#Cannom Creations

[monstersonscreen]

The werewolf prosthetics worn by Jon Gries in Fright Night Part II (1988) were designed by Greg Cannom. Cannom's werewolf prosthetics were barely seen in the final film; originally a werewolf transformation sequence was planned, similar to Evil Ed's from the original film. At the last second this was cut as the 'real wolf looked too cute'.

This combined with Cannom's work on the 1987 Werewolf series being cut short by its cancellation, preventing him from realizing an ambitious werewolf transformation he had planned for it, soured his mood. 'I'm fed up with werewolves', he told Fangoria Magazine at the time.

[millygrau]

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Fire Sans

Ficha: *Seis séculos/567 anos! *1,68                     *Usa nos dedos do meio alianças de relacionamentos passados como uma ofensa! (Não é totalmente cannom, mas ele usa as alianças!)                 *Nasceu no ano de 1453, sua data de criação é 17/04/2019-04/17/2019!         *Tem o habito de fumar com extrema frequência! *Tem diversas faixas cirurgicas espalhadas pelo corpo, junto de manchas negras de queimadura, principalmente nas mãos e pés! *Tem o crânio rachado e olhos escarlates como brasas! *Não fala com entes queridos como filhos ou amigos, se afastando deles! *Tem uma personalidade desconfiada e levemente ignorante com pessoas desconhecidas, se torna agressivo e frio com certa facilidade. Raramente deixa alguém se aproximar de si ou lhe tocar, evita muito aproximação a não ser que esteja bem bêbado e distraído. É difícil ter sua confiança, é esquentadinho, protetor e reservado em relação a sentimentos, chega a ser honesto em excesso! *Quando cansado ou bêbado se torna manso, quando sozinho fica deprimido e desanimado, não é tão apegado a relacionamentos mas quando se apega é carinhoso, atencioso, cuidadoso e compreensível! *Tem um lado meio demônio, e a cada instante esse lado cresce mais ainda, sendo algo ruim pra si! *Seus únicos amigos próximos são Crystal e DJ-Luke! *Carrega consigo uma velha foto de sua família! *Visita seu amigo Luke que está preso em seu mundo para que não fique totalmente sozinho... Mas perder essa mania! *Shipp semi-cannom com Snape Seiza (By; Kazemaro)! *Fanchild’s oficiais: Obsidian, Nhatyn, Vulce, Blaze e Candle! *Tem o habito ruim de se afastar e isolar das pessoas, principalmente de amigos e parentes, pessoas próximas que o amam! *Tem pirocinese, habilidade de gerar, manipular e controlar o fogo, fora o poder adicional sobre certos demônios de portes pequenos! *Tem um certo medo e paranoia em relação a ser o motivo de dor e sofrimento daqueles com quem se importa e ama, ser o causador do caos, o problema! *Adora maionese e bacon, e não gosta de carne... mas não sabe que bacon é carne!(Não ouse contar pra ele!!!) *Tem diversas crises de dor de cabeça e intensa insônia! *Gosta de observar o mar de longe e o cotidiano dos animais pequenos, lhe traz uma calmaria que ele não tem. Gosta de cozinhar e cuidar de alguém como se fosse um filhotinho. Fumar, beber e queimar folhas secas e outras coisas pequenas e sem vida são seu passatempo preferido! *Não gosta de ser tocado, que se aproximem muito de si sem permissão, que se intrometam em sua vida, carne, café, a cor amarela, mentiras! *HP: ??? *AT: Aumenta aleatoriamente! *DF: 85 *Água não é o suficiente para lhe matar, mas se atingir o núcleo que é sua alma, pode o enfraquecer, sua outra fraqueza são as pessoas que ama! *Surtos de raivas repentinos! *Seu pai era um demônio e sua mãe uma mulher normal, ambos tiveram um relacionamento proibido e foram mortos por isso e Fire foi abandonado em uma igreja velha e abandonada, aonde cresceu! *Pela falta de controle sobre seu poder causou diversos acidentes e incêndios e foi caçado várias vezes, denominado como aberração e monstro! *Tem uma certa amizade com Aquarius (Ex parceiro) após ele voltar a vida, tendo um belo laço entre amigos! *Visita Crystal algumas vezes para buscar cura de ferimentos graves e faixas cirurgicas especiais que ajudam a controlar seu poder e a não se ferir usando ele! (Mais informações em breve ou não, sabe deus) --- Comentário adicional: Bem, este aqui é o meu primeiro Oc oficial desta categoria (Esqueleto), pela ordem certa seria o quinto Oc e no geral eu não sei! Bem, esse é o Fire, um personagem bem complicado e azarado no quesito shipp, ele participou de mais de 5, fora uns que eu não posso citar. Esperamos que dê certo dessa vez, torçam por ele. Então, ele está aberto pra amizades e coisas assim, podem fazer fan art e asks pra ele que eu sou desocupada e ele também, vamos responder. Irem trazer ele aqui bastante, estou até fazendo uma comic de brincadeira sobre os shipps que ele passou, só pra descontrair, espero que gostem dele e quero fan arts dessa coisa linda, amo ele na real! Beijinhos e até mais! --- Are you ready for this post? - We're captain! I didn't hear you right! - We're captain! [Insert funny sound here] [ENG]

Fire Sans

Token: * Six centuries / 567 years! *1,68 * Use alliances of past relationships on your middle fingers as an offense! (It's not entirely cannom, but he does use the rings!)* Born in the year 1453, its creation date is 17/04 / 2019-04 / 17/2019.* Has the habit of smoking extremely often! * It has several surgical strips spread throughout the body, along with black burn spots, mainly on the hands and feet! * Has a cracked skull and scarlet eyes like embers! * Don't talk to loved ones like children or friends, moving away from them! * Has a suspicious and slightly ignorant personality with unknown people, becomes aggressive and cold with some ease. He rarely lets anyone approach or touch him, he avoids too much approach unless he is well drunk and distracted. It is difficult to have your confidence, it is warm, protective and reserved in relation to feelings, it gets to be honest in excess! * When tired or drunk he becomes tame, when alone he is depressed and discouraged, he is not so attached to relationships but when he is attached he is loving, attentive, careful and understandable! * It has a demon side, and every moment it grows even more, being something bad for you! * Your only close friends are Crystal and DJ-Luke! * Carry an old photo of your family with you! * Visit your friend Luke who is trapped in his world so he won't be totally alone ... But lose this craze! * Semi-cannom shipp with Snape Seiza (By; Kazemaro)! * Official fanchild’s: Obsidian, Nhatyn, Vulce, Blaze and Candle! * Has a bad habit of getting away and isolating people, especially friends and relatives, close people who love you! * Has pyrokinesis, ability to generate, manipulate and control fire, in addition to the additional power over certain small demons! * Has a certain fear and paranoia about being the reason for the pain and suffering of those you care and love, being the cause of chaos, the problem! * Loves mayonnaise and bacon, and doesn't like meat ... but doesn't know that bacon is meat! (Don't you dare tell him !!!) * Has several bouts of headache and intense insomnia! * Likes to observe the sea from afar and the daily life of small animals, it brings him a calm that he does not have. He likes to cook and take care of someone like a puppy. Smoking, drinking and burning dry leaves and other small, lifeless things are your favorite pastime! * He doesn't like to be touched, to get too close to him without permission, to meddle in his life, meat, coffee, the yellow color, lies! * HP: ??? * AT: Increases randomly! * DF: 85 * Water is not enough to kill you, but if it reaches the core that is your soul, it can weaken you, your other weakness is the people you love! * Sudden outbreaks of rabies! * Your father was a demon and your mother a normal woman, both had a forbidden relationship and were killed for it and Fire was abandoned in an old and abandoned church, where he grew up! * Due to the lack of control over his power, he caused several accidents and fires and was hunted several times, known as freak and monster! * Has a certain friendship with Aquarius (Ex partner) after he comes back to life, having a beautiful bond between friends! * Visit Crystal a few times to seek healing from serious injuries and special surgical bands that help you control your power and not hurt yourself using it! (More information soon or not, god knows) --- Additional comment: Well, this is my first official Oc of this category (Skeleton), in the right order it would be the fifth Oc and in general I don't know! Well, this is Fire, a very complicated and unlucky character in terms of shipp, he participated in more than 5, apart from ones that I can't name. We hope it works out this time, cheer for him.So, he is open to friendships and things like that, they can make fan art and ask him that I am unemployed and he too, we will answer. They will bring him here a lot, I'm even doing a comic joke about the shipps he went through, just to relax, I hope you like him and I want fan arts of this beautiful thing, I love him for real! Kisses and even more!

