The Phantom of the Opera is a 1925 silent film adaptation of the Gaston Leroux novel of the same title directed by Rupert Julian. The film featured Lon Chaney in the title role as the masked and facially deformed Phantom who haunts the Paris Opera House, causing murder and mayhem in an attempt to force the management to make the woman he loves a star. It is most famous for Lon Chaney’s intentionally horrific, self-applied make-up, which was kept a studio secret until the film’s premiere.
The film also features Mary Philbin, Norman Kerry, Arthur Edmund Carewe, Gibson Gowland, John St. Polis and Snitz Edwards. The only surviving cast member is Carla Laemmle (born 1909), niece of producer Carl Laemmle, who played a small role as “prima ballerina” in the film when she was about 15.
The movie was adapted by Elliott J. Clawson, Frank M. McCormack (uncredited), Tom Reed (titles) and Raymond L. Schrock. It was directed by Rupert Julian.
Trivia:
Edward Sedgwick directed a few scenes after director Rupert Julian walked off the set after heated arguments with cast and crew.
Ben Carré was called in to design the sets, and although he had worked at the Paris Opera House, he had already been living in California for some time doing sets.
Lon Chaney devised his own make-up.
The only part of the set sill standing is the Opera House, though the only parts left completely untouched are the boxes and stage sides.
Several sequences were shot in various color processes for the top general release prints. Technicolor was used for scenes from FAUST and the Bal Masque scene, Prizmacolor sequences were shot for the “Soldier’s Night” introduction, and Handschiegel (a process that uses stamps to hand-color prints) for the Phantom’s notes and red cape on the rooftop. Only the Technicolor Bal Masque sequence is known to survive (an IB print from the 1929 re-release).
Filmed in Stage 28 at Universal Studios, Hollywood.
Lon Chaney put egg membrane on his eyeballs to give them a cloudy look.
A Jewel Production. Unlike most of its peers, Universal never owned a theater chain (ultimately, a wise decision given the 1949 Supreme Court anti-trust decision that would threaten the livelihood of many of its competitors). As a result, in 1916, Carl Laemmle devised a 3-tiered branding system to market its features to independent theater owners: Red Feather (low-budget programmers), Bluebird (mainstream releases) and Jewel (costly prestige productions). The studio would abandon branding altogether by the end of 1929.
For the 1929 sound version, Universal purchased a pipe organ from the Robert Morton Organ Company in Van Nuys, CA. It was installed on Stage 10, which was first used for filming and quickly converted for scoring music as well as doing Foley sound effects work. The organ was used for scenes where Erik plays the organ in his basement lair. It was used in several Universal feature film scores including Bride of Frankenstein (1935) and Ghost Story (1981), as well as episodes of various TV series produced by the studio. It was sold sometime in the late 1990s.
The Phantom’s makeup was designed to resemble a skull. Lon Chaney attached a strip of fish skin (a thin, translucent material) to his nostrils with spirit gum, pulled it back until he got the tilt he wanted, then attached the other end of the fish skin under his bald cap. For some shots, a wire-and-rubber device was used, and according to cameraman Charles Van Enger it cut into Chaney’s nose and caused a good deal of bleeding. Cheeks were built up using a combination of cotton and collodion. Ears were glued back and the rest was greasepaint shaded in the proper areas of the face. The sight was said to have caused some patrons at the premiere to faint.
The print restored by Kino is a 1929 re-release version that was re-edited, eliminating some scenes and inserting new material shot after the 1925 version was finished. These included a sound sequence with opera star Mary Fabian singing in the role of Carlotta. In the re-edited version, Virginia Pearson, who played Carlotta in the silent 1925 version, is credited and referred to as “Carlotta’s Mother” instead.
The film was re-released in sound in 1929 using Vitaphone/Western Electric sound disks. Approximately 40% of the film was re-shot in synchronous sound and the rest had a music/soundtrack added or was dubbed over. The Kino edition is a silent version of the 1929 cut (as are, with few exceptions, most others), which was a common practice at the time for theaters that did not have sound systems installed. For the sound edition Lon Chaney was not available, and contractually Universal was not allowed to have vocal synchronization of the Phantom. However, the studio had third-person lines written and dubbed over shots of the Phantom’s shadow. The actor who spoke these lines is uncredited, but it is probably Universal regular Phillips Smalley.
