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- Animation Department
- Director
- Additional Crew
Bill Justice graduated as a portrait painter from the John Herron Art Institute in Indianapolis in 1935. He joined the Disney Organisation two years later, after moving to California. Highlights of his 42-year long career with Walt Disney as director/animator include bringing to life the characters of Thumper ('Bambi') and Chip'n'Dale, as well as animating the title sequence ('Mickey Mouse Club March') from the 1950's TV series The Mickey Mouse Club (1955). He also directed a number of animated short films, three of which received Academy Award nominations: The Truth About Mother Goose (1957) (with Wolfgang Reitherman), explaining the background of classic nursery rhymes, Noah's Ark (1959), and a 'new twist on the old ragtime' theme, A Symposium on Popular Songs (1962).
After 1965, Bill became part of the imagineering/programming team for Disney's Audio-Animatronics figures at Disneyland, specifically involved with the Hall of Presidents, Mission to Mars, Haunted Mansion and Pirates of the Caribbean attractions. He was also noted as an expert in the use of stop motion animation technique in conjunction with live action films, such as Mary Poppins (1964), usually in collaboration with T. Hee and Xavier Atencio. Bill retired in 1979 and was pronounced a Disney Legend in 1996.- Art Department
Born in 1978 in Bogota Colombia, Julian lived worked and studied in the capital until 1999 when he moved to the United States.
After graduating high school, Julian served in the military Air Force for a year where he created two oversized mural at their facility. Once in the US Julian began working as a scenic artist/sculptor and sign painter. Throughout this time he painted most of the M&M's characters displaying at the stores worldwide, as well as the sculptures for the theme parks six flags nationwide.
In 2014 through Foam Tech Company Julian and a small group of artists were commissioned to create the one and only full scale (24 ft. Tall) Optimus prime and a full scale Bumble Bee (20ft tall) for the Transformers 4 movie premiere worldwide. Such massive structures displayed in Hong Kong bay and Hollywood simultaneously. Years later Bumble bee featured in the movie Ted with Mark Wahlberg.
In 2006 he was hired by Hasbro toy company and worked at the headquarters facility in Pawtucket RI. There he did the first Optimus Prime toy prototype for the recently acquired franchise Transformers line, his background as an airbrush artist gave him the ability to successfully recreate the flames and graphics for this particular action figure. Simultaneously he painted many other prototypes for the company including Marvel action figures, Mr. Potato head, Ghost-rider, Star wars, my little pony, my littlest pet shops and more. Julian is also a great hyper-realistic airbrush artist. Painting multiple motorcycles displayed in magazines, cars, custom painted helmets for pilots, motorcyclists, and hockey players.
Julian as a muralist has done huge murals with one in particular displaying at the patriots place in Attleboro Massachusetts right next to the Guillete stadium house of the New England Patriots.
Now he is a well known camera scenic artist in New York and Boston since 2011. And he is often hired as a muralist and custom airbrush artist to work on murals and custom painted vehicles.- Jasmine Becket-Griffith was born in 1979. A professional painter, she also spends her time as a patron and participant in the arts and all things bizarre and amusing in the entertainment industry. Jasmine lives in Long Beach, California and spends her time between her secondary studios in Julian, California, and Kansas City. Jasmine was born in Kansas and began her professional art career in 1997. While usually painting or traveling, she enjoys spending time with her partner David Van Gough, co-creator of the Death & the Maiden(TM) universe, her solo creative brand Strangeling(TM), her association with the Walt Disney company, playing with her cats and plant-based cooking.