[the-master-cylinder]

SUMMARY Vernon Coyle (Pasdar), a detective with the Los Angeles Police Department, is trying to solve a series of bizarre murders. His girlfriend, Grace (Polo), turns into a werewolf and is kidnapped by Crispian Grimes (Wise), a vampire and owner of the nightclub House of Frankenstein. Meanwhile, a man, claiming to be Frankenstein’s monster, comes to Los Angeles to find the vampire that killed his creator 200 years ago.

NBC120 7/18/97 PRESS TOUR — HOUSE OF FRANKENSTEIN — PICTURED: The Creature — NBC Photo: Paul Drinkwater.

He had lived in the Arctic Circle for centuries and had been thawed out recently. A medical examiner comes in and is shocked that he has no heartbeat and that his blood consists of that of several different people. The creature escapes and confronts Grimes in an alley, but gets arrested. Coyle realizes that the creature is really a creation of Frankenstein, and helps him track down Grimes and put a stop to his reign of terror. Grace turns into a werewolf and goes on a rampage, where she gets captured by Grimes and will be a part of his exhibit forever.

Coyle and the creature destroy Grimes’ army of the undead, but he escapes. The creature also escapes, having finally avenged his creator’s death. He sneaks aboard a research vessel on its way to Antarctica. Grace revives after a successful blood transfusion makes her human again. Coyle and Grace later visit his partner’s grave as he was the first victim of Grimes, who is watching them from afar.

BEHIND THE SCENES The miniseries’ title and the very basics of its story were taken from the 1944 Universal picture directed by Erle C. Kenton. “Karloff wasn’t playing Frankenstein’s Monster any longer,” explains executive producer David Israel, “but played Dr. Niemann. It was the first of the Universal horror films to feature Frankenstein’s Monster, Dracula and the Wolf Man in the same picture. So we used that as a jumping-off point.

“We didn’t feel we could directly remake House of Frankenstein, because with today’s sensibilities it just wouldn’t be scary.” adds screenwriter J.B. White. “We went back and forth as to whether we were going to do this as a period or contemporary piece.”

Israel admits that this is his first experience with the horror genre. “I’ve dipped my toes into the water, and I’m kind of enjoying it. This movie is not a parody. It’s a drama with elements of a police story, but three of the characters happen to be a werewolf, a vampire and Frankenstein’s Creature.” And don’t look for the latter to echo the appearance of Universal’s famous creation. “We had total say on what the Creature would look like,” Israel says. “We hired Greg Cannom, who is an Academy Award-winning makeup artist, one of the greats in the business who usually only does features. He did Bram Stoker’s Dracula, so he’s had experience doing vampires. He was clearly the best choice.

“Cannom had always wanted to have the opportunity to do his artistic interpretation of Frankenstein’s monster,” Israel continues. “I think this is by far the most ingenious interpretation; there are no bolts. Also, this is a sympathetic creature for whom we should have empathy. The actor who plays him, Peter Crombie, makes you feel that remarkably well.”

While the producers and Cannom were given artistic control, Israel confesses that they were careful about being too graphic in the horror and violence department. “We’re pushing the envelope as far as we can, but we still have to keep in mind that this is going to be available on every TV set in America,” he notes. “Kids are going to watch it, and sponsors have their needs too. It’s as graphic as it needs to be, but it’s never gruesome.”

Israel was involved in all aspects of the production, but the one element which gave him the most worry during the 48-day shoot was the training of real wolves for the lycanthrope scenes. “Our werewolves are not going to be hairy people,” he reveals, “The actors are going to morph into actual wolves. But we had to train the animals to do different types of stunts, which is probably the single most important thing we have to do on the show. Only the stunt people and the trainers work with the wolves; they’re too dangerous.”

Responsible for scripting all these hazardous scenarios was White, who was tapped by Universal and NBC to work on House of Frankenstein after the success of Beast last year. That two-part miniseries was his first exploration into monster movies, and though he’s not a complete fan of the genre, White admits, “It’s impossible not to be influenced by the past [horror] movies. It’s part of our collective consciousness vampires, werewolves and certainly the Frankenstein Creature. So my approach to this story is not as a genre picture, but just as another dramatic story which happens to have these rather extraordinary elements.”

One aspect which may surprise some connoisseurs of vampire lore is White’s concept of them as fallen angels. “It was just a notion that came to me while I was writing,” he recalls. “Part of the iconography of vampires is their abhorrence of anything religious, they often fly and they have power over people—they bring evil into people’s lives. This is a very satanic idea. Satan and his minions are fallen angels, and the concept felt right.

“One of the things I wanted to do was to humanize all of the creatures in the script,” White continues, then adds, “I don’t know if humanize is the right word, but to make us understand them better. I’ve always found something poignant about fallen angels. They lived in grace and fell from it; they always want to get back to it, but they can’t. They are creatures condemned by their own natures, and it’s heartbreaking.’

White also took a few liberties with the classic European mythology of vampires when it comes to the sun’s effect on them, acknowledging that he took inspiration from Coppola’s movie. “In that version, Dracula moved around freely in the daylight,” the writer says. “He protected himself from the sun, making sure his face and hands were covered. but that’s a practical consideration. If you’re going to tell a story like this in modern Los Angeles, you don’t want the vampires to only be out at night; it gets kind of tired. Also, these vampires have assimilated themselves; they have intermingled with us. I thought we could get away with making them a little more versatile.”

Yet White’s favorite character is undoubtedly the Creature. “I remembered clearly how the Mary Shelley book ended,” he explains. “It always seemed to me that she was setting herself up for a sequel, because she had him floating off into the darkness on an ice raft. I made it a mission in this script to make the Frankenstein Creature a real hero that and Grimes’ relationship with Grace Dawkins are the real heart of the movie. Boris Karloff’s original creature was sympathetic, but over the years, just because he’s designated as a monster, he has gotten a bum rap. I’m hoping that this, in some small way, will restore the Creature’s reputation. We wanted to show all of his aspects. He is a man out of time. His whole motivation from the moment he is awakened is to get back to where he came from.”   Great care has been taken to preserve some of the feel of and connection to the original Frankenstein movies. As an element of homage to the first House of Frankenstein, the man who searches the North Pole for the Creature is named Dr. Niemann. Also referenced is one of the most stein: the encounter between the Creature and a little girl. This often misunderstood and usually censored scene is now transposed to a meeting between the two on a bus, but the compassion will hopefully still be there.