On October 31, 2008, this film was screened at the Walt Disney Concert Hall with live musical accompaniment by the Los Angeles Philharmonic Orchestra. Ads contained a tag line that was a clever twist on that for Alien (1979): “In silent films, no one can hear you scream”.
Rupert Julian fought constantly with the cast and crew. Julian and Lon Chaney were not on speaking terms for most of the production, and had to communicate through intermediaries. Norman Kerry actually charged at Julian while riding a horse, knocking Julian to the ground in front of a group of onlookers.
Gregory Peck’s earliest movie memory is of being so scared by The Phantom of the Opera (1925) at age 9 that his grandmother allowed him to sleep in the bed with her that night.
During the climactic chase through the streets of Paris, the Cathedral from _The Hunchback of Notre Dame (1923/I)_ (q.v.) can be clearly seen.
Inside sound stage 28, part of the opera house set continues to stand to the side where it was filmed some eight decades ago making it the oldest standing interior film set in the world. Though it remains impressive, time has taken its toll and it is very rarely used. Urban legends claim the set remains because when workers have attempted to take it down in the past there have been fatal accidents, said to be caused by the ghost of Lon Chaney Sr.
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.
Kate O'Mara
Cast
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
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'
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
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’
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
Puppet Master (also known as Puppetmaster and Puppet Master I) is a 1989 horror film released on October 12th 1989 and was written by Charles Band and Kenneth J. Hall, and directed by David Schmoeller. It is the first film in the Puppet Master franchise and stars Paul Le Mat, Irene Miracle, Matt Roe and Kathryn O’Reilly as psychics who are plotted against by a former colleague, using puppets animated by an Egyptian spell. The film’s cult status has led to the production of nine sequels. Originally intended for theatrical release in summer 1989, before being released on home video the following September, Puppet Master was ultimately pushed to a direct-to-video release on October 12, 1989, as Charles Band felt he was likely to make more money this way than he would in the theatrical market.
William Hickey as Puppetmaster Andre Toulan in his workshop
Puppet Master has been reissued several times. It is available in a box set featuring the first seven installments of the series, an 18-disc Full Moon Features collection and a Spanish-subtitled import collection of the first three Puppet Master films. In 2007, Razor Digital released an uncut DualDisc version of Puppet Master, featuring both the standard and stereoscopic versions of the film. The uncut version restores a number of deleted scenes, including additional footage of Frank and Carissa having sex, extra frames added to Dana’s death which make the slash across her throat more visible, and Neil’s death scene being extended to contain more gore. In December 2008, Band authorized Puppet Master for digital download through the iTunes Store; his first foray into the digital market.
Buy this Title on DVD
The film starts in 1939 Bodega Bay, California with an old puppeteer named Andre Toulon putting the finishing touches on a living puppet called Jester. A living oriental puppet stares out of the window at Blade, another living puppet, as Blade scouts the grounds of the Bodega Bay Inn that Andre is staying at. Two Nazis get out of a car and head for Toulon’s room but Blade beats them there and Andre puts Blade, Jester and the oriental puppet into a chest, before hiding the chest in a wall panel. As the Nazis break down the door, Toulon shoots himself in the mouth with a pistol. The oriental puppet is not seen for the rest of the movie.
The film now cuts to 1989, with a psychic named Alex. Alex has a dream that there are leeches on his stomach. Seconds later, he dreams of a man that he recognizes putting a gun to a woman’s head. The film cuts to Dana, another psychic, who has visions of being slashed across the throat with a knife. Carissa and Frank, two other psychics who are apparently lovers, are reading the mind of another woman when they get a call from Alex. Frank tells Alex that they also got a call from Dana, and the four psychics assess that the visions they’ve been having were sent from a former colleague, Neil Gallagher.