- Producer
- Director
- Writer
Cinematic jack-of-all-trades Rick Sloane will never win any special awards for his admittedly cheap'n'cheesy low-budget independent movies, but he nonetheless deserves some respect for weathering the storm of lots of harsh critical notices and cranking out a sizable number of films throughout the years. Rick was born in 1961 and grew up in Los Angeles, California (he even attended Hollywood High School). He started making fake movie trailers as a teenager and originally planned on being an animator. Sloane was inspired to become a full-fledged filmmaker after seeing the hilarious 70's drive-in exploitation schlock parody "Hollywood Boulevard" at age eighteen. Rick went to film school at Los Angeles City College, where he was told by several instructors that he was the least talented student in their classes. Sloane's debut feature was the lame horror slasher spoof "The Movie House Massacre," which he made when he was twenty-one years old. This was followed by the campy sci-fi outing "The Visitants." Rick achieved his greatest notoriety with the atrocious "Gremlins" rip-off "Hobgoblins;" this horrendous dud was famously mocked on the cult TV show "Mystery Science Theater 3000." Sloane really hit his stride with the crudely amusing "Vice Academy" flicks; he wound up making six movies altogether in this particular series (these pictures were made popular by being shown all the time on the late-night cable TV program "USA Up All Night"). "Good Girls Don't" rates highly as Rick's best-ever cinematic venture to date; it's a surprisingly sweet and charming female buddy comedic romp that's funny and touching in equal measure. After an eight year hiatus from filmmaking, Rick Sloane made a comeback with the less than eagerly anticipated belated sequel "Hobgoblins 2."- Actor
- Special Effects
- Additional Crew
World renown archivist and historian of props, costumes, and other screen used paraphernalia from some of the greatest (and not so great) science fiction, fantasy, and horror motion pictures. Among some of the things found in his "basement" museum are, the original Time Machine from the George Pal classic of the same name, the original wolf's head cane from 1941's The Wolfman, the original King Kong armature, and a functioning full size head of the Alien Queen from James Cameron's Aliens.- Visual Effects
- Producer
- Animation Department
When it comes to motion-picture special effects, there is only one name that personifies movie magic: Ray Harryhausen. From his debut films with George Pal to his final film, Harryhausen imbued magic and visual strength to motion-picture special effects as no other technician has, before or since.
Born in Los Angeles, the signature event in Harryhausen's life was when he saw King Kong (1933). So awed was the 13-year-old Harryhausen that he began researching the film's effects work, ultimately learning all he could about Willis H. O'Brien and stop-motion photography--he even contacted O'Brien and showed an allosaur short he made, which caused O'Brien to quip to his wife, "You realize you're encouraging my competition, don't you?" Harryhausen tried to make a stop-motion epic titled "Evolution," but the time required to make it resulted in it being cut short. The footage he completed--of a lumbering apatosaurus attacked by a belligerent allosaurus--made excellent use as a demo reel, and as a result, Harryhausen's first film job came with George Pal, working on the Puppetoon shorts for Paramount. A stint in the army utilized Harryhausen's animation skills for training films.
After World War II, Harryhausen acquired over 1,000 feet of unused military film and made a series of Puppetoon-flavored fairy tale shorts, which helped him land a job with Willis H. O'Brien and Marcel Delgado on Mighty Joe Young (1949). Although O'Brien received credit for it, 85% of the actual animation was done by Harryhausen. His real breakthrough, however, came when he was hired to do the special effects for The Beast from 20,000 Fathoms (1953). The film's $200,000 budget meant that Harryhausen was forced to improvise to get the kinds of quality effects he wanted, and to that end, he learned a technique called split-screen (rear projection on overlapping miniature screens) to insert dinosaurs and other fantastic beasts into real-world backgrounds. The result was eventually picked up for release by Warner Bros. and was one of the most influential sci-fi films of the 1950s.
From there, Harryhausen went over to Columbia and teamed with producer Charles H. Schneer, which became synonymous among sci-fi and fantasy film aficionados with top-notch special-effects work during the remainder of their respective careers. After three sci-fi monster films and work with Willis O'Brien on an Irwin Allen documentary, Harryhausen did the effects work for The 7th Voyage of Sinbad (1958), his first split-screen film shot entirely in color, which was highlighted by Harryhausen's mythological monsters interacting with Kathryn Grant, Torin Thatcher's flavorful performance as the villain, and the rousing score of Bernard Herrmann.
Because Harryhausen worked alone on his stop-motion animation sequences, the filming of these could often take as long as two years, the most famous example of the kind of patience required being the exciting skeleton sword fight sequence in Jason and the Argonauts (1963) (his most popular film), in which Harryhausen often shot no more than 13 frames of film (just over one-half second of elapsed time) per day.