Of course, none of the emotional scenes or extensive makeup can work if cast in the part. And for the role of Frankenstein’s creation, Crombie appears perfectly suited. The actor always refers to his character as the Creature, never “the monster,” which is the first indication of how carefully he respects the part. Even being subjected to almost three hours of makeup doesn’t deter Crombie’s enthusiasm; in fact, he believes that this long process is the best preparation he could have to get into the part. “I stare at myself in the mirror as Bill Corso, my makeup artist, puts each piece of the mask on my face,” he says. “I can’t really do anything else. I’m slowly putting the skin, metaphorically and literally, of this character on me.

“I remember an acting class I had at Yale’s drama school,” Crombie continues. “They had a closet filled with costumes and masks. You’d take a mask and sit in front of these mirrors and see what it did to you, what would arise emotionally. As bits of character would emerge, you’d put on costumes, compiling more and more of a character. You don’t get many opportunities to do something like that, especially using such elaborate masks as these. I knew I wasn’t going to begin to find this character until I had the makeup on. It was going to do things to me-affect the way I carried my head or make me move my mouth in a certain manner. And sure enough, that’s what happened. It turns out that the voice I had developed (for the audition) was too much. You can allow the makeup to do the work for you, and it will, if you let it.

“I was a little anxious at first,” Crombie admits. There was a touch of claustrophobia, especially when they did a full head cast. It was like being entombed. They told me it was going to be about 12 minutes, and it was 35. I just meditated to myself and managed to hold it together. They also did a cast of my chest and arms, because they were thinking of doing a kind of glove. But they abandoned that idea, and I think rightly so. The chest makeup was only used for one shot, when I first appear as the Creature and he’s still in 19thcentury clothes.”

The actor agrees with White’s inspiration to humanize this particular creation. “The idea is,” Crombie explains, “the Creature doesn’t totally look like a monster when he’s walking down the street. He could be mistaken for some homeless guy. If I were in New York, where I used to live, I would have just hit the streets in preparation for this character, because I would have found some version of him there. I’ve certainly seen enough of them over the years, and I’m working that into the Creature.”

Crombie also had to work carefully in animating his facial expressions, since his movements tended to become muted under the layers of makeup. However, this was not the first time Crombie had worked with such extensive makeup. Playing the Creature couldn’t prepare Crombie for the astonished reactions from the extras or the busloads of tourists who saw him on the backlot at Universal Studios, where some of House of Frankenstein was shot. “The trams ran by every three minutes in front of my trailer,” he remembers with a laugh. “I’d be waiting, and the trams would get backed up and I couldn’t get across the street. So I’d be standing there in my undershirt and full makeup, and the people wouldn’t know what they were looking at. They didn’t know if they should point their cameras or run and hide. I think they got their money’s worth.”

Serving as the movie’s resident expert on vampire and werewolf lore is the Professor Kendall character played by awardwinning actress Pounder, who devoted plenty of careful study to her eclectic role. “I love her handle,” she say proudly. “Associate Professor of Cultural Symbolic Anthropology. I think she invented a department for herself, and she’s got a lot of theory experience in a number of subjects. One thing I liked is that when I went into my office, the set designer had used ritualistic and mythological objects from all over the world-a very smart move.

“Kendall is incredibly curious about these legends and whether they were myths or reality at some point,” Pounder continues. “She’s a strong character and definitely an authority in her field. I play her dead serious. I don’t think that in the annals of horror films there has been a black female lead of this kind. If you’re going to act, you might as well go through this kind of door of opportunity. You know me,” she laughs. “I like to go where no man has gone before.”

As far as Pasdar was concerned, the best thing about playing Detective Coyle was that he didn’t have to spend hours in the makeup trailer.

  “I’m sleeping while they’re in there with the prosthetics,” he says. “That’s the best part. I don’t have to get up at 5 a.m. and sit in the chair. Every once in a while, I have to get a little dirt put on my face, a little smudge here and there. That’s the extent of it.”

Pasdar confesses to being a major fan of horror movies—“I like the ones that are done right almost as much as I love watching Plan 9 from Outer Space”—and is proud of having starred in the legendary cult movie Near Dark. “We don’t take credit for improving the genre, but we certainly took it in another direction. That was fun. House of Frankenstein is a different side of the coin. I’m not on the monster squad, I’m on the vice squad. It’s much more fun playing a straight cop chasing these guys. While the genre might be the same, my approach to the characters is completely different.

“Coyle is a by-the-book cop,” he adds. “He’s a detective trying to make the best of his job, to protect and serve in LA. He’s an average person confronted by a situation that is a bit above average. That’s when you get a real dichotomy between what needs to be done and what has been done before.

“To me,” Pasdar admits, “one of the most interesting aspects of the script is bringing the Creature into Los Angeles and keeping him as unmolested by human intervention as possible. He’s as pure as he can be. The irony is that the Creature seems more human than most of the people you run into on a day-byday basis in this town. He has an inherent soul that’s a beautiful thing to watch. That was one of the reasons I wanted to do this movie – to work with the Creature and a werewolf at the same time.”

Regardless of the thoughtful approach the actors might have towards their craft or the otherwise demanding schedule of a TV miniseries, Pasdar has some wicked ideas for a few good gags. “I’d love to walk into a 7-Eleven with the Creature to get a Slurpee; that would be fun,” he says, laughing at the idea. “Drive down the freeway in a convertible listening to Bon Jovi, or go down to the beach and have him try to get a little sun. Put him on rollerblades in the bike path. If I get a chance, I’ll tell you.�� But at the time of this writing, neither Detective Coyle nor the Creature had been spotted at any of the beaches, or seen speeding down the freeways of Los Angeles.

Cannom doesn’t usually work in television. “It was really fun to be able to do a Frankenstein like the real character, plus all the werewolves and flying vampires,” said Cannom. “We had to do it. It was just too much fun to turn down.”

Though the Frankenstein monster is the character of the Mary Shelley novel, White’s script is contemporary and downgrades both Dracula and the Wolfman to a generic vampire and werewolf. Eighty percent of HOUSE OF FRANKENSTEIN was shot in and around Los Angeles on practical locations, including some exterior filming at the Ennis-Brown House, a residence designed in the 1920s by Frank Lloyd Wright, representing the mansion of Crispian Grimes (Greg Wise), the master vampire.

Wise is a British actor, who nonetheless portrays Grimes as an American. Wise explained how his approach is both similar to, and different from, what has come before. “I think the primary root of it is that he has to assimilate into the society. That’s why I’m playing an American. We’ve given him a very small scar and darkened my eyes using lenses, so I don’t think it’s too out of the ordinary. For a vampire to survive, he has to be able to fit within the society he finds himself in.”

Grimes can transform himself into an inhuman bat-monster, but there is a part of him that retains what once made him human. Noted Wise, “This piece looks at the period of his existence when he’s getting tired. It’s looking at the existential question of why we’re here. His story becomes a morality tale. He discovers we’re here to love and be loved. He’s a terrifically lonely man. I think that’s one of the more interesting ideas, that if you have been around for so long, nothing excites you anymore. You’ve said it all, you’ve done it all, you’ve seen it all.”