The psychics meet at the Bodega Bay Inn that Neil is staying at and meet Neil’s wife, Megan, as well as the housekeeper, Theresa. The psychics are skeptical that Neil took a wife but it is forgotten when Megan tells them that Neil shot himself. Theresa, Megan, Dana, Carissa, Frank, and Alex leave the body and Pinhead, another living puppet, jumps from the casket.
Later, Carissa has visions of Neil violently attacking a woman in an elevator. Dana warns Theresa to stay away from the fireplace and later, at dinner, Dana makes several remarks about Neil that causes Megan to leave the table. Alex goes after her and explains about the powers of he, Dana, Carissa, and Frank.
When night falls, Theresa goes near the fireplace and is murdered when Pinhead hits her with a poker. The psychics hear a scream and find Megan passed out nearby Neil’s body that has been moved into a chair by someone. Carissa and Frank spend some intimate time together in one of the hotel rooms but two more living puppets, Tunneler and Leech Woman, enter. Tunneler kills Carissa by drilling into her face and Leech Woman vomits leeches onto Frank’s body, which drain his blood. Meanwhile, Dana sits around with her strange, dead and preserved dog until she has her leg broken by Pinhead. Pinhead chases her and repeatedly strangles and punches her until she manages to knock him away, only to have her throat slashed by Blade, using his knife-hand.
Alex has recurring nightmares of Megan having a gun put to her head by Neil and the other psychics being found dead, but is eventually awoken by Megan who takes him into the room that Andre Toulon was in, and tells him that Neil found Andre’s secret to bringing inanimate objects, such as puppets, to life. Alex has a vision and they go downstairs to find the dead bodies of the psychics sitting around a table. They are stopped by the newly resurrected Neil. He explains that “metaphysically speaking”, he did commit suicide, but he used Toulon’s formula to give himself eternal life. He fights with Alex and beats him up, until Neil hurts Jester and the puppets revolt against him. They lock him in an elevator and murder him by having Pinhead hold Neil’s head as Tunneler drill into his neck, Blade cut off his fingers, and finally Leech Woman vomits a leech into his mouth.
The film cuts to Alex saying goodbye to Megan and leaving the hotel. Now alone, Megan picks up Dana’s taxidermic dog, and by the following scene, the dog becomes completely animate, indicating that she too has learned Toulon’s method (although the film’s sequel dispels that she has become the next Puppet Master).
Blade from Puppet Master
Cast
Paul Le Mat – Alex Whitaker
William Hickey – Andre Toulon
Irene Miracle – Dana Hadley
Jimmie F. Skaggs – Neil Gallagher
Robin Frates – Megan Gallagher
Matt Roe – Frank Forrester
Barbara Crampton
Kathryn O’Reilly – Carissa Stamford
Mews Small – Theresa
Barbara Crampton – Woman at Carnival
David Boyd – Man at Carnival
Peter Frankland – Assassin #1
Andrew Kimbrough – Assassin #2
Voice Performers
Ed Cook – Pinhead
Linda Cook – Leech Woman
Tim Dornberg – Tunneler
Bert Rosario – Blade
Michael Laide – Jester
Featured puppets
Oriental puppet
Blade
Jester
Pinhead
Tunneler
Leech Woman
Make Up Department
Valerie McKnight … makeup artist
Steve Neill … special effects makeup artist
Special Effects Department
Mark Rappaport … animatronics engineer
Patrick Simmons … special effects makeup
Tunneler
Visual Effects Department
Dave Allen … puppet animator
Dave Allen … visual effects supervisor
Sally Chow … puppeteer
Paul W. Gentry … effects photography
Dennis Gordon … puppet fabrication and miniatures
Beth Hathaway … puppeteer
Justin Kohn … puppet animator
Donna Littleford … visual effects production assistant
Harvey Mayo … puppet fabrication and miniatures
Jene Omens … puppet fabrication and miniatures
Mark Rappaport … animatronic engineer
Patrick Simmons … special effects makeup
Cindy Sorennen … puppeteer
John Teska … puppet fabrication and miniatures
Brett B. White … puppeteer
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.
Trivia:
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.