The 1960s were Harryhausen's best years, among the highlights being his reunions with dinosaurs in Hammer Films' One Million Years B.C. (1966) and The Valley of Gwangi (1969). His pace slowed in the 1970s, but he produced three of his masterworks during that period: The Golden Voyage of Sinbad (1973); Sinbad and the Eye of the Tiger (1977); and Clash of the Titans (1981). It was not until 1992 that Harryhausen finally achieved film immortality with an honorary Oscar, a long-overdue tribute to the one name that personifies visual magic.- Director
- Animation Department
- Writer
Ralph Bakshi worked his way up from Brooklyn and became an animation legend. He was born on October 29, 1938, in Haifa, Israel, the son of Mina (Zlotin) and Eliezar Bakshi, and is of Krymchak Jewish descent. He was raised in Brownsville, after his family came to New York to escape World War II. Bakshi attended the Thomas Jefferson High School and was later transferred to the High School of Industrial Arts and graduated with an award in cartooning in 1957.
At the Terrytoons studio, he started as a cel polisher then graduated to cel painting. Practicing nights and weekends, he quickly became an inker and then an animator. There, he worked on such shows as Mighty Mouse, Heckle and Jeckle, Deputy Dawg, Foofle and Lariat Sam. At 28 he created and directed a series of superhero spoof cartoons called The Mighty Heroes.
In 1967, Bakshi moved to Paramount Studios. Working with producer Steve Krantz, Bakshi worked on episodes of the Spider-Man TV series and several short films. In the 1970s, Bakshi set out to produce films using his innovative vision for how animated films should be. Krantz suggested Robert Crumb's "Fritz the Cat" comic book as Bakshi's first feature. The two set out to meet with Crumb and get the film rights. In 1972, the film premiered and was extremely successful, as the first feature-length animated film to receive an X rating by the American rating system (when it was distributed worldwide, it generally received lower ratings the equivalent of an R rating, and was released as being unrated on DVD).
The success of "Fritz the Cat" allowed Bakshi to produce films featuring his own characters and ideas, and so "Heavy Traffic" and "Coonskin" were produced, both of which were extremely controversial, but were praised by critics. During the same period, he shot and completed another feature titled "Hey Good Lookin'" for the Warner Brothers studio, who didn't think that a combination of live-action and animation would sell, and forced Bakshi to go back and animate the live action sequences.
During this period, Bakshi also produced two very successful fantasy films, "Wizards" and part one of an animated film adaptation of J.R.R. Tolkien's "The Lord of the Rings." Although these films were financially successful, they were misunderstood by critics, and United Artists, the studio that produced "The Lord of the Rings" refused to fund the second part, or sequel to Bakshi's ambitious adaptation.
During the 1980s, animation went into a decline. "American Pop," done using the same style of realistic animation as "The Lord of the Rings" was not successful financially, and critics did not see the point of the film being animated. The finished version of "Hey Good Lookin'" was released during the same year as "American Pop," but was also unsuccessful financially. Bakshi's last film of the decade, "Fire & Ice," a collaboration with famed artist Frank Frazetta, was a flop.
Bakshi produced several television features with mixed results before returning to film with what would eventually become "Cool World" - the script was rewritten several times during production without Bakshi's knowledge until it came to the point where Bakshi did not recognize his own work. The film was critically scorned, and was a box office flop. Fans feel that the film is not a true Bakshi film.
Since then, the Internet and DVD releases of Bakshi's work have brought him a new generation of fans and increased interest, encouraging Bakshi to produce another film. "Last Days of Coney Island" is in production. Bakshi lives in New Mexico. A three-day retrospective was held at American Cinematheque at Grauman's Egyptian Theatre in Hollywood, California and the Aero Theater in Santa Monica, California in April, 2005.- Producer
- Writer
- Director
Genndy Tartakovsky was born and raised in Moscow, USSR. He and his family moved to Chicago, IL when he was 7 years old, after his father defected to the US. His interest in comic books and animation led him to study animation at CalArts in Los Angeles. While he was there he produced two student films, one of which was the basis of his series Dexter's Laboratory (1996). The character of Dee-Dee was inspired by his older brother Alex, who would often spoil younger brother Genndy's plans (as Dee-Dee does to Dexter). His first long form directing work was for the TV movie of the series, Dexter's Laboratory: Ego Trip (1999). He also directed animation for his collaborator Craig McCracken on The Powerpuff Girls (1998) and The Powerpuff Girls Movie (2002).