Grimes’ inamorata is Grace (Terry Polo), who gets bitten by Grimes’s werewolf protector and starts to change herself. “When she rebuffs him at the end, he stops his existence,” said Wise. He throws himself into fire. He kills himself because he realizes there is no point in walking this Earth without love.”

Cannom had fun working on Grimes’ bat transformation, a being which brings to mind the Man-Bat of BATMAN fame. “I wanted to create something for TV more elaborate than some

one would normally do,” said Cannom. “Because this was a flying bat-creature, a fallen angel type of thing, we wanted to really do a spectacular suit, but still keep it within limits for TV. Miles Teves designed the creature. He designed ROBOCOP and LEGEND.” The human-sized vampire bat not only has a bat-like head, but huge wings as well, suspended from a helicopter for the flight sequences. Hand-held controls make the movement of the wings.

Into this mix is thrown the Frankenstein monster, who is found by Grimes and originally brought to Los Angeles to be featured in his new night spot: The House of Frankenstein. The monster is sympathetically played by Peter Crombie. Crombie had to sit through a two-hour makeup application process which completely hid his features under a pliable latex mask. Unlike other versions of the Frankenstein monster seen in the past, this one isn’t a lumbering menace. “He actually turns out to be kind of a good guy, a hero,” said Crombie proudly. “What he really wants to do, like ET, is to get home, back up to the ice flows up north. It becomes a revenge mission for the creature to get Grimes, who ends up teaming up with the lead detective, played by Adrian Pasdar.”

Even though this version of the Frankenstein monster is supposed to follow more closely the description in the Mary Shelley novel, Crombie admitted that they did have to backoff a little since the production was being done for television. “Part of the description is that the skin is very translucent you can see through layers of it, to see veins and arteries. And to a extent you get some of that with this. An undead sort of look. I think the whole idea is that it’s much less of a monster, and much more of an innocent, an outcast, just a very vulnerable being, who is much more real emotionally, than the more traditional monster. That’s what I’m shooting for.”

The character Adrian Pasdar plays, Vernon Coyle, isn’t meant to be an unusual man, but instead is a man forced to make unusual choices. As Pasdar observed, “He’s your average cop. What’s interesting is having an ordinary cop confronted with an extraordinary situation. We tried to cut the dialogue down to as minimal as we could and it’s been effective in establishing the fact that it’s a realistic approach. He’s by the book and then gets confronted by a monster that you have to throw the book away and deal with a little more abstract solutions.”

In describing why a modern interpretation of an old idea can be both interesting and important, the actor stated, “There’s always room for a contemporary interpretation of a classic tale, from Shakespeare up to Bram Stoker and to Mary Shelley. There’s room for both interpretations. I think it’s interesting to watch a welldone classic. I think it’s much more difficult to do it contemporary.”

CAST/CREW Directed Peter Werner

Written B. White

Adrian Pasdar as Vernon Coyle, a police detective trying to solve the case of “The Midnight Raptor”

Greg Wise as Crispian Grimes, a Dracula-like vampire who is known to the police as a serial killer nicknamed “The Midnight Raptor”. He is the millionaire owner of the nightclub House of Frankenstein, which is secretly a haven for vampires.

Teri Polo as Grace Dawkins, a newly bitten werewolf who is also the love interest of detective Vernon Coyle and the heart’s desire of Crispian Grimes

Peter Crombie as Frankenstein’s monster, discovered frozen in a block of ice and planned as an exhibit for House of Frankenstein, but escapes

CCH Pounder as Dr. Shauna Kendall Miguel Sandoval as Detective Juan ‘Cha Cha’ Chacon Jorja Fox as Felicity Richard Libertini as Armando Karen Austin as Irene Lassiter

CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY Cinefantastique v29n06-07 (Nov 1997)

  House of Frankenstein (TV Mini-Series 1997) SUMMARY Vernon Coyle (Pasdar), a detective with the Los Angeles Police Department, is trying to solve a series of bizarre murders.

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DVD / 2017 / 67 minutes

INTRODUCTION TO SOUND DESIGN

Professor of Sound Design at the University of California Irvine, Vincent Olivieri, explores the fundamentals of sound design through the lens of his work on the recent play "Safe House" by Keith Josef Adkins. Olivieri focuses in on the art of sound design due to technology's rapid advancement, exploring script analysis, the creation of soundscapes, spatial awareness in sound design, and development of diegetic and non-diegetic sound. Detailing the process for creating successful cue lists and loudspeaker plots, Olivieri shows how each document is dynamic, often changing performance to performance, and how successful sound designers can learn to make their sound designs a living part of the play.

DVD / 2017 / 76 minutes

LEGACY PROJECT, THE: DRAMATISTS TALK ABOUT THEIR WORK, VOL. 2 - CHARLES FULLER

In Conversation with Lynn Nottage

Charles Fuller is the first African American to win the Pulitzer Prize for Drama for his drama A Soldiers Play. He also founded the Afro-American Arts Theatre in Philadelphia. Other plays include the Obie-winning Zooman and the Sign, The Perfect Party, and The Brownsville Raid. Interviewed by Lynn Nottage (Ruined).

DVD / 2013 / 52 minutes

LEGACY PROJECT, THE: DRAMATISTS TALK ABOUT THEIR WORK, VOL. 2 - MARY RODGERS

In Conversation with Marsha Norman

Mary Rodgers is the composer of the Tony-nominated musical Once Upon a Mattress, one of the most produced musicals in the world. Daughter of legendary composer Richard Rodgers, her other theatrical works include Hot Spot and Working. She also penned the children's book and subsequent screenplay Freaky Friday. Interviewed by Marsha Norman.

DVD / 2013 / 35 minutes

HOW TO CREATE OLD-AGE MAKE-UP

Featuring Rob Burman

Hollywood make-up effects artist & 30 year prosthetic veteran Burmans work includes legendary films; The Thing, Ghostbusters, The Fly, Super Mario Bros & Mighty Morphin Power Rangers. Even in this digital age, one cinematic art that requires the hand-on skills of the artist at all phases of the process is the start-to-finish creation of old-age makeup. While various stages for film and video can be achieved non-prosthetically, the process requires specific detail in the creation and application of facial and bodily prosthetics. Teaches:Life casting, sculpting & mold making, Fabrication stage of the prosthetic pieces, Final stage - application of keup on the performer life casted.

DVD / 2012 / (Grades 9-Adult) / 30 minutes

YOUR SOUND - THE ART OF MIXING LIVE ENTERTAINMENT: THEATRE SOUND & SYSTEM

A comprehensive instructional course teaching "live sound" made easy. This series is a complete teaching tool and "must have" for students and instructors, theatres, beginner technicians and production houses. Discover some of the best techniques in both concert and theatrical sound. Instructor Dave West teaches how to be creative and enjoy the art of mixing live entertainment. With his instantly applicable techniques, easy to understand analogies and hands-on demonstrations, you'll learn how to solve common sound problems with ease. This series teaches the fundamentals of live sound and highlights the components of a sound system. From microphones to console amplifiers and speakers, this series will give you the best tips and strategies for both concert and theatrical sound.

