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Hi Rich thanks for taking the time to do a interview with us man. Can you please tell us
a little about who you are and what exactly you do?
I've been working as a professional special effects artist for almost fourteen years. I have
worked on such film and television shows as FEAR RUNS SILENT, POWER RANGERS LOST
GALAXY, X-FILES, THE OMEN, BEOWULF, SERAPHIM FALLS, THE FLOCK, CSI: LAS VEGAS, NCIS,
ALIAS, MEDIUM, HOUSE and many more. When writer/director/producer William Winckler
offered me the part of "Salisbury" in his film FRANKENSTEIN VS. THE CREATURE FROM BLOOD
COVE (in addition to doing the special effects makeup) it opened a whole new world of
opportunities for me. After the release of "Frankenstein vs. the Creature" I began to get more
work in both special effects makeup and acting. To this day I continue to work as both a
character actor and professional special effects makeup artist.
I am forever a student of my craft - always studying and learning new techniques in both
acting and special effects. Each new job I take on is another opportunity for me to apply
what I have learned and to ultimately push the limits of my art. I am forever growing and
learning as an artist. I greatly admire Lon Cheney - as far as I'm concerned he was, and is the
original grandfather of special effects makeup artists. What I like most about Lon Cheney is
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that he was an actor that used his makeup as a tool to get more acting work. I don't think that he ever identified himself as an
effects artist. There's really never been anyone else like Lon Cheney since, the closest thing I suppose is Tom Savini. Tom is very
well known as both an actor and a special effects artist, but there was a certain magic with Lon Cheney that no one else can
duplicate. I guess that I would like to think of myself as a sort of modern day Lon Cheney, but the truth is there's no replacing
the original. It is however a great opportunity to get the chance to follow in the footsteps of such a legend. I can only imagine
what it must have been like back in the classic days of Hollywood.
Ultimately creating characters is what I do - and becoming a character actor is merely an extension of that creative process.
How long have you been in the special fx business?
I am going on fourteen years as a professional special effects makeup artist. In all reality though it has been something that I
have been training for since childhood. From that very first mask I made out of paper mache to the home made puppets and
halloween costumes... I was born to create monsters, creatures, critters and the like. All of my life I have practiced the skills of
the professional makeup effects artist most especially focusing on my drawing, painting, sculpting, sewing and mold making skills.
What made you wanna be a special fx artist?
When I decided to get out of the music business I knew that I wanted to find a new career that would allow me to use my
artistic skills. Although I had always been a monster movie fan and mask collector I had never really considered making monsters
for a living. It wasn't until I saw a TV show called "Only in Hollywood" where professional makeup artist Damon Charles was
interviewed about his makeup effects school (The Institute of Studio Makeup, Ltd.) in Hollywood. I never realized at that point
that there were schools out there where you could learn this stuff. You have to remember this was 1993 and the internet wasn't
even around yet... not like today anyways. We were all a lot more naive back then and if you wanted to learn a trade secret
like magic or special effects you either had to know someone or be willing to pay to learn. These days you can just go online
and learn the techniques right off a website. I still recommend going to a makeup school over trying to teach yourself. There's a
certain discipline that you learn in a classroom that can not be substituted. As well, if you actually have to pay to learn
something you may very well learn something. Although my school certainly did not teach me everything there is to know about
special effects it did prepare me for the professional industry.
What does a person have to do to get into this type of work?
The first thing one must do is learn as much as they can about the craft. Read about the major players in the industry. Get a
subscription to a makeup effects magazine. Go online and search about the art. Even look into taking a workshop or enrolling in
a makeup school... Then prepare yourself for a long journey of disappointments and low paying / no paying gigs while you "pay
your dues" one hundred times over. After a few years of this abuse, if you still have the will to carry on, you should be well on
your way to a career in special effects makeup. This industry is highly competitive and the work is far from plentiful. If you
want to make a lot of money this isn't the job for you. On the other hand if you want to have the best and most creative and
artistic job ever imagined... A job that you will love as much as you hate... Then this is the job for you. It takes a lot of
practice and patience to get good at special effects, and even when you are good it doesn't mean that you will get work. This is
why you really have to love what you do. A lot of people enter this field, go to school, get as far as creating the beginnings of a
portfolio and then they quit. It's not an easy job... There's long and hard hours and often times little gratification, but it is a
labor of love for me. I enjoy the process - from concept to creation to application.