His most celebrated work was the epic animated series Samurai Jack (2001), featuring a time-traveling samurai in a battle of good vs. evil. He stopped work on the series to produce Star Wars: Clone Wars (2003) as a direct story tie-in to the beginning of Star Wars: Episode III - Revenge of the Sith (2005). He then directed animation for the Adult Swim pilot Korgoth of Barbaria (2006). Plans were up in the air for over a decade for a possible movie conclusion to Samurai Jack, as well as directing a sequel to The Dark Crystal (1982). He created storyboards for the action-packed opening of Iron Man 2 (2010) during this time period.
Genndy produced another dynamic TV series Sym-Bionic Titan (2010), before finally landing his first feature on Hotel Transylvania (2012), which would involve taking over a tumultuous production and incorporating 2D techniques to 3D animation. Hotel Transylvania 2 (2015) was the first film for which he had creative control over the entire production, although it was still in the style developed during the first film. In 2017, he finally returned to direct a darker season of Samurai Jack to conclude the story on Adult Swim. He is currently directing Hotel Transylvania 3: Summer Vacation (2018).To Return: Directed by, Animation Direction by, Voice Record Director?, Supervising Producer or Executive Producer?, Series In-Charge, Supervising Director?, storyboarded & written by, Story by?- Animation Department
- Director
- Writer
Starting as a cel washer, Chuck Jones worked his way up to animator and then director at the animation division of Warner Bros. He is famous for creating such beloved cartoon characters as Wile E. Coyote, Henery Hawk, Pepé Le Pew, Marvin the Martian, Ralph Wolf, Road Runner, Sam Sheepdog, Sniffles, and many others, as well as adding to the development of Warner favorites such as Bugs Bunny, Daffy Duck, Porky Pig and countless others.
His most famous cartoons tend to have been created with writer Michael Maltese. Jones' autobiography, published by Simon & Schuster "Chuck Amuck"--a pun on his Daffy Duck short Duck Amuck (1953)--gives a very amusing account of his life. It is liberally sprinkled with hundreds of cartoons with some color plates.- Make-Up Department
- Additional Crew
- Costume and Wardrobe Department
Michael George Westmore is a scion of the Westmores of Hollywood, the most illustrious family of make-up artists in the business. The dynasty (of which Michael is the 13th to pursue this line of work) began with his grandfather George Westmore in 1917, later to become head of MGM's make-up department. Michael's father, Monte Westmore, headed the make-up department at Selznick International Pictures and worked on Gone with the Wind (1939) and Rebecca (1940) before his untimely death at the age of 37. His uncles included Bud Westmore, who worked at Universal and was one of the creators of the molded foam rubber suit used for the Creature from the Black Lagoon (1954); Wally Westmore, who headed the make-up department at Paramount; Ern Westmore, who occupied the same position at RKO; and Perc Westmore, chief make-up artist at Warner Brothers, who was responsible for Bette Davis's look as Queen Elizabeth I and for that of Paul Muni as Louis Pasteur, Emile Zola and Benito Juarez. Their collective contribution to the industry earned the Westmores a star on the Hollywood Walk of Fame on Vine Street.
A graduate of the University of California-Santa Barbara, Michael started at Universal in 1961. After three years, he rose to the position of Assistant Department Head of Make-Up. Turning free-lance in the 70s, he worked on the cult horror film Trilogy of Terror (1975), followed by Rocky (1976) (and three of the sequels) and Capricorn One (1977). For the biopic Raging Bull (1980), he transformed Robert De Niro into Jake LaMotta. His particular forte was to make actors age in the course of a film, which he did especially well in The Amazing Howard Hughes (1977) (Tommy Lee Jones) and in True Confessions (1981) (De Niro and Robert Duvall). He also excelled in the design and production of prosthetics, latex masks and the creation of special visual effects.
In 1986, Michael joined the Star Trek franchise as make-up supervisor and stayed on for eighteen years. Beginning with Star Trek: The Next Generation (1987), he devised the look for the characters Data and Lal, as well as creating prosthetics and make-up to bring the Ferengi, the Cardassians and the Borg to life (the Borg Queen was possibly his pièce de résistance!). He also redesigned the Klingons by giving them more pronounced forehead ridges (based on dinosaur spinal columns), nose ridges and dentures to simulate sharp, fang-like teeth. Michael explained: "I read the script and create. The script doesn't usually say three eyes, two horns and blowing fire, so I get to devise creations of my own imagination". His designs for Star Trek: Deep Space Nine (1993) include the featureless visage of the changeling Odo and the ferocious, bony features of the Nausicaans and the Jem'Hadar. His alien head designs for Star Trek: Voyager (1995) have included the reptilian Voth and for Star Trek: Enterprise (2001) the Xindi.