Subjects Covered Include: Theatre Sound System Design Readable Materials Farwell

DVD / 2010 / (Grades 9-Adult) / 20 minutes

PRODUCING FOR THE THEATER: THE BUSINESS OF THE THEATER - GLEN CASSALE / MICHAEL GILL

These four programs describe the business aspect of producing the play, how you raise the money to capitalize a play or musical, structuring budgets to account for pre-production and "running" costs, and developing a marketing/publicity and advertising plan. It features theatre professionals, including noted publicist David Elzer; Michael Gill, general manager for Mamma Mia and Hairspray; an entertainment lawyer; a theatrical venture capitalist; and an advertising executive from Sorrino-Coyne, the commercial theatre's top advertising agency; who offer insights into forming a contract and negotiating. The discussions are both dynamic and informative and offer insights and behind the scenes negotiations that are vital for all aspects of theatre production.

DVD / 2008 / (Grades 9-Adult) / 50 minutes

PRODUCING FOR THE THEATER: THE DREAMERS AND THE BUILDERS - JOHN LACOVELLI

Capturing the hearts and minds of the audience is the role of the creative people who write, stage design, direct and perform. This series examines the jobs of the creative people behind theatre productions and explores the various aspects of the work of actors, directors, playwrights, designers, and technicians and discusses the ways in which they work individually and collaborate. Award winning scenic designer John Lacovelli explains how a play's visual experience enhances the emotional impact of the production. Tony winning singer/actor Robert Goulet, reveals a compelling view of the difference of working in musicals as opposed to straight plays. You'll also hear from playwrights, directors and theatre critics including Tony Del Valle, Robert Benedetti and Glenn Casale as they discuss the "extension of the fourth wall" and the collaborative effort that produces a play in the theatre.

DVD / 2008 / (Grades 9-Adult) / 53 minutes

PRODUCING FOR THE THEATER: THE FORCES WHO RUN THE THEATRE - MICHAEL RITCHIE

This series examines the roles and responsibilities of the people who control the venues, content, and talent in theatre and provide a wide panorama of what theatre is and who "makes it happen." Features Gerald Schoenfeld of the Shubert Organization, who addresses the relationship between theatre owners and producers; Gordon Davidson of the Center Theatre Group, who discusses the development of live theatre in Los Angeles; Michael Ritchie, who describes the development of regional theatres, their influence on Broadway, and the changing profile of theatre enthusiasts; and Susan Smith, agent to such actors as Brian Dennehy and Kathy Bates, who explains the roles of agents.

DVD / 2008 / (Grades 9-Adult) / 50 minutes

CREATURE PEOPLE: BEHIND-THE-SCENES WITH HOLLYWOODS SPECIAL MAKEUP EFFECTS

Features a rare behind-the-scenes from the set of STAR TREK: DEEP SPACE NINE. Makeup enthusiasts, students and Star Trek fans will be fascinated to witness the application of makeup and paint to create the marauding Martok. Watch the entire makeup process from beginning to end as effects master Dave Quashnick transforms actors J.G. Hertzler into Klingon general, Martok. Also features a slew of interviews with makeup artists old and new, filmed over a ten-year period, including Rick Baker, Dick Smith, Kevin Haney, Craig Reardon, John Chambers, Greg Cannom, Rob Burman, Jennifer McManus, Michele Burke, Lance Anderson and actor Robert Picardo. Features Of the Program: Creature People interviews, Making Martok and Behind-the-Scenes with John Chambers Tribute.

DVD / 2007 / (Grades 9-Adult) / 30 minutes

MASK MAKING: MOLDING & CASTING LATEX MASKS

Learn the secrets of how the award-winning Hollywood special effects artists make great looking latex masks & special effect props. Special effects artists Omar Sfreddo & Anthony Giordano team up to cover all the basic techniques as well as many studio tricks for latex casting. Teaches: Preparing clay walls, Creating the plaster mold, Building pry points, Demolding, Pouring the casting, Demolding the finished mask.

DVD / 2006 / (Grades 9-Adult) / 60 minutes

SHAKESPEARE'S GLOBE THEATRE - RESTORED

Almost four centuries after Shakespeare's original Globe Theatre commenced performances in 1599, Queen Elizabeth II officially opened the reconstructed Elizabethan Theatre in June 1997. To celebrate Shakespeare's work and to recreate performances with the original setting and effects for which Shakespeare wrote his greatest plays, the rebuilt and fully operational Globe provides a venue for teaching and studying. This video documents eighteen months of planning, rehearsal, location work and post-production by the Shakespeare Program of the University of California at Berkeley, culminating in this historically significant production of "Much Ado About Nothing." According to Hugh Richmond, Educational Director of the Shakespeare Globe Center, USA and Professor of English at the University of California at Berkeley, "This video showcases some of the ways in which performance on the original Shakespearean stage diverges from modern practice. The broad stage, pillars and accessibility of the audience require a dynamic choreography and outgoing style providing a fresh model for modern theater."

DVD / 2005 / 30 minutes

AMERICAN CONTEMPORARY THEATER - STRAIGHT: A CONVERSION COMEDY

Straight is a hilarious and subversive excursion into the world of conversion therapy, where homosexuals are reputedly made "straight." Join acclaimed writer/performer David Schmader as he plunges into the heart of this dangerous territory. Schmader, a gay man, pulls no punches with either the conversionists or the gay community in this one-man show.

DVD / 2004 / (Grades 9-Adult) / 100 minutes

AMERICAN CONTEMPORARY THEATER - THE HAINT: A SOUTHERN GOTHIC GHOST STORY

A masterful example of Southern storytelling. This one-man Southern Gothic ghost story features the "phenomenally talented" Troy Mink (Seattle Weekly) playing 13 different characters - from a ghost-busting sheriff to a chain-smoking lesbian atheist - in the mythical haunted town of Midway, Tennessee.

DVD / 2004 / (Grades 9-Adult) / 60 minutes

THEATRES OF ASIA, THE: AN INTRODUCTION

With David George

This video introduces Asian theater through the roles it plays in the lives of Asian people and its special relationship to young people. David George has interviewed dancers, actors, musicians, shamans, priests, scholars, mask-makers, choreographers and taken detailed pictures of what he has learned.

DVD / 2003 / (Grades 9-Adult) / 44 minutes

DREAM IN HANOI, A

Two theater companies, one American, one Vietnamese, collaborate to produce A Midsummer Night's Dream in Hanoi.

Twenty five years after the end of the Vietnam War, Vietnamese and Americans join forces in a unique collaboration. Two theater companies, one American and one Vietnamese, come together to stage the first performance in Vietnam of Shakespeare's play A Midsummer Night's Dream. This spirited tale follows the actors, directors, producers and technicians from both countries as they struggle to surmount the huge obstacles of language, culture, ideology, and a history of war on their journey to opening night at Hanoi's famous Opera House.

The film features Vietnam's renowned theater, the Central Dramatic Company of Vietnam, and actors and staff from the Artists Repertory Theater in Portland, Oregon. Music is performed by artists of Vietnam's National Theater of Music and Dance and the Cheo Theater of Hanoi.

A DREAM IN HANOI is the first American documentary about American/Vietnamese relations that does not focus on the Vietnam war or its legacy of human suffering.

DVD (Color) / 2002 / (Grades 7-12, College, Adult) / 91 minutes

http://www.learningemall.com/News/Theatre_1809.html

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Greg Cannom Ozzy Osbourne ”Bark at the Moon” In 1980, Ozzy Osbourne signed as a solo act by Epic Records; at his first meeting with the company’s top brass, the Ozz pulled a dead pigeon out of a paper bag, and bit its head off. Supposedly the record execs were quite shocked, and ready to terminate Osbourne’s contract then and there. It’s said that his manager had to do a lot of managing to smooth things over with the record honchos.