Can you remember the first movie you done fx on, and can you tell us a bit about it?
The first real movie I did effects for was titled "FEAR RUNS SILENT". It starred Stacy Keach, Billy Dee Williams and Dan Lauria.
The film is about a group of teenagers that are terrorized by a creature in the woods. Plot sound familiar? It was another one of
your typical teens in the woods kind of movies. I did learn a lot on the project though. I had the chance to do a wide variety of
effects from transformation scenes, working effects, blood effects and foam latex makeup appliances. It was also a great
experience working with celebrities. At that point I was still doing beauty and straight makeup as well, so I really got to practice
almost every aspect of makeup on that show (short of tattoos and bald caps).
Your most recent work i personally have seen you do, was on William Winckler’s Frankenstein vs the Creature from Blood
Cove. What creature suits did you make and how long did it take for you to make them?
I was in charge of all of the creatures for FRANKENSTEIN VS. THE CREATURE FROM BLOOD COVE. I led an effects team of 12
artists, many of which were interns for my shop. In four short weeks my team and I created a full body creature suit complete
with mask and gloves for the blood cove creature. We also created the makeups for the monster, the wolfman, the bride and
the ghost. In addition there was also a prop hand, a dead body and a bunch of other fun gags. Despite being under staffed,
overbudget and out of time I think that we pulled off a small miracle on Winckler's film. For much less than $10K I delivered an
effects package that looked like it should have been in the $100K range. I have become quite gifted at making the most of small
budgets such as this.
What was it that drew you into wanting to create and design the creatures in Frankenstein vs the Creature from Blood
Cove?
Bill Winckler contacted me about doing the effects for his film. This film wasn't really any different than any of the other films
that I had worked on except that in this case Bill offered me a role in the film in addition to the job as creature designer. I am
not sure if Bill knew that I had worked as an actor in the past or not, but the offer was enough to entice me - so I agreed to
come on board. When it came to the actual design of the characters I was determined to stick with Bill's vision of a "homage" to
the classics. I wanted the monsters to have that old school feel - as if this movie could have been released in the 40's or 50's.
That is why the creature suit was made to look more like a rubber suit, because that's the way they were made back then. That
is why all of the designs stay to a more cartoonistic look as opposed to a real to life appearance. I wanted good characters not
just horrible monsters. I tried to put everything I loved about the original Universal monsters into these monsters without letting
them look too much like the originals. I hear that there's going to be a remake of the Creature from the Black Lagoon. I am sure
that the creature design for the remake will be far better than my version of the gillman, but I'll bet that my take on the famous
fish monster will be more fun.
Where do you get all your ideas on creating such realistic looking creatures?
When I am going for realism I take from life. When they say art imitates life they aren't kidding. I study as many real life photos
as I can. When I was working for Matthew Mungles for such shows as CSI: Las Vegas, NCIS and House we had to be very true to
life. In fact we even consulted with the LA county coroner on a regular basis for the show NCIS. To give you an idea of just how
dedicated I am to realism: When my grandmother recently passed away I created a death mask from her corpse so that I could
have access to the lifecast of a 93 year old woman for study. (it is very rare to find a life/death mask of anyone over the age of
60). As macabre as it may sound, it was a great honor for me to capture my grandmother's image in 3D. A death mask, once an
honored tradition reserved only for kings and royalty, is an anatomic duplication of a cadaver's face. Nowadays the technique is
refereed to as lifecasting, and is used to make anatomic duplications. Lifecasting is the first step in the process of creating a
makeup appliance.
Not only do I now have an incredible study piece for creating wrinkle texture of a 93+ year old female... but I also have a
permanent three dimensional cast of my grandmother to honor her memory.
You also starred in Frankenstein vs the Creature from Blood Cove as Salisbury. You must of had a work load on your
shoulders while William shot that film, adding and removing all the make up and effects to the other cast members and
then also getting yourself ready?
It is definitely a lot more work when you are acting and doing the effects for a movie. It's like having two jobs at the same
time. The trick is to be prepared and have back up for the days when I am needed as an actor. I am actually training a few
artists how to be my "second hand", so that they can take over when I am needed on set - and still deliver the makeup exactly
as I designed it. Continuity can become difficult, scheduling can get crazy and things can get messy if you aren't prepared. In all
honesty I prefer it this way. I love acting and doing effects! The truth is that special effects makeup was created as an actor's
tool. Many actors in theatre still do their own makeup, even effects makeup in some cases.