Michael based most of his creations on earth animals. For example, he saw the Jem'Hadar as a combination of dinosaurs and rhinos: "If you look at all the pieces, you can see the rhinoceros between the hairdo and the dinosaur with the top of the head and everything. So I would use combinations of what people are familiar with to create my aliens."
In the course of his four decade-long career, Michael has won nine Primetime Emmy Awards and an Oscar for his work on the film Mask (1985). In conjunction with special effects make-up artist Thomas R. Burman, he has also created make-up sets for the CIA for use by overseas agents in need of changing their identities. In 1973, he published a reference book, The Art of Theatrical Makeup for Stage and Screen, followed in 2017 by Makeup Man: From Rocky to Star Trek: The Amazing Creations of Hollywood's Michael Westmore.- Animation Department
- Director
- Visual Effects
Ub Iwerks worked as a commercial artist in Kansas City in 1919 when he met Walt Disney who was in the same profession. When Disney decided to form an animation company, Ub Iwerks was the first employee he had due to his skill at fast drawing as well as being a personal friend.
When Charles Mintz raided Disney's animation studio and stole the rights to their character Oswald the Rabbit, Ub was the only associate to remain with Disney. He served as the principal animator for the first Mickey Mouse shorts and Silly Symphonies. Iwerks was so prominent in the production of these shorts that it was speculated that Ub was the dominant force behind the success of Disney Productions. The combination of Iwerks' rising ambitions, occasional differences with Walt and a tempting deal with Pat Powers to finance his own studio prompted him to break away in 1930. His studio was never a tenth of the artistic or financial success that Disney was. He simply did not have the creative talents of his partner and his characters, Flip the Frog and Willy Whopper were rather dull failures. His studio was closed in 1936 when Powers withdrew his support. He worked for Columbia starting in 1938 and worked for two years until he decided to return to Disney. The two men never commented on their renewed relationship but the reunion was mutually beneficial. Iwerks was able to abandon animation and concentrate on technical development which helped create many of the special effects that the Disney company excelled in for decades, especially concerning the live action animation combination sequences in Song of the South (1946) and Mary Poppins (1964).- Make-Up Department
- Special Effects
- Writer
Shaune started his film career as a special makeup effects artist on Clive Barker's Nightbreed where he worked for Bob Keen's Image Animation. Shaune stayed there for 6 years before he met Nick Dudman and got his first job with Nick on Luc Besson's The Fifth Element. Shaune worked with Nick on Star Wars Episode 1: The Phantom Menace, The Mummy, and all the Harry Potter Films. Shaune has also contributed to other films such as: Sleepy Hollow, Danny Boyle's Sunshine, World War Z, Jupiter Accending and Avengers 2: Age of Ultron. Whilst working on Harry Potter Shaune decided to start making short movies, over the next few years Shaune wrote, Produced & Directed 5 shorts which have won numerous awards around the world. In 2014, Shaune opened his doors to a new venture, the Shaune Harrison Academy. A Prosthetic makeup academy set in the heart of England. Shaune will teach up and coming artists & students the art of Prosthetics & Special Make up Effects. Over the Pandemic, Shaune kept busy working on Jon Wright's horror film Unwelcome supervising the Creature Effects. Shaune also supervised the creature effects on the low budget horror film EVIE. Also Shaune worked on Peaky Blinders & Brassic for TV in 2020.- Make-Up Department
- Writer
As a Special Make Up Effects Artist Sean Genders has contributed to lead characters including Tom Hanks and Johnny Depp.
He was Key Prosthetic Make Up Artist to Tom Hanks in his role as 'Colonel Parker' on the Elvis biopic by Baz Luhrmann and was with Captain Jack Sparrow on Pirates of the Caribbean 5 and Jason Momoa as Aquaman.
