Dan

Dan Platt's earliest interest in monsters began at age 6 with a steady diet of Saturday morning Creature Features.

 

Mad Monster Party Art Show

 

Just in time for Halloween, the Van Eaton Galleries in Sherman Oaks, CA is having a group show tribute to the Rankin/Bass animated classic “The Mad Monster Party”. Address: 13613 Ventura Blvd, Sherman Oaks, CA 91423. 1-800-599-3693.

 

Amazing paintings, sculptures, handmade dolls and an assortment of mixed media creations pack the two galleries and yes, they are all for sale. For those unable to actually attend the show, artwork can be viewed and purchased online, from their gallery website: http://www.vegalleries.com/monsterparty.html

 

His a sampling of some of the incredible art from one of our favorite animated classics.

 

October Shadows 2012

 

October Shadows is celebrating their fifth year of Halloween in Art. And where could such a show be held, you ask? At the Mountain View Mausoleum (where they filmed PHANTASM!) at 2300 N. Marengo Avenue, Altadena, CA 91001.

 

The top names in the world of fine art, comics, film, tv and animation are showing why they love this time of year in 2d, 3d and mixed media. The show will run each Saturday and Sunday from 10 am – 3 pm through November 3rd.

 

Below is a micro sampling of some of the amazing art featured at this annual exhibit.

 

 

 

 

MONSTERS – COLOR THE CREATURE BOOK

 

Zombies, mummys, werewolves, vampires, ghouls and of course his legendary Frankenstein monster have made Bernie Wrightson the undisputed household name associated with illustrating the macabre. His brilliant and uncanny knowledge of anatomy is depicted in every illustration, carefully composed and intricately rendered on every page.

 

The MONSTERS – COLOR THE CREATURE BOOK, released in 1974,  feature 16 incredible B/W drawings by Bernie Wrightson. Its this book, along with Wrightson’s “A Look Back” where I became hooked on anatomy. When it came to inventing anatomical form, Bernie Wrightson, just like Michelangelo, made invented forms absolutely real. When I design for films or fun, Wrightson’s illustrations are always near for silent, inspirational guidance.

 

 

 

We would like to welcome our newest member and writer to the Creature Buzz team, Beth, our official UK Correspondent.

 

Since the tender age of 8 when she was permitted to stay up past her bedtime to watch Universal’s “Bride of Frankenstein” with her father – she was hooked on horror films. Fast forward to the present; Beth watches 2 to 3 horror films a night. As our only international member, we look forward to Beth’s unique British perspective as she shares her vast knowledge of vintage horror & sci-fi classics from film, television and the occasional dusty, leather bound tome.

 

You can follow Beth on Twitter and at her own blog: http://magicalhorror.webs.com/

 

 

 

 

Spoiler

 

 

In December 2010,  I read a great little script for a short indie film called SPOILER, written, directed, shot and produced by Creature Buzz members Dan Thron and Karl Denham. I’ve worked on low budget films before but this production would be better defined as “no budget meets no time.” The story takes place in a time where zombie-ism is common and for the most part, relegated to a controllable disease. Apartment units are set up with special devices that detect the level of putrefaction and if the level spikes too high, all units are immediately quarantined until everyone is checked and cleared. If a unit is discovered  to contain an individual that is beyond help… a controlled burn may be issued by the CDC.

 

Working on a head shot of Margret “Meg” Ryan, Dan Platt created a photoshop comp of the proposed make up. With ONLY one week to prepare for the zombification of Meg –  the traditional ritual of life casting, sculpting, molding and casting were not possible. About a dozen generic zombified wounds were sculpted on a flat board in chavant clay and silicone molds made. The molds were filled with pros-aide, frozen and then dehydrated in preparation for zombie day weekend. We used brown tooth enamel to dirty Meg’s real teeth and used chocolate syrup with red and green food coloring to create the thick, dark saliva.

 

The make-up design was based on settling blood. When the body dies, blood flow ceases and gravity takes over causing the blood to settle and pool in the lowest parts of the body. So we designed our look with Meg’s head pinned to the floor and her body positioned as it will be in most of the shot. We then traced outlines of impact areas, specifically where her face touched the floor and where her husband hands and fingers would cause imprinting when he forcibly held her down. Impact areas where colored a deep indigo black and bruising colors were used to radiate color along vein routes to visually carry and connect the infected disease. This assymetric approach made the design very unique, absolutely natural and  have a sense of history which played a vital role to its success.

 

In 2011,  “Spoiler” won Best Make-up and Best Score at the LA New Wave Film Festival!

 

Application

 

Kei Chong and Dan Platt apply the prosthetic make-up to Margret “Meg” Ryan for the horror indie “Spoiler”

 

Finished Make-up

Meg Ryan is zombified!