So in a sense I am finally now learning how to use makeup effects properly... as an actor's tool. This is how I define myself and
separate myself from the competition: I am a character actor, and a creator of characters. Unlike the modern character actors
of today like Eddie Murphy, Jim Carey or Michael Myers (that use makeup effects to create characters) I don't need to rely on an
effects lab to bring my ideas to life... I am the effects lab, and I am the actor. Two birds, one stone... That, I think, is why so
many Independent filmmakers have been casting me as an actor and to do the effects for their film - they are seeing that I am
much more in touch with the character than your usual actor. And they also see that I care much more about how the makeup
looks and moves on film because I am the one wearing it... and because I am the one wearing the makeup, I know exactly how
it should move with my face as I am designing it. Also I think that a lot of directors appreciate my knowledge of film - I am not
just another actor needing to be babysat. Rather I am proficient on a set and know exactly where my skills are most needed.
The only problem is I am not Eddie Murphy, Jim Carey or Michael Myers. I am an aspiring character actor / effects artist just
getting his foot in the proverbial door. I would like to think that in time the public may one day identify me with such big name
actors. Until then I humble myself in the realms of independent non-union film.
Was there any set backs while on set?
On Frankenstein there were a lot of setbacks. Mostly the usual lack of time and money. There was a lot of pressure coming from
the director to get the makeups done faster than they could be done. . . There was also issues with the weather. Heavy rains
caused a lot of setbacks in the lab. Fiberglass and rain are not friends, let's just leave it at that. However with all the setbacks I
am told that we still brought the film in under $35K, and if you look at the final film you'd have a hard time believing just how
cheap it was to make.
How does that make you feel, when you spend hours and hours creating these effects and then when it comes shooting
time, it only last a few seconds?
Sometimes your hard work ends up on the cutting room floor. This is just a cold hard fact of life, sometimes all the hard work
only lasts for seconds and other times it doesn't even make the cut. I think at times like that you just need to remind yourself
just how lucky you are that you aren't working at an office job. With that said, it is an awesome feeling when all your hard work
pays off and comes to life on screen. Whether it is for 2 hours or two seconds, the feeling is the same. There have been times
that I have suggested to a director to show an effect for only a brief moment and not let the viewer focus on the gag. If a brief
flash is the most effective way to show the effect then that is in my best interest. In the end I don't want the viewer to know
they are looking at an effect.
Their must be times you just wanted to say, "FUCK IT I HAVE HAD ENOUGH" and throw in the towel and go to the pub?
Sure, there's plenty of times that I want to quit. No more ridiculous deadlines, no more low ballers, no more headaches. But
honestly, I love my work too much. Really, it's like a sickness. It's my love of the art that keeps me going. I am a work-o-hlic, I
am known to work for hours on end, late into the night and early into the morning. I have gone several hours without sleep just
to make a deadline with nothing but coffee and my own determination keeping me going. Fact is I can't give up. Giving up to
me is being dead.
Are you a big fan of old monster movies, if so which films inspired you the most?
Yes, I love classic horror and sci-fi. Some of my most favorites include Frankenstein, The Wolfman, Dracula, The Mummy,
Creature from the Black Lagoon and sci-fi classics like The Day the Earth Stood Still, Forbidden Planet, Star Wars and Planet of
the Apes. The most influential movies for me are Star Wars, Planet of the Apes, The Pink Panther series, The Muppet Movie and
An American Werewolf in London. If you familiarize yourself with those four films you can probably see the influences. I also
love cartoons, and the influence definitely shows whenever I am creating something with a cartoon element. I have more fun
creating from fantasy than I do creating ultra realistic stuff. Although the gore effects and photo realism are very rewarding
from a creative and professional standpoint, it can get boring. Fantasy characters are the most fun to create because they are
pure imagination. I don't think enough people use their imagination these days. Realism is more in demand these days. Shows
like CSI and NCIS need lots of dead bodies, body parts, autopsy bodies and stuff like that - so it's nice to get work creating fun
characters like monsters, creatures, critters and characters.
Do you get much creative control in designing the creatures for filmmakers, what exactly happens before you start
making the molds?