His resume includes such big scale films as Star Wars, The Matrix, Mad Max: Fury Road, Kong: Skull Island, and independent titles including The Invisible Man, Warwick Thornton's Firebite, Danger Close and Russell Crowe's The Water Diviner.
Sean was Key Artist and On-set Supervisor for the Jmb Fx Studio team on HBO's 'The Pacific' that went on to win an Emmy Award. He has won 3 APDG team awards and in 2019 was nominated by the Hollywood Make Up Artist Guild.
As a writer Sean has created a graphic novel series due for release in early 2023, with the aim to generate a live action series. He has a horror screenplay optioned by producer Matt Hearn (Wolf Creek) and several projects in development including a contemporary Vampire tale that he hopes will also lead to graphic novel and dramatic series.
He believes that our natural and social environments are the most important things we should consider in our lives.- Special Effects
- Visual Effects
- Second Unit Director or Assistant Director
Howard "Babe" Lydecker and his older brother Theodore Lydecker were the undisputed masters of miniature special effects in Hollywood from 1935-1953. Begining their careers with Nat Levine's Mascot Pictures in the early 1930s, they were swept up in Mascot's 1935 merger with Monogram Pictures and Liberty Pictures to form Republic Pictures, headed by the owner of film processing lab Consolidated Film Industries, the autocratic Herbert J. Yates). The Lydeckers were perhaps the primary beneficiaries of the merger. It allowed their creativity to run wild, giving them unlimited access to CFI's optical effects at a time when most of Republic's product demanded high-caliber special effects. The production pressures put on them by Yates ironically gave them the structure and incentive they needed to excel. Babe became the head of Mascot's old carpenter shop and moved into the back lot of Republic's studio, eventually supervising some 20 technicians. Babe and Ted worked closely (they were nicknamed "the twins," despite there being a three-year difference in their ages) together during the entire production history of Republic Pictures (until its demise in 1956). The Lydeckers' effects were the envy of every studio in Hollywood and their talents can probably be seen to best advantage in Flying Tigers (1942), a WW II action picture about a squadron of American pilots fighting the Japanese in China, with loads of dogfights, plane crashes, etc.--and was shot using only mock-ups and miniatures, with not a single real aircraft being used throughout the entire picture.- Make-Up Department
- Special Effects
- Director
Two time Emmy nominated make-up artist Michael Burnett has been creating special makeup effects in the film, television, and the haunt industries for more than 30 years. Michael has worked with academy award winning make-up artists Rick Baker, Greg Cannom and Michael Westmore. Some of Michael's film and television credits include, The Ben Stiller Show, Universal Soldier, The Forsaken, Star Trek Enterprise, Passions and Mad TV. Between the years of 1997-2016 Michael designed and ran the makeup for Universal Studios Halloween Horror Nights 17 times, more times than any other person. In October 2016, Michael became the Director of design & development for FrightNight Studios, a Florida based company that creates makeup and effects for motion pictures, Television and Theme Parks including Bush Gardens, Universal Studios and Disney.- Visual Effects
- Special Effects
- Actor
American special effects wizard and miniature model-making virtuoso. McCune partnered John Dykstra as head of Apogee Inc. between 1978 and 1992. He was chief model maker for Star Wars: Episode IV - A New Hope (1977) (in which he also had a small acting role as a Death Star gunner), the pilot for Battlestar Galactica (1978) and 80's classics Spaceballs (1987) and Ghostbusters II (1989). McCune created the iconic Millenium Falcon model, the X-Wing and Tie Fighter models, as well as bounty hunter Boba Fett's helmet. He is credited with putting the finishing touches to the famous droid R2 D2, originally designed by John Stears. For Star Trek: The Motion Picture (1979) he worked on the Klingon K'tinga Battlecruiser and the V'ger model. In 1992,taking over the lease and some of the remaining infrastructure from Apogee, he set up his own company, Grant McCune Design. In the capacity of miniature effects supervisor, he put his stamp on a number of seminal blockbusters, including Speed (1994), Batman Forever (1995) and Daylight (1996). McCune Design eventually folded in March 2016.
