started in 1971 at the American Zoetrope in San Francisco. I called them after reading an article in the San Francisco Examiner about George Lucas and his best movie (IMHO), THX1138. The article claimed they as a group wanted to help young film makers. I took them up on this literally and called them. I first talked to Bart Patton and he invited me down where I met him, Francis and Lucas in those early days. I showed them my 8mm sound short movies. Francis pulled down a screen in his office and they all watched them there. It was nerve racking to say the least but they were most kind and opened there doors to me to make another short in 16 mm this time.
I learned a lot there and over a year made my film. Francis was one great human being and became a friend. But when I moved to LA in 74 I lost contact with them all. I wish I hadn’t.
GM: Whose current work do you admire?
SN: Todd Masters, K&B Effects, Greg Cannon, Joel Harlow, Rick Baker of course. And always Dick Smith.
As a film maker? I’d have to say Peter Weir. Peter is a true film maker and artist. My favorite movie of his to date is “Master and Commander”. One of my favorite movies of all time.
GM: How have you gotten work in the industry?
SN: It started with the kindness of Rick Baker. When I first came to LA from the bay area I was familiar with his work from reading magazines. I looked him up in the phone book. Called him and told him I had come to LA seeking work in the makeup effects.
I had been working in my garage learning the craft and sculpting for a couple of years or more.
He asked to see my work and invited me to his home. Soon thereafter we became friends and Rick gave me my first jobs as referrals. One was to Larry Cohen on, “God Told Me To” and the other Bill Stromberg for making the “Crater Lake Monster”. I later went on to do 5 movies for Larry Cohen and we are still in touch to this day. Rick referred me to a great many jobs over time including Gorilla suit work. Despite what he had to say about himself at the Dick Smith tribute about himself, he was kind, gracious and helped my career along. Sorry Rick. You have too always helped people who asked for it.
Later after doing a number of shows on my own I worked with John Chambers, Fred Philips, Tom Burman, and Bob Schiffer to name a few greats.
GM: What was your toughest job?
SN: They were all tough. Every time you do another movie the effects demanded of you were in most cases something that hadn’t been done before. When I worked for Roger Corman at his Studio for a few years I encountered some of the hardness there. Mutant comes to mind.
GM: What was your favorite job?
SN: Without a doubt, “Star Trek the Motion Picture”. Fred Philips was a good friend and a very nice man. He invited me to work on the film and to start I got to make Nimoy’s ears. What a thrill! I later went on to create and bridge alien and got to work with Gene and Robert Wise. I never had a better time or more fond memories. The cats, the crew and Gene were just so great to work with.
Leonard Nimoy wearing Steve's ears
Steve's 'Bridge Alien' mold from Star Trek the Motion Picture (1979)
My number 2 is Ghost Busters. That was a great show to work on.
Ghostbusters chair creatures (1984)
Steve is the guy with the long hair with Sigourney Weaver (1984)
GM: How do you pick out materials to use for a project? Do you make your own? Are there any brands that you recommend?
SN: Materials I work with vary greatly depending on the application. Rarely do I make anything of my own. Most of the materials I need all come from Burman Industries from UltraCal 30 to Epoxy and silicone. You name it, they have it.
GM: Are there any new breakthroughs or ideas in the industry that excite you?
SN: Silicone appliances. I am just now experimenting with the materials. I am enthralled. This is what this field has always needed. Back in the 70 and 80’s I always questioned why silicone couldn’t be used as a prosthetic material.
The pallets are another. I have just started using Skin Illustrator for the first time and I love it. No more greasy mess, water proof and you can airbrush. Where has this been all my life? Excellent material.
GM: How do you envision the future of makeup special effects – do you think that CGI is hurting the industry?
SN: Yes I do think it’s hurting it. Mostly out of ignorance by some of today’s film makers who think CGI can solve effects needs. They are wrong. I feel quite qualified to make such a harsh statement as I have worked as a CGI artist for 9 years. Currently I just did 100 CGI shots for my personal movie of WW2 Fighters planes. There was no other way to accomplish the effects. Except by CGI.
CGI is a great compositing tool. A great answer for solving effects problems that can’t be done physically on camera. But using it to do makeup effects and creatures in many cases is not necessary and better accomplished practically in real conditions in front of a real camera.
GM: What is a current project you are working on? Or what project are you excited about?
SN: Currently I’m working on my own movie, “Foo Fighters.”
I created Foo Fighters along with my wife and screen writer Gilly Neill. We have been in production since November of 2008.
Foo Fighters is about a WW2 veteran fighter pilot who in his closing years decides to tell his story to the press about his encounter with a UFO during World War Two. Many such incidences actually occurred. During this period they were called by the pilots, Foo Fighters. That term came from that period in time. Not the rock band of today.
The film is filled with CGI effects and creature work. I’m currently sculpting the parts of the aliens for the film. Later they will be made into articulated puppets. A lizard reptile type race of beings.
We are about 2/3rds of the way done with the movie and I hope to finish in September of this year. To learn more about it visit: www.foofightersmovie.com
Steve Neill created this mask for the TV series 'Sightings'
GM: Do you have advice for a beginner or someone just getting started in the business?
The best thing to do if you want to get into this business on any level is learn your craft. Push hard. Make contacts. Get your work scene and be prepared to work harder than you ever thought possible. Don’t get discouraged and give up if this is a dream of yours. Fight for it. Constantly produce product if you’re working or not. Make yourself a shop or lab. Make projects for yourself and work every day on them. Perfect your skills. This is a magical and wonderful field of creation like no other.
GM: What was the best advice/training you ever received?
SN: When I first went to work for John Chambers I was in awe. Here’s the guy that did Planet of the Apes, Outer Limits, and so much more. A god of his field.
As I stuttered in his presents on my first day in his lab he handed me a broom. “See if it fits boy!”
All of the above!
Take a look at more of Steve Neill's work at the following websites:
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