Sometimes I get complete creative control sometimes I don't it all depends on the production. In most cases I will get a script or
a breakdown and then I will begin making designs based on that info. After a few conceptual designs are created it gives me a
better idea of the director's vision. From there I work as closely with the director as possible until we are both satisfied with
the designs. Once there is a green light I move forward. A lot of times a director will trust me based on my work and will just
let me have at it. That's truly the ideal situation for me as an artist but not always practical for the director. In all cases the
designs are worked out way before any sculptures are started. In some cases I will also create a miniature sculpture (otherwise
known as a Marquette) to show how something might look in three dimensions. Again, it all depends on the project and the
director.
Which do you prefer the most. Acting or special fx's?
That is a difficult question. I have worked as an actor and as an effects artist. I have worn both hats together and separate.
When I am just acting it's a lot less work, yet it feels like something is missing. When I am doing FX only it is definitely much
more work and I feel less connected to the film because I am only crew and not a cast member. Ultimately I would like for every
gig I take to be acting and effects. I will always have a love for FX and I will always use makeup effects with my acting when
needed. I think with the acting it is something that I just want to see how far it goes. I didn't really set out to become an actor
it just happened. Now that the opportunity is here I am having fun with it. I will milk it for all it's worth, and keep making
monsters all the while.
Most special effect artist are perfectionists in their work, was there a time you thought the work you have done wasn't
good enough and you wanted to change or start all over again?
I am always picking at my work. I believe that it can always be better. I try not to get hung up on it though. For example I'm not
going to stress over a slight flaw in something I did in the past. Instead I acknowledge the error, find out how to prevent it in
the future then move on. I do a lot of indie films, and unfortunately in low budget indie productions you have to settle a lot. . .
maybe too much? That's what makes it so exciting I think, because you have to find creative ways to do things due to lack of
money or time. I would love to do the creature suit from Frankenstein vs the Creature over again. There were plenty of flaws in
the suit - But I think in this case the flaws made the suit work even better. My favorite line from that movie is "Hey, that's no
rubber suit!" ... (Oh yes it is!) If anything I will apply what I have learned towards the next project and continue to learn and
grow as an artist. Any mistakes I have made along the way are merely lessons to build upon and prepare me for the journey
ahead.
With all the creatures and monsters you have designed for filmmakers over the years, which design from what movie do
you love the most?
That's a really difficult question because I have always felt that my best work is yet to come. I was very proud of the creature
suit from FRANKENSTEIN VS. THE CREATURE, however it could have been much better had I more time and more money. The
fact that we made it in such little time and on such a low budget was a great accomplishment. I am also very happy with my
recent makeup effects on the webcast/podcast series pilot WELFARE BUNNIES. For that show I created three human bunny
characters. I also play the foil in the series, my character is named McIntyre - he's sort of a Woody Allen meets Steve Erkel type
of character. I once again used my makeup FX and acting skills this time to create the balding, big schnozed, sweaty character
that people are soon to love (or hate). The show is a lot of fun and the makeups, although simple, were very effective. We
shot the pilot episode of the series in San Diego last October. The project is the brain child of director Ryan Maisel which
centers around the life of three bachelors that have been cursed to live as human bunny rabbits. I really enjoyed the project not
only because of the fun makeups but the writing was really great - I mean this show is really funny. Ryan Maisel wrote the script
himself and his writing style is very clever - re-minescent of a young Kevin Smith, at least in my opinion anyway. I think that we
really came up with something magical with this project. Your readers can watch my website for updates on the project and
where they can view it when WELFARE BUNNIES goes live.
Another makeup that I am extremely proud of is a working effect I just shot a few days ago for film tentatively titled THIRTY
THOUSAND DOLLARS and is headed to the Berlinale film festival in Germany. I won't say what the specific effect is, but I expect
it will be very shocking and controversial. It's sure to raise some eyebrows at least.
Honestly though, I always try to look forward rather than backward. I am proud of all my creations, some more so than others,
but I truly believe that the best is yet to come.
Has their ever been something you always wanted to create, but yet haven't had to time to do so. If so would you like to
share your thoughts on it with us?
I do have some of my own projects that remain on the "back burner". The simple fact is that I am so busy working on everyone
else's projects that I have very little time to work on my own. It's difficult for me these days to block out time to work on
portfolio quality pieces just for the sake of updating my book. Instead I approach every job that I take with the idea that this
may go in the book. . . this may be my next masterpiece. In other words, everything I do gets the utmost attention to detail, or
at least the best I can do with the time and budget I am provided.
