What was your job on the crew of Psycho IV?
Actually, I was never on set for this film. I was department heading for a make-up effects company called Alterian Studios at the time. They got the contract to produce the make-up effects for the film. What I can remember, truthfully about all I remember, was how mesmerizingly beautiful Olivia Hussey was. She was 39 at the time, and to this 26 year old kid, she was the epitome of beauty. Oh Maaaaaaaaaaaaaaan. If I'm remembering correctly, I had to do lifecasts of her face/head, hands, feet and belly so that the sculptors could make the various versions of the "Mother" corpses that were needed for the film. I know there were at least 2 or 3 corpses in varying states of decay. Ms. Hussey was really wonderful about it all, considering everything that lifecasting entails.

How did you first start working in the industry?
Actually, I started off as a designer for a few make-up artists and studios. My first gig was making a few background masks for a cantina scene in the 1982 MGM film "Ice Pirates". Then I spent a few months at Don Post Studios 3D Effects Devision mostly sitting in an office drawing creature pictures, when I really wanted to be out in the lab "doing stuff". In 1983, Rick Baker referred me to Greg Cannon for an illustration gig to design some creatures for a tv pilot, and Michael Westmore called me in to do some prototype sculptures for "Mask" (the Rocky Dennis Story). That film won the Oscar for best makeup that year. Kind of exciting for the second makeup gig of my career. In those days kids got into what few labs there were as "grunts", starting with a broom and working their way up from there. Because I could draw and certainly mimic styles, I actually started in the design departments, working with directly with owners, directors, and producers, drawing conceptual character designs. To me it was no big deal, what I really wanted was to be out in the "shop" with the grunts learning how things got made. Looking back, I now realize how fortunate I was to have started my career at a drawing table rather than a broom. I received certain amount of genuine respect from people at both ends of the totem pole. Being the shy and niave kid I was, wanting to make the best impression and having my heroes (of the day) tell me I drew like Ron Cobb or Frank Frazetta just meant the world to me. It seemed everyone really respected this "kid that could draw" and that respect pretty much continues to this day. For that I am truly thankful. All throughout my youth, I assumed everyone in the make-up and effects buisness could draw, like it was just some sort of industry requirement that everyone had to be able to do. It wasn't until I had been in the biz for a few years that it became apparent that most of the people I was working with in the labs could NOT draw to save their lives. But they could sculpt, paint, fabricate, make incredible molds, or engineer some amazing animatronics. Where I had become accustomed to doing a little bit of everything, they all "specialized" and excelled in those other areas which was amazing to see. Still, I was quite surprized at how many sculptors, many of them extremely skilled, could not draw. I always felt the two skills went hand-in-hand, but in reality in this business they did not, back then anyway. New kids today seem to be much more "well rounded" when it comes to skill and just plain natural born talent.

How long did you work on Psycho IV?
It was a pretty quick gig from what I remember. A couple of weeks, and I'm only remembering the "Mother" stuff as that's what I was directly involved with. I'm not sure what else we were contracted to do.

How was it working with director Mick Garris?
I loved working with Mic and enjoyed working with him again when we did Sleepwalkers.

How did it feel to be working on a prequel of a classic film like Psycho?
Well, at the time I think most of us were happy just to be working (period). The sequel "fever" had a stigma about it, however. Kinda like "beating a dead horse". I know that the crew (in the lab) felt that a prequel was a smart way to go about continuing the franchise and hoped that it wouldn't turn out to be a joke like so many of the other horror/slasher films of the 1980's were doing at the time. After all, "Psycho" was the FIRST truly classic film about a nutjob killer. It holds up even today as a fantastic piece of storytelling. i guess that's why it has been copied so much in the decades that followed it's release. We all really felt a certain pride to be officially "connected" to the iconic saga, even if it's box office wasn't as impressive as all the newcomers like Freddy, Jason, and that Myers guy.

Did you see the other films in the series? Would you call yourself a Psycho Fan?
Yes I did, but the first film is the only true classic for me!!!

What are you up to now?
Just finished up 22 months on the Pirates of the Caribbean sequels. We shot 2 and 3 together. I did have a short break last July that allowed me to spend 5 weeks in Bulgaria on a re-imagining of Day of the Dead. That was fun at it's silliest. Currently my lab is doing some effects inserts for a new Clive Owen / Paul Giamatti film Shoot Em Up, as well as designing some creatures for a new monster movie that wll start filming in May. After that we hope to begin designs for the 3rd Jeepers Creepers film, as we've all been chomping at the bit to get back on that horse. Oops I've said too much. Fans can check out some of what we've been up to at our website www.makeupandmonsters.com.

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