The story of the rocker’s geek-like behavior got out to the rock press, and it didn’t seem to hurt Osbourne’s image any. If anything, it seemed to cement his reputation as a “real showman” one who would do anything to give his audience a rise. Then, during a concert in Des Moines in 1982, a member of the audience threw something on stage. To Osbourne, it looked like a toy-a rubber bird. It seemed a good idea to play along with the gag, so the Ozz picked it up and bit into it.

Instead of getting a mouthful of rubber, Osbourne again felt the sickening crunch of tiny bones as he bit off the head of a dead bat. Again, this time by accident he’d played the geek. And, again, the story got played up by the rock press, though most reporters neglected to mention that the incident had been accidental; as far as they were concerned, it was just old Ozzy, the madman of rock, playing that role to the hilt. It didn’t feel that way to Osbourne, though, who had to endure a painful series of rabies shots for his error.

During his 1983 tour of the U.S. Osbourne found his concerts were the target of a pressure campaign by church and parents’ groups, who perceived the Ozzas some form of human devil. Animal Cruelty and satanism were regarded by these groups as a regular part of his act, which of course they had never seen. Robert Hilburn of the L.A. Times reported on a meeting of one such group, which had Seen Osbourne’s act after they had failed to stop it.

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The next morning, several of the concerned ministers gathered to hear a report on the show. “You know what bothered me the most?”one pastor asked. “He said ‘God bless you.’ That’s blasphemy.”

Osbourne, a sincere Christian in his private life, was more than a little upset by these attacks by the clergy.” At first, all this satanic business was funny,” he told Hilburn. It brought me a lot of publicity when I needed it… But it has become like a nightmare. It’s like an LSD trip. You take a tablet and it’s fun at first, but you can’t turn it off.

“To me, it’s like American Werewolf in London or something, just a put on… Why are these people picking on me? Why don’t they picket Vincent Price? He must have been in 90 films with all kinds of satanic references.”

The Ozz made it pretty clear in all of his interviews of the period that he was ready for a change. That change arrived this year, when he appeared, on the Bark at the Moon (1983) album cover and in the video for the title track, as a werewolf. Osbourne’s logic here is pretty clear-if no one believed he was play-acting as a satanist, maybe they will finally recognize Ozzy the Werewolf as a creation of the purest fantasy.

Because Ozzy, like Michael Jackson, is a huge fan of John Landis’ An American Werewolf, Rick Baker was the first artist approached; but Baker was determined to take a hiatus from makeup work. Osbourne and company began combing the country in search of the right makeup man for the job, when one of their contacts recommended Greg Cannom, who had cut his teeth, lycanthropically speaking, as a key crewmember on The Howling. “They told me they needed this werewolf makeup in one week,” says Cannom.

  There were actually two Cannom werewolves involved, the first to be done for the album cover photo session, and a second for the Bark at the Moon video. “In a way, I viewed the album cover shoot as a test; for the video, we had more time, and made a few changes that made it much more to my liking.”

Cannom’s involvement in the video has convinced him that the music business is even crazier than the movie business, though he found the project, overall, a fun assignment. Initially, Cannom was put off a bit by Ozzy’s “madman” reputation; that changed, however, when he met Osbourne. “His wife said to me, ‘I want to see how you’re going to get Ozzy to sit still for five hours,” Cannom recalls. “But he did it, no problems, and he wore the contacts with no problems.”

True fans know that Ozzy’s personality is more puppy dog than Satanist, and Cannom’s design reflects this with a more doglike countenance. A chief difficulty in the design of prostheses was the requirement that Osbourne’s tattoos, on his knuckles, chest and arms, should show through. This required the laying of very fine hair.

Two continents collaborated to get the work done within schedule. We were surprised to learn that in the U.S., Cannom’s chief assistant was Kevin Yagher. The hair for Ozzy’s wig was laid by Hollywood’s leading hairmeister, Josephine Turner. In England, Janice Barnes tied the individual hairs to lace hairpieces for Osbourne’s body, which she also applied.

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Mark Mayling served as Cannom’s assistant at Shepperton Studios for the album cover shoot, and on location for the video. Cannom is particularly pleased with the skill and the speed displayed by Turner and Barnes on the exacting hair work. “It was amazing, just plain incredible, that they were able to come through in that amount of time.

https://dailymotion.com/video/x1ihlz9

“The video was shot at Northampton County Sanatorium, which was built for rich people in the early 1900’s; they closed it down just a few years ago. It was one of the most spectacular buildings I’ve ever seen, and one of the scariest. Hundreds and hundreds of vast, empty rooms and vaulting hallways. I’d hate to be in there at night. One of my main disappointments with the video was that they really didn’t make very good use of that fabulous building…I was also disappointed that they didn’t show the makeup up close, after all the effort that went into it.”

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John Carl Buechler on the Ronnie James Dio’s Last in Line (1984) In 1984, Ronnie James Dio’s eponymic band followed up the success of Holy Diver with their second album, The Last in Line. The title track was accompanied by a completely bizarre music video directed by Don Coscarelli, who also brought us the horror flick Phantasm.

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The Ramones Psycho Therapy Video Shostrom’s entry into the wide world of rock video makeup came while he was working at an L.A. prop house; at the time, he was molding various nefarious devices to be used by the intergalactic buccaneers in the forthcoming film Ice Pirates. “Frank Delia, the producer of the Psycho Therapy (1983) video, knew John Varris, the vice president of the company,” Shostrom says. “John came in one day and said, ‘I know a lot of you guys have weird portfolios, a friend of mine is producing a rock video, and if you bring in your portfolios tomorrow, you can show him your stuff.'” The next day, Delia looked over the portfolios of the crew members; Shostrom and Showe were picked for the job.

Delia was far more open to input by the makeup artists than most film producers. “I don’t think Frank had worked with special effects of this sort before,” says Shostrom, “and, considering the weird situations portrayed in the video they’d planned, he was more inclined to be open, allowing us to toss in some ideas.

“Frank played the song for us, gave us copies of the lyrics, explained the basic idea of the psychoward and asked us if we had any ideas. We threw the ball around for several hours, and came up with the scenario of the Teenage Dope Fiend-the TDF, as Frank liked to call him-on the table about to be given a lobotomy, when his head splits open and this ‘alter ego emerges.”

This effect was accomplished “dry that is, without unpleasant gore, slime or other viscous substances, though a more graphic approach was considered. “But even before filming, there were many people at Warner Brothers and MTV who let Frank know they were against it,” says Shostrom. “Frank fought them, though we didn’t go with any blood. It was still too gory for a lot of people; when they screened it for MTV, people walked out and said there was no way they could show it.

“All of the work has done in eleven arduous days—the lifecast of the actor, Robert Dennis, who played the TDF, his splitting head, the creature puppet, the corpse apparition of the psychiatrist, and one other thing that you can barely see at all in the video, a breathing desktop-a slight Videodrome ripoff. If you look carefully when the corpse-psychiatrist is on, you can see a bulge rising in one corner. And there was also a brief cutaway for the operation scene, where the surgical team is a bunch of rotted corpses. The work for that consisted mostly of taking some old heads off my shelf and throwing some shit on them.”