Blood of Dracula’s Castle was released October 5th 1969
Tagline: ONCE THE GATE CLOSES YOU’LL NEVER GET OUT!
27x40 Movie Poster!
Plot outline: Count Dracula (Alexander D’Arcy) and his vampire wife (Paula Raymond), hiding behind pseudonyms, lure girls to their castle in the Arizona desert to be drained of blood by their butler George (John Carradine), who then mixes real bloody marys for the couple. Then the real owners of the castle show up, along with Johnny, who is a serial killer or a werewolf depending on which version you watch. The owners refuse to sell, so Dracula wants to force them to sell..
Directed by
Al Adamson
Jean Hewitt
Cast – in credits order (verified as complete)
Alexander D’Arcy … Count Dracula, alias Count Charles Townsend
Paula Raymond … Countess Townsend
Gene O’Shane … Glen Cannon
Barbara Bishop … Liz Arden
Robert Dix … Johnny
John Carradine … George, the butler
Ray Young … Mango
Vicki Volante … Ann, motorist-victim
John Cardos
Ken Osborne
Make Up Department
Jean Hewitt … makeup artist
Kenny Osborne … special makeup effects
Alexander D'Arcy and Paula Raymond
By the late 1960’s, the fledging film production company Independent International had already begun to make a name for itself in the exploitation film market. While partners Sam Sherman and Al Adamson only had one feature to their credit at this point, Satan’s Sadists had come in on the cutting edge of the new violent biker movie trend that was currently sweeping the drive-in theater circuit. Hoping to cash in on the always popular horror genre, Adamson had procured a story treatment called Feast of the Vampires and writer Rex Carlton was brought in to translate the tale of cannibal vampires into a screenplay. The finished film may not have retained much of the original story but it did prove to be one of director Adamson’s most coherent productions and a popular item in theaters and on television for many years to come. Sadly, Blood of Dracula’s Castle would also end up being a black eye for Independent International and a source of financial disappointment
On a meager budget estimated to be around $60,000, Sherman and Adamson were able to secure both an excellent location and an impressive cast. Shea Castle (also known as Sky Castle) was built in the Southern California desert near Del Sur by a real estate tycoon in the early 1920’s. The imposing structure was modeled after medieval Irish castles and came complete with a lake and its own private air strip. Tales of supernatural phenomenon still surround the site and at least one death by suicide has been confirmed within its walls. It was at this architectural curiosity that Adamson assembled his equally curious cast of veteran actors and members of his ever growing repertory company.
Barbara Bishop and John Carradine
Alex D’Arcy (Horrors of Spider Island) and Paula Raymond (Beast From 20,000 Fathoms), both of whose long careers were nearly at an end, were cast as Count and Countess Townsend (aka Dracula). Robert Dix (Forbidden Planet) played the psychopath Johnny who in some versions of the film even turns out to be a werewolf! At the last minute, veteran horror actor John Carradine was added for name value and (mis)cast as George the butler. While Carradine makes everything he can out of a throwaway role, it seems almost impossible that he could appear in this film at all and NOT play Dracula! The remaining cast, including Gene O’Shea, Barbara Bishop, and Vicki Volante all give performances in excess of the film’s low budget. This combination of cast and location made it look like there was far more on the screen than the cost conscious Independent International had really spent.
Blood of Dracula’s Castle is the tale of modern day vampires, who may be the original Count and Countess Dracula, living in an isolated desert castle. To survive, they capture young women who are chained in their dungeon basement and drained of their blood through the most modern of techniques. At some point in history, the Draculas apparently became mixed up with the cult of the moon goddess Luna. Whenever things get boring around the castle, they sacrifice one of their blood slaves with the help of their butler George, who just happens to be a high priest! Also on hand for laughs are Mango the mute hunchback and Johnny the recently escaped homicidal killer/werewolf. Things get complicated when a young couple inherit the castle and decide they want to evict the current tenants and live there themselves. By the end of the film the vampires, who seem a little too civilized for their own good, and their associates are dispatched and the young heroes are left to ponder if they really want to live in a castle out in the middle of the desert after all.