 

 

 

Creature Buzz is now on Pinterest

 

For better or for worse, our twisted minds are open to the public. Take a peek of what catches our eye as we comb the web for all things awesome!

 

Click the image to be beamed instantly to our Pinterst page!

 

 

 

I’ve always been a great admirer of Lon Chaney Sr. (April 1, 1883 – August 26, 1930) as not only a character actor but as a make-up genius. His inventive solutions are the stuff of legend. The resources for stage make-up were crude, uncomfortable, toxic and extremely difficult to obtain. Chaney’s focused devotion to bringing grotesque characters to life meant he had to invent his solutions, normally in an unorthodox fashion. His most memorable and certainly, one of my absolute favorite is his version of Erik as The Phantom of the Opera. For a beautiful bio and tribute to Lon Chaney, please visit this site at Magical Horror.

 

Enamored with that design, I set out to create my own version, the same way aspiring artists copy Renaissance masters to improve their own abilities. I watched The Phantom of the Opera repeatedly and studied every known image of his Phantom make-up, form by form, deciphering what was Chaney’s actual face from his prosthetic counterpart.

 

 

And then it hit me. Instead of creating a stylized, non-descript mask that concealed his hideous features like the one he wore to enchant Christine; I would base my mask on the brilliant Chaney “reveal” make-up design.

 

But my design will have backstory. It should show the wear and tear of a ceramic-like mask that has seen too many days in the dark recesses below the Paris Opera House. My Phantom mask will be reproduced as a lightweight, rigid, resin mask designed to fit every contour of my face, perfectly. It would be “comfortable” to wear and easy to put on or remove in an instant.

 

SCULPTURE STAGE:

 

The first image shows the super early rough-in stage. At this point, I was laying down character lines, nothing more but carefully watching how the shadows wrap the forms similar to that in Chaney’s make-up. If you look closely, the forehead in the 1st image is low, in case the mask is worn with a top hat. As indicated in the subsequent shots, I quickly abandoned that idea and sculpted the classic, high arching forehead to be more inline to the original design. All of the textures are created by hand, using custom, hand-made sculpting tools. Working at night (of course!), the entire sculpting process took about 10 days or roughly 30 hours.

 

 

MOLDING & CASTING STAGE:

 

With the sculpture now complete, the next stage was to create the silicone negative. The first images shows the blue colored silicone “brush-up” over the finished sculpture. The brush up process took about 5 hrs to create, taking care to create an even thickness coat and allowed to cure overnight. The next morning, the cured silicone mold was removed and the first layer of resin was “slushed” into the mold, until a desired thickness (about 5 mm) of material was reached. The resin was allowed to cure for a few hours, getting stronger the longer it sat.  With gentle prodding, the raw casting was removed from the mold and its edges cleaned up with a dremel and sandpaper. The eye holes and ribbon slots were also cut out and sanded to a smooth finish.

PAINTING STAGE:

 

The mask was then coated with a light grey primer followed by numerous layers of bruised flesh tones using special model paints. That process was repeated until I was satisfied with the final coloration. The images show the process and the final version of the mask.

 

 


 

Trapped in time. Surrounded by evil. Low on gas

 

In 1992, I was contracted to recreate stop motion, miniature puppet versions of the life sized creatures created by KNB FX Group and Tony Gardner’s Alterean make-up FX studio. Working from KNB’s full scale winged Deadite suit, I methodically reproduced a 1/6th scale version for shots where the Deadite takes flight with Sheila (Embeth Davits).  The original Deadite and miniature Embeth sculptures were created in supersculpey and cast in dental stone molds.

 

 

After 4 weeks of hard work, the stop motion puppets were delivered on time to INTROVISION, the company awarded with the visual effects shots. A few weeks later, I got a call (on my birthday!) to make a small repair to the Deadite. The “runner” handed me a paper bag and inside was something that resembled  a shredded piece of bacon. That was all that remained of the Deadite puppet! This was no small repair, it was an entire redo and of course, it was due to shoot the next day! I learned that one of the “Igor’s” in the model shop attempted to drill into the delicate foam latex skin but as soon as the latex touched the high speed drill bit, it wound the foam around the bit, ripping the skin from the armature – chewing it to pieces. Like a good, obedient steward of my craft, I worked through the night and delivered an “ok” version but charged them 1/20 of what it cost to do the first time. Everyone in LA cries poor but its bullshit. If I knew then what I know now, I would have charged them a FORTUNE for that repair.

 

 

12″ Tall, Evil Deadite sculpture

 

 

 

 

 

The complete, 1/6th scale stop motion Deadite puppet

 

 

 

The same Deadite puppet, but destroyed!