One of my personal projects is a puppet show I call THE RUFF AND SKITCH SHOW. I have written over a dozen episodes for the
show and have created over 40 plus characters of all shapes and sizes. The show is very much like the Muppet's meets the
Simpson's if you can imagine. Unfortunately the project remains on hold until I can raise enough capital to do it justice. In the
meantime I work on the puppet characters one at a time in between gigs on my own dime. The puppets I plan to make will be
hand operated like Muppet's with servo controlled/blinking eyes. There will also be full size puppet suits as well as human
characters in prosthetic makeup appliances - when the money can be raised that is... until then it remains a personal project.
There's not really any particular monster that I hope to create that I haven't already. I sort of figure that sooner or later I will get
a gig that will request me to create a specific type of monster or character. For instance in the fourteen years I have been at it I
haven't done a zombie movie until just recently. So sooner or later I figure I will have done my take on all of the classic
monsters and even get a crack at creating my own. . . It's only a matter of time. I would like the chance to design something big
like a dinosaur or a dragon. Sooner or later the right project with the right budget will come along and make that possible, but
until then I take each job one at a time and count my blessings that I am able to make a living in this industry.
What director would you love to work with in the near future and why?
There are a lot of directors that I greatly admire including George Lucas, Stephen Spielberg, Ron Howard and Kevin Smith. Two
directors in particular that I hope to get the chance to work with are Jon Favreau and Quentin Tarantino. I really like Jon's take
on filmmaking. I like how he uses CG as a tool instead of a crutch and chooses to film the majority of effects live action. Few
filmmakers today understand when to use CG and when to use makeup effects resulting in cartoony computer effects or low
budget looking live action effects. Jon Favreau is getting it right, I believe that he may become as big as Spielberg and Lucas.
Now Quentin Tarantino on the other hand, he's all style. I like his films and his method of story telling. As an actor I really want
to work with Tarantino, as an effects artist I really want to work with Favreau.
Lately we have been seeing a lot of remakes from the 80's. If a big filmmaker say like Peter Jackson came up to you with
a blank cheque and said, Rich i love your work and all your creature designs, what film do you think needs remaking!
What would you say?
I am usually hesitant to jump on the remake bandwagon. Most of the time remakes are poor quality copies of better films. Every
once in a while a little gem comes out like John Carpenter's THE THING. Now THAT is how you do a remake! I think that if I
were to be in such a hypothetical situation I would want to remake the classic sci fi movie THE DAY THE EARTH STOOD STILL.
To this day that is one of my favorite sci-fi films of all time. The message is just as strong today as it was then. It wouldn't hurt
to update the FX and the overall pacing of the film to better fit the modern film genre, however I would hope that the bulk of
the story remain intact... or I might regret doing it, especially on a classic film that I am so fond of.
What other future and past projects have you worked on?
This year I worked on several films and television shows as an effects artist. Although I am very proud to have been a part of
the effects crew on shows like CSI, NCIS HOUSE, MEDIUM, and the films THE OMEN, BEOWULF, SERAPHIM FALLS and THE FLOCK I
am most excited about the smaller independent films that I worked on.
For the feature film DEMON (directed by Dennis Devine) I created several working effects including a lifesize torso of an actress
that is impaled by a broomstick as well as a head decapitation. I also did a knife in the eye gag that is sure to creep out some
viewers. I also make a brief cameo appearance. The film is about demon possession and is due out in early 2007.
In the film 1987 (directed by Paul Wright), I play the character "Travis", the bass player of a heavy metal band in the 1980's.
The film is a drama loosely based on the true story of the heavy metal/glam band Poison. I have not yet seen the final cut but I
am very excited about the film. It was the first time I got the chance to play an instrument in front of the camera. Although I
played a keyboard player in the film KILLER SOUND, I never actually got to play an instrument. So it was nice to get to jam this
time around. A final cut is expected sometime after the New Year.
Another fun project I worked on this summer was the Lisa Hammer film POX, based on the popular cable TV show. Lisa Hammer
is the cult director, who released the horror-musical "Pus$bucket" and the current bizarre short "Period Piece" which is taking
the internet by storm. (It's a story of a little retarded girl and her period.) Lisa Hammer is perhaps best known as TRIANA
ORPHEUS on ADULT SWIM'S THE VENTURE BROTHERS. Lisa was also our lovely bride in FRANKENSTEIN VS. THE CREATURE FROM
BLOOD COVE. In the film POX I play a satanic vampire priest engaged in a bizarre ritual sacrifice. I also did a lot of working
effects like decapitations and what not. To be completely honest I think that the film's producers actually were part of a cult.