Director Al Adamson manages to infuse some unique and unconventional touches that give the film a charm all its own. The vampires only drink blood from wine glasses after their butler has extracted it from their victims with a large syringe. When they meet their end by turning to dust in the light of the sun, the Count and Countess turn into bats and fly off into the castle. The final moments of the film are a Mango-fest as the hulking brute is shot, hit with an axe, set on fire, AND shoved off a cliff! Hopefully actor Ray Young got a bonus for that days work!
Unfortunately after the film was completed it became locked in legal turmoil. The financial backers had this film and another one, Nightmare in Wax starring an eye patched Cameron Mitchell as a demented artist, in production at the same time. When Nightmare ran into financial problems with the lab that the backers could not resolve it was trapped in legal limbo. Blood of Dracula’s Castle had been cross collateralized with Nightmare in the finance arrangement so it was stuck too. A distributor called Crown International eventually paid off the lab costs and obtained the rights to both films which they played on a very successful double bill. Independent International lost all rights to the picture and spent years competing against their own product for drive-in rentals.
After a long and successful theatrical run, the film was syndicated to television by two different companies in two different versions. One version, from Crown International, is the same as the one they distributed to theaters and the character of Johnny is just an ordinary psychopath with a fixation on the moon. In the other version, credited to Paragon International Pictures, the distributors apparently decided their weren’t enough monsters in the mash so Johnny actually turned out to be a werewolf! To accomplish this, they filmed some additional scenes of an actor in a Don Post werewolf mask killing a prison guard and chasing a woman through the woods. The new footage doesn’t exactly make sense because the werewolf beats the guard to death with a club and in the chase scene he is wearing his prison uniform again even though by this point Johnny has stolen clothes and reached the castle where he apparently keeps a full wardrobe. Later in the film, Johnny doesn’t turn into a werewolf during the full moon sacrifice he participates in and is subsequently killed with a regular bullet! These dueling versions kept young horror in fans
Source: The Academy of Television Arts & Sciences September 20, 2009
Here are the 2009 nominees and winners for the Makeup Categories:
* Emmy 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
The 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
MADtv (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
Pushing 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
Grey 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
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 (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 (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 (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.
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.
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.
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
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
Special Effects Department Colin Chilvers … special effects
Wally Veevers … special effects
Roy Spencer … standby special effects (uncredited)
$12.99 Movie Poster
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.
SAN DIEGO, CA, August 12, 2009 /Cambridge Who’s Who/ — Stephanie E. Morford, Freelance Makeup Artist for Stu Segall Productions, Inc. and Strategic Operations, Inc., has been recognized by Cambridge Who’s Who for showing dedication, leadership and excellence in all aspects of special effects makeup.
Actively involved in the motion picture and television industry, Stephanie E. Morford has an impressive professional background in the application of special effects makeup. In her position with Stu Segall Productions, Inc., she is charged with readying actors for headshots to promote feature films, applying makeup prior to filming and retouching makeup onset. Having worked on a number of high-profile projects, she is especially proud to have managed makeup application during the production of Justin Paul Ritter’s “A Gothic Tale.”
Ms. Morford is especially savvy when it comes to military effects makeup due to her experience with Strategic Operations, Inc. A division of Stu Segall Productions, Inc., Strategic Operations provides Hyper-Realistic training environments for military and law enforcement personnel. Utilizing state-of-the-art special effects, props, sets, role players and equipment, the simulations provide life-like and authentic combat training.
A licensed cosmetologist, Ms. Morford completed coursework at Westmore Academy of Cosmetic Arts in 2006. She also attended Xenon International School of Hair Design where she completed a course of study in 2005.
Strategic Operations, Inc. utilizes ST/OPS-created Hyper-Realistic environments to train military personnel and law enforcement professionals. For additional information, please visit http://www.strategic-operations.com. Established in 1991, Stu Segall Productions, Inc. is the only motion picture and television studio located in San Diego County. The firm boasts an excess of 800 hours of prime time, network television series including the hit show “Silk Stalkings.” For more information, please visit http://www.stusegall.com.
Emmy logo is next to winners
The 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
MADtv (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
Pushing 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
Grey 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