 

But as production quaintly stated: “it needs a little repair”. Effers.

 

 

 

 

 

Flying Deadite semi-posable replica

 

With the molds long destroyed, this is the only known casting of the flying Deadite in the world . This replica is made of flexible urethane and has an internal, semi-posable wire armature. Its safely stored in my collection.

 

 

 

 

 

Sheila Stop Motion Puppet

 

I also needed to make a miniature, stop motion puppet of  Sheila (played by Embeth Davitz) to be carried away by the Deadite. This puppet stood approximately 10 inches tall.

 

 

 

 

 

“Spider Ash”

 

There was a scene where Bruce Campbell had an evil Siamese twin joined at the torso, that forced him to crawl away like a spider. Internally we referred to the shot as “Spider Ash.” If I am not mistaken, Tony Gardner’s Alterian Studios created a life sized practical puppet/costume combo. But for potentially more challenging (or comedic) shots, the production company asked me to create a stop motion puppet version. This is how it went down…

 

Tony’s group supplied me with two head casts of Bruce Campbell, both taken with extreme facial expressions along with a slew of incriminating photos to use as a guide to match in miniature. Created in supersculpey in 1/6th scale (approx. 12″ tall), they were baked to a hard finish.

 

I needed to get a “buy off” on the sculpture from Sam Raimi  before I could proceed with the molding and casting phase. With the delicate and fragile Spider Ash sculpture carefully packed, I slipped into a production meeting already well under way. Sam was sitting on the far end of the long boardroom table and when it was my turn to be addressed, my sculpture was carefully passed forward. Energized with enthusiasm, Sam Raimi gave it the 5 second once over and said “Gentlemen, this is a vision of beauty” and with that… he slid the sculpture back to me, across 8 feet of boardroom table, as if he was playing air hockey. I caught the sculpture before it took a nose dive to the floor – matched only by my elevated blood pressure.

 

After all of that, the “Spider Ash” stop motion puppet never made it into the final print of the film, but presented here as a piece of ARMY OF DARKNESS  history.

 

 

Spider Ash Stop Motion Puppet

 

This image is one of the only surviving pictures in my archive that depicts the Spider Ash puppet as it was delivered. The molds to these puppets have been long destroyed.

 

 

 

Spider Ash Surviving Replica

 

This image shows the only known surviving copy of the 20+ year old Spider Ash puppet safely stored in my collection. This replica is made of a flexible urethane with a semi-posable wire armature.

 

 

…and the “Full Monty” shot.

 

 

 

 

“What an excellent day for an exorcism.” 

 

In April 1972, Dick Smith began work on designs that would forever change the face of demon possessed horror. Regarded throughout the world as the Dean of modern make-up, Dick Smith worked closely with director William Friedkin to turn 12 year old, cherub faced Linda Blair into a believable, demon possessed child. In my opinion, its still the most frightening and believable possessed designs in cinema history.

Unlike CG where anything is truly possible (often to a fault), prosthetic make-up is an additive process applied to a living person – a delicate balance of dimensional illusion, careful lighting and coloring without making the head or body part appear fatter.

 

Five months before they began shooting, Dick Smith took life casts of Linda Blair and using Roma Plastilina, sculpted several different possession designs on those casts. When a few appeared promising, molds were made, foam appliances created and test applied to Linda for Friedkin’s approval. The final version included a distorted, asymmetrical look with self inflicted, infected wounds. Throw in a set of dentures, a rubber tongue and contact lenses; the Exorcist broke box office records and terrified millions.

 

 

For an extensive coverage on the making of The Exorcist, hunt down the long out of print Cinefantastique Vol. 3, Number 4 from 1974.

 

Click here for a pdf of Dick Smith discussing his ground breaking make-up work on the Exorcist from this issue, as interviewed by David Bartholomew on April 4, 1974.

 

The life casts below are from my private collection, preserving a few of the early make-up tests forever in stone.

They are NOT FOR SALE. 

 

 

 The Linda Blair Eyes Closed life cast

 

 

 

 

 

 

 

 

 

 

 

 

 

Linda Blair Dummy Head Life Cast.

 

She was cast  with her eyes open (using special schleral lenses), dentures and lower lip prosthetics so the distortion to her jaw line is built in. This was used for the famous head spinning scene.

 

 

 

 

 

 

 

 

 

 

 

 

 

Cast of an early test make-up.

 

From what I can tell, the extensive cheeks, wide nose where not used in the final version. The now famous “demon possessed brows” appears to have made it in the final version.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


Following is a gallery of make-up tests, behind the scenes shots and stills from the film.