McCune held a degree in biology from California State University in Northridge and began his career as a laboratory technician. Much of his free time was spent creating models and dioramas. In 1978, he was selected by George Lucas to work on Star Wars, on the strength of his collaborative effort in creating the Great White Shark model for Jaws (1975). An expert photographer, McCune provided a brief insight into his work during a 2009 interview, stating: "The most important thing is what you see with your eye. Movies are a lot different from reality. This is because you've isolated the viewer's eye to a certain spot-you can't look anywhere else. If you're a photographer, you get the idea of what you need to do by analyzing what it is that needs to be set and where it is and how much detail it should have. All the best people who ever worked for me were first good with the eye".- Make-Up Department
- Special Effects
- Actor
Paul is a 20+ year veteran artist of makeup and special effects for Film, Television, and Theater. He has worked on many films, television shows, and theatrical productions, mainly as a key or Department head.
He was part of the team that won the Oscar for Best Achievement in Makeup for their work on Chronicles of Narnia: The Lion the Witch and the Wardrobe.
Paul's innovative work in makeup and special effects has been featured in LA Weekly, Fangoria, The NY Times, LA Times, Sci Fi Magazine, The Journal News, DC, Universe, kryptonside.com, batmanfanfilms.com, cinema-crazed.com, fanboytheatre.com, fancinematoday.com, and, most recently, Makeup Artist Magazine.- Special Effects
- Make-Up Department
- Director
Hiroshi Katagiri was born in Japan. Enamored by the artistry of film at a young age, he moved to the US at age 18 to pursue a career in special makeup effects. He became a primary artist at Stan Winston Studios, where he was a go-to effects guy for 3 films directed by Steven Spielberg - Jurassic Park, A.I., and War of the Worlds. Over time, he mastered the art of sculpture at the highest level, which led to him being a sought-after character (creature) designer - not only by Spielberg, but Rob Marshal, Guillermo Del Toro, Sam Raimi, and others. Though still young, Hiroshi has already amassed 39 film credits in special effects, 11 in makeup effects, still others as a puppeteer and lab tech, and has worked on such titles as Wolverine, Pirates of the Caribbean, Alien v Predator Requiem, Cabin in the Woods, and The Hunger Games. His TV credits include being part of an Emmy winning team for The X-Files. He is a true fan of the horror genre, has written and directed several acclaimed horror shorts, and now pursues his ultimate dream - to produce and direct a full length feature film that will scare the pants off its audience.
Hiroshi is dedicated to his craft, loves to work, and also loves to teach. His sculpture seminars are widely attended by budding effects artists in both the US and Japan. He is a longtime student of Aikido - a Japanese martial art that teaches one to "unify their life energy".- Make-Up Department
- Art Department
- Special Effects
Kyle Roberts is a Special Makeup Effects artist for major Motion Pictures, Television and Live Theater based in Pittsburgh, Pennsylvania. He has lent his skills to a number of major films and series such as The Pale Blue Eye, Wrong Turn (2021), Netflix's Mindhunter, Haunt (2019), and WGN America's Outsiders. He works closely with Tolin FX as the general shop and onset supervisor.- Special Effects
- Additional Crew
- Make-Up Department
Founder and principle partner of Brillig Productions, L.L.C, Jurgen Heimann has worked in several areas of the filmmaking process, including camera, animation, special effects, performance, and writing. Born in Germany and raised in the United States, he earned a Bachelor of Arts Degree in Motion Picture Production from Brooks Institute of Photographic Art and Science, graduating with honors and a departmental award for his short subject film entitled 'Fractions'. Over the past years, he has worked as a designer, builder, and puppeteer with effects wizards such as Rick Baker and David Allen, and is a current member of the Screen Actors Guild. He has completed three feature length screenplays - 'Love Mad', 'Twas Brillig', and 'Clambaked'. Each are highlighted with his usual beyond-reality point-of-view and symbolic connections. Through Brillig Productions, he and his team are currently developing 'Clambaked' as well as producing the episodic program Puphedz.- Make-Up Department
Madison has broken into the industry as a up and coming young makeup artist working on many Indie short films, a hand full of music videos, commercials and photo shoots. She takes pride in her special effects makeup for films such as Avlarium and Exalted. Madison Attended Vancouver Film School from 2020-2021, graduating with honors, as one of three at the top of her class. She has been a lifelong film buff. Growing up, she always wanted to know more about how movies were made and the magic that goes into creating the finished projects we see on the big screens.