POX's executive producer is James Merendino who made SLC Punk! and Witchcraft IV. Some of the POX writers include Ben
Edlund (THE TICK, FIREFLY, ANGEL) and Doc Hammer (THE VENTURE BROTHERS) along with Lisa Hammer, Levi Wilson and
Terrence Fleming. POX began as a strange and bizarre little cable access show in NYC and soon became an underground cult
classic with brilliant reviews and a plethora of viewer death threats. I am certain that the film will inspire even more carnage
and mayhem. Visit Lisa Hammer's website at: www.lisahammer.com for updates and release information.
One of the projects that I am most proud of is the independent feature film I shot with Transylvanian director Stephen Cristescu
and cinematographer Justin Talley. The film is tentatively titled THIRTY THOUSAND DOLLARS. In this feature I play the lead role
of "Archie" the redneck racist leader of the mojave boys a gang of two bit thugs that reside in a desert ghost town. The film
was shot almost entirely in Darwin,CA - the same place they shot the movie KALIFORNIA with David Duchovny and Brad Pitt. The
scenery out there was amazing. We shot the entire film on HD so the end result is going to be amazing. Although I did do some
effects work on this film including bullet wounds and bleeding effects my biggest part was as a lead actor. This is my biggest
acting role to date, so I am very excited to see how well I fare without so much makeup to hide behind. Another exciting
project that I am currently working on is a short film titled THE RANGE. This short is one of four that will be featured as an
anthology piece for a film titled SLICES. We are currently in negotiations for a theatrical release. In the shorth titled THE RANGE
I play a southern outlaw named Billy. It isn't long before Billy becomes a zombie and all hell breaks loose. Be sure to check my
website for updates and release info.
I can also be seen making a cameo appearance as a transient in the Independent film TRIP FALL (directed by Danny Kim). The
film, expected to have a Feb 2006 release date, is headed for the festival circuit. TRIP FALL is a what I would call a psychedelic
comedy in the vein of Fear and Loathing in Las Vegas.
One of my projects coming up next year is the Indywood Films movie INVASION OF THE NOT QUITE DEAD. I have teamed up with
UK filmmakers Tony Lane, Ken Russell (TOMMY, ALTERED STATES, THE DEVILS) and JR BOOKWALTER (THE DEAD NEXT DOOR) to
bring forward an army of the walking dead to the UK. This will mark the first of many independent productions to be produced
by Indywood Films. I will be creating the special effects as well as play the lead villain in the film. Tony has promised me a
glorious death scene and I am sure he won't let the fans down. Money is currently being raised for the project. For more
information on this project visit the official site at: www.indywood.co.uk/themovie.html.
Out of all those films, TV shows and short films. Which one did you enjoy doing the most?
It's hard to say which project I have enjoyed the most. It's like asking a parent which child is your favorite... There is no
favorite, you love them all. Every project I do is creatively rewarding. There is always a lesson to be learned as well as a
chance to hone my skills. Of all the projects I did last summer I think I am fondest of THIRTY THOUSAND DOLLARS... mostly
because of the place we shot it. Darwin California is an incredibly beautiful and spiritual place in it's own way - there was
something almost magical about it.
You recently worked on The Omen remake, what are your thoughts on that film compared to the original?
I am a big fan of the original with Lee Remick and Gregory Peck, however, to be honest, I still haven't seen the remake. My
brother has seen it and he liked it. In fact I got a call from him right after he saw my credit roll across the screen. I plan to
watch the movie over the holiday. The fact is that I rarely get the time to enjoy the films I've worked on let alone the ones in
the theatre that I want to see. That's the down side to my line of work - you get very little free time.
Robert Zemickis - Beowulf is one of the latest films you are currently working on, can you give us any inside gossip on
whats going on and what we are in for once it hits the theaters?
It was very exciting to be a part of this project. Robert Zemickis take on the famous story will be unlike anything you have ever
seen on film to date. The only way I can describe it is to say that it will be like seeing a Frank Frazetta oil painting come to life
on the big screen. Those of us that worked on the crew were allowed access to very little information in regards to the film.