The puppet, a caricatured likeness of actor Dennis, was built onto a cast of Shostrom’s arm. For actual shooting, Shostrom manipulated the puppet while Showe worked the cables that opened Dennis’ head. Their only assistant was Miles Liptak, who helped with the casting.

“Unfortunately, we never got to meet the Ramones,” laments Shostrom, who has performed as a rock musician himself. “They shot it over a three day period; the first two days they shot with the Ramones, while we continued work in the shop the last day was just pickups and effects, so the Ramones were gone.”

Music Video Work Shostrom, who has recently finished working on a second rock video, for Blue Oyster Cult, expects special makeups to be an increasing part of the rock video phenomenon. “It’s good for the artist,” he says, “because you’re not tied into a script, and it’s clear that they need your ideas and input. Also, it’s a very small proportion of films that can use or require special makeup. Rock videos, just by the nature of the music, have great possibilities for visuals of all kinds, including makeup.”

It’s long been known that one factor that draws rock fans to auditoriums is the chance to hear their favorite hit tune performed live. Taking the rock video phenomenon to its logical conclusion, it probably won’t be long before groups start attempting to re-create their hit videos, live on stage. Imagine, for instance, the Rolling Stones interrupting a performance of Undercover of the Night to engage in a heated on-stage gun battle!

For close to a decade, rock’s leading dramatic troupe has been none other than The Tubes, a musical ensemble composed primarily of former art students. Though the group successfully entered the mainstream of recorded rock with their 1983 hit “She’s a Beauty,” in the mid-70’s their live stage shows were viewed by many as the leading edge of rock’s avante garde.

The elaborately staged Tubes concerts as preserved for posterity on Thorn-EMI’s cassette, Tubes Video, have always been enormously expensive to mount. Early on, the group found a bargain in Rick Lazzarini, a 15-year-old makeup enthusiast. “My brother knew a guy, Tim Mazonk, who was doing pyrotechnics for them,” recalls Lazzarini, “and that was how I hooked up with them.” For one segment of the show, Lazzarini transformed lead singer Fee Waybill into the ultimate punk rocker” by festooning his face with razor blades and other sharp objects. Another character, glitter rock king Quay Lewd, sported 13-inch platform shoes built by Lazzarini (these are still in the act). In a sequence that anticipated Videodrome, Waybill would ram headfirst into a Lazzarini-built TV set, coming up with the set stuck on his head, distorting and magnifying his features. On special occasions, Lazzarini would join the group onstage during the finale, to dance about in his own “anatomically correct” complete with genitals apesuit.

Lazzarini’s otherwise normal teenage lifestyle prevented him from touring nationally with the group, but he worked with them throughout the state of California, where the group enjoyed its greatest popularity. “It was a great thrill,” Lazzerini recalls,” ’cause here I was a kid from a hick town south of San Francisco, reading every copy of Famous Monsters and running out into the street with blood all over me like your readers do, so it was great to have the chance to do these really bizarre things.”

At 17, Lazzarini began touring with KISS as a pyrotechnician, designing various stage effects, and preparing and cuing the on-stage explosions that accompanied their high-decibel rock. His makeup skills were later called into play, however, for such tasks as finding a formula for stage blood that would meet the high standards set by Gene Simmons. “He wanted something that would be healthy if you swallowed it.” Lazzerini recalls. “We wound up using a mixture of egg whites, some flour to thicken it, and red food coloring. It had to be warmed a bit, too, because he didn’t want to take it cold.”

Simmons had a unique method for maintaining discipline among the pyrotechnics crew. A quantity of mouthwash was kept on-stage so that Simmons could clear his throat after performing fire-breathing stunts; when any of the pyro crew missed an effects cue, they could expect to be sprayed with a mouthful of Lavoris. Lazzerini apparently didn’t find Simmons’ methods too unreasonable, however, later, when working for the Hollywood Wax Museum, the makeup artist arranged for the group to be immortalized as one of the museum’s most popular exhibits.

Around the same time, Lazzarini and John Watkins (who would later succeed him as pyrotechnician for KISS) organized a group called the B.E.M.’s (Booger Eating Morons). The group lasted for only one concert hall appearance before becoming a San Francisco Bay rock legend. Suffice to say that their act featured on-stage gunplay, blood pumps, smashed guitars and the microwave massacre pictured above.

Lazzarini subsequently resumed his college education. “I was taking film courses,” he says, “and also courses in business, law and computer science-I decided I wanted to be a rich makeup effects artist, not just a makeup effects artist.” While pursuing his education, Lazzarini referred any major assignments he was offered to friends, though he contributed additional stage effects designs for a subsequent KISS tour.

Lazzerini’s return as a rock’n’roll makeup maestro came with the making of the Jeopardy video featuring Greg Kihn. As head of makeup effects, Lazzerini was in charge of zombie-izing 30 people, attendees at a wedding of the dead, and sculpted a 6-foot-long Octopus tentacle (adapted to greater length by the video crew) which engages Kihn in mortal battle. Assisting with the zombie makeups was a young makeup artist with the singular name Syd Terror; Terror also provided the connective tissue for a strange pair of Siamese Twins seen in the video, and “Martha,” the video’s zombie bride.

The resultant video was one of four nominees in the best effects category of Heavy Metal magazine’s rock video awards last year, and the only nominee that did not rely heavily on opticals for its razzle-dazzle. Just recently, Lazzarini and Mark Shostrom worked together on a brand-new video for Blue Oyster Cult, produced by Frank Delia of Psychotherapy fame. The video, called Shooting Shark, features two ravishing and scantily clad models wearing custom masks designed by the pair. Lazzarini built the iguana head, and contributed mechanicals to Shostrom’s jackal head that allow it to snarl. Unfortunately, the ravishing models are not featured in the video as prominently as are the less-than attractive faces of BOC’s members.

“Working with Frank, you find that he doesn’t know what he wants, but he knows what he doesn’t want-and that leads to numerous changes and headaches,” says Lazzerini. “But it also gives you an opportunity to offer your ideas, which is always good, So there you have it a natural combination: fast, loud music and special makeup effects. When there’s more to report in this burgeoning field, we’ll be reporting it. In the meantime, just remember the wise words of Sleepy LaBeef: It ain’t what you do, It’s the way how you do it And it ain’t what you eat It’s the way how you chew it.

Stan Winston sculpts Mr. Roboto (1982) for a Styx music video, the character would become one of the most iconic pop-culture figures of the 1980’s.

Ed French/”Torture” The Jacksons I got a phone call from a woman saying, “We need a character with a leering, toothy grin from ear to ear (literally, a hand with a human eyeball growing out of its paim, a rock with a human face and three people singing… without faces (all features blank, smooth except for mouths). Are you the person who does this sort of thing?” “Yes,” replied, “I’m that kind of guy. “We’ll need you next week if you’re available. That was producer Kathy Dougherty on the phone two days before the Jacksons were to begin shooting the “Torture” video from their Victory album.

Very shortly after that I was sitting with director Jeff Stein in the dining hall at Astoria Studios, I found out that Jeff had directed videos for the Cars (“You Might Think”, Billy Idol (“Rebel Yell”) and Hall and Oates (“Out of Touch). His laid-back demeanor, I later realized, were quite necessary to his survival during the uninterrupted 24 and 48 hour stretches of filming and editing that would take place during the next two weeks.