Even many of the actors we lifecasted only knew what they needed to know. I worked on the lifecasting crew for Beowulf. We
created the motion capture helmets used to record the actor's movements onto the computer. Over 80 actors, stunt people and
background extras were lifecasted. I am told that the same technology used in Lord of the Rings to bring to life the Golem was
used in Beowulf. I am very excited to see this movie - I believe it may very well be one of those great films that you just don't
see much of these days. I am very proud to have been a part of the crew for Beowulf.
Is their any upcoming special fx artists that grabs your attention. If so who are they & what films did they work on?
I think that the special effects artists that have grabbed my attention the most are those that work for WETA FX (King Kong,
Lord of the Rings, etc.) in New Zealand. Some of the most amazing work has come out of that shop. Certainly a quality of work
that all effects artists should aspire to.
Do you have any advice or tips to those who are seeking to get into the line of work you are in?
Be sure that this is the field that you want to enter and if it is take it seriously! Be willing to lose your friends, your family and a
lot of sleep. Be prepared to live the life of a starving artist. And don't ever give up or believe someone that tells you that you
can't do something. It's also a very good idea to have a backup plan such as a day job that can cover you financially while you
work your way into the business. It is very difficult to get into this field and there's not a whole lot of work available once you
get in. Never believe the makeup schools - they will lead you to believe that it's a booming industry. Well, it's not, in fact many
working FX artists believe it is a dying art - I am not among them, but I do believe that the industry has become over saturated
with 'aspiring' artists that aren't qualified enough artistically to compete in the field. Combine that with the fact that CG is
taking away much of the work... it makes one wonder why they'd even want to enter into this field. Of course being one that
makes his living in this business I totally understand those that are driven enough to pursue a career in makeup effects despite
the upstream battle.
What are Rich Knights top 5 horror movies?
1. Frankenstein
2. The Wolfman
3. Creature From The Black Lagoon
4. An American Werewolf in London
5. The Shining
Is there any actors or filmmakers you have worked in the past, that you will love to work with again in the near future?
I really enjoyed working with Stacy Keach. He was a very nice, polite and a respectful gentlemen. I would love to work with
him again. There really isn't a single actor that I wouldn't want to work with again. I have had nothing but positive experiences
with my fellow actors. As for the ladder, I have been very fortunate to have worked with many directors recently all of whom
were extraordinarily talented and creative filmmakers. I had an especially good working relationship with director Stephen
Cristescu on THIRTY THOUSAND DOLLARS. Stephen really knew how to bring out my best performance and he always encouraged
my ideas about improvisation in a scene. The director of WELFARE BUNNIES, Ryan Maisel was also an extreme pleasure to work
with. I really love Ryan's writing style, he's very clever, witty, funny - all that, and he brings it out on camera. Ryan has a great
attitude, the sort of attitude that you wish all directors had. I have also developed a great working relationship with director
Lance Polland (THE RANGE). Lance has a really great vision for his film and he has a way a charming you with that vision till you
start thinking it's your own. A true pleasure to work with! I expect to work with all three directors on many more projects to
come. There's only a few people that I've worked with in the past that I won't work with again due to lack of a chemistry, but
for the most part I hope to continue working with every actor and/or filmmaker that I work with, especially those that I get
along with and have good working chemistry with.
Whats the one thing you would like to say before we end this interview, and to those who are reading this interview?
I guess that I'd just like to tell everyone to keep their eyes open for my upcoming films. Be sure to check my website at:
www.knight-spfx.com and visit my official myspace webpage at www.myspace.com/rich_knight for updates, release dates
and recent photos of my work. Also be sure to visit the Indywood website at: http://www.indywood.co.uk/themovie.html -
If you are interested in becoming a producer or wish to contribute on any one of my future projects be sure to contact me via
email at: knightfx2000@yahoo.com - use PRODUCER as the subject heading. And most importantly remember to help support
independent film and starving artists!
Thanks Rich for taking the time to do this interview with us at DVD Resurrections. I just like to also say, keep up the outstanding
work man and if it wasn't for guys like you doing what you love to do the best, films wouldn't be as interesting as they are now
days. I wish you the best of luck with future films and health, and keep up with the awesome special effects bro, cheers.
It's been a pleasure, and thank you for the opportunity for the interview and to showcase my work.
Cheers!
Rich Knight
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