Since the final effect of the video would be more of a “fun-house” experience than a “chamber of horrors’ a la “Thriller”, we agreed that the artistic effects would be slanted toward the surreal. Art director Bryce Walmsley was coming up with a wall composed of oversized moveable plastic eyes, so we decided that, in an atmosphere like this, my Gahan Wilson-inspired “Mixed-up Face mask (a.k.a. “The Geek” appearing in Geek Maggot Bingo) would be right at home in cameo appearance.

While repairing, retouching and restoring “The Geek to his original ghastly splendor, I was also sculpting a dental nightmare in clay on a stone life-cast of my face. Having just completed an exhausting stint on Larry Cohen’s new epic The Stuff, my death-like appearance probably inspired Jeff to cast me as the video’s leering “Phantom of the Opera” character. Although leff had those abominables, Phibes and Sardonicus, in mind for the shrouded, ear-to-ear grin figure at the high-tech pipe organ, my immediate inspiration for the prosthetic leer was that gooney Hirschfield caricature of Jerry Lewis I was seeing all over town in the adverts for the Labor Day Muscular Dystrophy Telethon.

The monstrous grin was sculpted and the two-piece mold completed in about four hours. The only other prosthetic appliance that could be pre-fabricated was for the bit in which the eye peeks through the skin in Jackie Jackson’s hand. Using a negative hand mold, close to the size of Jackie’s hand, created a thin latex rubber skin that I would adhere over a semi-spherical glass eye l had attached in the palm of Jackie’s real hand When the hand opened, a pre-cut slit pulled apart and the eye pushed through the “skin” The faceless singers were supposed to be three of Jackie’s brothers and the immediate makeup solution was to use prosthetic adhesive to glue nylon stocking over their heads, exposing only their mouths and ears, “seal” the material with liquid latex, make it up with rubber-mask grease paint and, lastly, add wigs. Even considering the total absence of pre-production time, I thought these things could be effective.

It turned out to be overly optimistic to think that “Torture could be shot in four days. The Jacksons would shoot their scenes for the first three days (Tuesday through Thursday and many effects scenes would be shot on Friday featuring Jackie. The shooting schedule actually expanded in to a marathon seven days and nights, which was still remarkably short, considering that every shot had some special effects in it. Steve Kershoff, whom I had met on Exterminator Il and who had recommended me for this job created smoke effects, whips that cracked explosively and other pyrotechnic goodies. Louise de Teliga provided dancers with spider costumes containing extra arms and, in a nifty visual pun, Peter Wallach animated break-dancing skeletons, (built by Bill de Paulo) that really broke!

The alien-landscape set of flat terrain, with the occasional black papier mache rock Sprouting up from terra-burlap, took up fully one third of the huge Studio H floor and included a beautifully air brushed cyclorama of star filled heavens with very agreeable looking pastel colored “cosmic dust.” While “The Geek’s fleeting appearance was being enormously enhanced by the camera work of Tony Mitchell, the “Forbidding Fortress set was being constructed only a few yards away, complete with sliding doors, dungeon and a pipe organ that rolled like a train down tracks which disappeared at the end of a corridor. This was where I would do my leering Lon Chaney routine while a dozen or more plastic-clawed dancers clutched at Jackie’s stunt double through bars in their floor prison.

Test estimated that the leering-face makeup would take three hours to complete, so I started at 3:00 am by waxing down my beard, In the past, I’ve prepared for roles by cutting my hair short and even shaving my scalp to alter my hairline. If a role has required a beard, and there was time to grow it, I grew it. If I had a beard and it had to go, I shaved it without a second. This time I experimented with applying the piece over the beard. At 4:00 am I had completed the application of the unpainted appliance and took a little walk through the Carpentry shop and out onto Studio H where the crew was still working the kinks out of the set’s moveable parts. Hoping that the completion of my makeup would coincide with that of the set, I took three more hours with the painting, assisted by a fabulous West Coast makeup artist, named Sally Childs and we were still ready too soon.

I took a little nap in the makeup chair until l was awakened, “1984” style, with the Jens of a camera about six inches away from my face. It was 8:00 am and a video crew was documenting the making of “Torture.” pointed to my face and shook my head “no” to indicate that I couldn’t talk under the monstrous mouth. After a quick trip to wardrobe, I took my place at the organ. It’s not easy playing the pipe organ in a shroud, especially if you’re miming it to a Jacksons hit while your mouth is glued shut at 8:30 in the morning. On top of that, while listening to my directions, (“Get down”, “Play that muthal”, “Get funky, Ed” screamed Jeff Stein) manfully attempted to stay aboard a speeding pipe organ, that could have used a seat belt, when it abruptly reached the end of its runway. I had been in makeup about 10 hours when the 40-second sequence, that took five hours to shoot, finally wrapped.

Aside from my good fortune to work with the Jacksons, that week was also special because I moved to my new 2500-square foot living and working space. “Torture” continued shooting and in between trips in a moving van between Manhattan and Brooklyn I found myself sitting on the floor of one empty living room or the other, talking on the phone with Sally Childs or Jeff Stein in Studio H in order to keep tabs on when I would be needed for Jackie’s third eye bit. The action of the scene had Jackie backing into the wall of eyes and inadvertently sticking his hand through one of the orbs and then retracting the hand now covered with dripping goo. He would then open his wet hand to reveal the eye staring at him. Sally told me, “They need the eye goo standing by!” and I suggested picking up a few jars of pink Dippity Doo setting gel, which is exactly what we used when the scene was shot on the following Tuesday. Although fatigued from being on call most of the night and obviously not having the easiest time of it, injured Jackie cheerfully climbed into a canvas chair so that makeup could begin. A few feet away the wall of eyes was being lit. It was Jackie’s final scene and when Jeff yelled “Cut” everyone gave him a well-deserved round of applause.

It looked like that pretty much wrapped up my work on “Torture”, too, but two days later, I was contacted about the pick-up shots that would be filmed in a photography studio in Manhattan. One of the shots was to be that trio of faceless singers and I was feeling a litt anxious about the effect as we were not able to use the same marvelous cameraman. I was very pleasantly surprised and relieved when I walked into the studio Saturday morning to find that Dave Greene was to be Tony’s replacement. Greene’s photography and canny suggestions had been a great help to me when we worked together on Sleepaway Camp

The three brothers.. actually, three volunteers were supposed to simply turn to the camera and reveal their blank faces. I suggested that we not have them move at all, but rather simply have them wear the trademark.

Jackson shades and simultaneously remove them on cue. (You never see these guys without them on, right?) Our Jacksons surrogates were extraordinarily patient, especially when you realize the makeup totally abscured their vision for three hours. Now, part of my job became that of escorting these guys to the bathroom and making sure they didn’t incinerate themselves or anything else while they were smoking. When the nylon edges around the mouths started to work loose, due to the wear and tear or repeated takes of lipsynching the song, I not only reglued them but hit upon the idea of concealing the now obvious edges with quickly improvised mustaches. The three of them appear on the video for one freaky second you might miss them if you blink.

CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY rollingstone revolvermag Fangoria#35 Gorezone#04 Fangoria#42 Fangoria#41

1980’s Music Videos & Make Up Effects Greg Cannom Ozzy Osbourne ”Bark at the Moon” In 1980, Ozzy Osbourne signed as a solo act by Epic Records; at his first meeting with the company's top brass, the Ozz pulled a dead pigeon out of a paper bag, and bit its head off.