How did you start working in the film business?
I was employed with Lexington Scenery and Props and worked as a scenic artist at Universal Studios Orlando. Our team of artists painted all of the new construction at the theme park. Our paint techniques added the aged and realistic quality to all of the new construction. We worked on public areas like Hollywood Boulevard, the New York City backlot, the San Francisco Pier 39 and Amity Village. We also painted and finished the theme park rides including Earthquake, the E.T. adventure, and Jaws. The Theme park opened its doors in 1990. In an effort to prove its viability as a movie studio, production offices for television and feature films were opened at Universal Studios Orlando. Filming of these productions took place on the studio backlot and sound stages. Psycho IV was an integral part of the celebration of the opening of the Florida theme park/movie backlot. In celebration of Psycho’s 30th anniversary of it’s production, the filming of Psycho IV and the build of the Bates Motel and house was an event to declare the new movie studio, “the real thing”. Upon my success with Psycho IV, I was asked to be involved in future productions. At Universal Studios Orlando, I also worked on the TV series ‘The Adventures of Superboy’ and the film “Somebody Has to Shoot the Pictures.’

What brought you to Orlando Florida for the shooting of Psycho IV?
Having worked at Universal Studios Florida since 1988 as a scenic artist for the newly built theme park, I was hired on by the Art Director Mark Zuelzke.

What was your job on the set?
In pre-production, I was a scenic artist. There were 7 artists that took the new construction of set interiors and exteriors and painted them to realistically match the storyline and script. During the filming of the movie I was the onset scenic artist. I was expected to maintain the quality of the sets details and look, preserving the vision of the production designer, while maintaining continuity and realism of the many aspects of the set. My creative abilities also involved my interaction with all departments including wardrobe, transportation, props, stunts and special effects. From “dirtying up” a vehicle in the film, to artistically applying spattered blood on both actors and set pieces, my involvement was at the Director Mick Garris’ request and “on the set” and “at that moment."

How did it feel to be working on the prequel to a masterpiece?
That was probably the most rewarding aspect of this job, and what makes my involvement in Psycho IV my proudest Hollywood moment. The fact that Psycho was such a masterpiece, required the Art Department to be attentive and dedicated. We literally viewed 100’s of Black and White stills from the movie to recreate exactly, the Bates House, Bates motel and front steps. Taking those still photos from the Black and White film and recreating every corner in exact detail was fantastic. From mother’s bedroom to Norman’s bedroom to the motel office to Room One to the famous shower, it was the artists that applied the final paint and realism to the movie sets, that would allow the movie patron back into Norman Bates life.

Describe the overall experience with the sets.
Taking the newly constructed set, from 30 year old black and white stills was both challenging and rewarding, especially converting black and white photos to full color reality. Strict attention to detail, recreating the subtle nuances of age and staining and knowledge of color hues and values was necessary in the process. In mother’s bedroom, the wallpaper was a completely handmade process. The original film used real wallpaper that had a raised embossed floral design pattern. From the black and white still photos we created a stamp of the floral pattern. The walls were painted in the overall color of the wallpaper—a sort of moss green color, then a subtle gold floral wreath design was applied by hand-stamping the walls in pattern. The walls were then aged and mellowed with paint. Even the seams of aging wallpaper edges were painted on.

Norman’s bedroom had an interesting challenge—creating a stencil to match the border stencil at the top of the walls. Once again a stencil was hand cut to match the black and white stills from the original film. The border was hand painted and aged on the walls of the Psycho IV set. Another of my tasks that stands out in my personal efforts, was having been given the task of recreating the key tags at the Bates motel. Given a screen shot from the film of Anthony Perkins handing the key to motel room one to Janet Leigh, I fabricated and finished the round wooden key tags that hang on the board in the office. The lounge room behind the motel office was an exciting place to recreate. It’s dark victorian colors, frightening shadows and mounted birds were again matched perfectly, not to mention the painting hung over the peephole to Room one! The shower in room one doesn't come into play in the storyline of Psycho IV, however it is seen in the view through the peephole. I am proud to say I spent time in that tub actually grouting the tile, and hanging the shower curtain!

How was the pre-production process?
Pre-production was fast paced and specific. As in most features, the sets and layouts were designed by the Production designer, and The Director. Of course in the case of Psycho IV, the original blueprints and many of the furnishings from the original Psycho have been saved and stored by Universal Studios. That vault of information was reopened for our production. Production designer Michael Hanan and Director Mick Garris formed a strategy of recreating the famous sets and created new visions for rooms or spaces, not previously seen in any of the Psycho series of films. Art Director, Mark Zuelzke created new blueprints and job schedules for both the carpentry crew and scenic artists. The head Scenic artist, Jo Brown organized our team of painters, maximizing our talents and meeting the deadlines imposed by the production. This film was shot on a tight budget and a tight 30 day schedule as it was made for cable television. The actually shooting schedule was just under 30 days. I have worked on other feature films, specifically Stargate and was employed for an entire year. The pre-production schedule was only 30 days on Psycho IV—things were expected to be completed swiftly with perfection!

Since you were an on the set painter, describe the painting of the Bates House and Motel.
The Bates house interiors were particularly demanding. The home is decorated in dark stained wood trim throughout. In movies, t is not cost effective to use real hardwoods and stain and finish them as you would in a traditional home. Instead decorative moldings are made of styrofoam- doors are often plywood, with attached panels and basement brick are applied in 4 X 8 sheets of formed plastic. Once again the believability comes with the paint. All the wood inside the bates home was finished with a 3 step process of painting wood grain. The technique includes a base coat, to create the highlights in a pattern of natural wood grain. Step two creates the grain of the wood by dragging a dry long bristled brush across the wood applying a watery mixture of dark paint and wheat paste, leaving a pattern imitating the natural grain in lumber. Step three was an application of Orange colored shellac—the shellac applied the depth and illusion of richly finished woodwork. The Bates house exteriors were also created to match the original set at Universal Hollywood. The unique aspect of this film was the prequel scenario. We would for the first time ever, see the Bates House and Motel in a “living” state. The home and motel were painted in a bright cream color with white trim. As with the interior sets, the art department first created the Psycho IV sets with its “living” look. Paint was fresh throughout the home and motel and furnishings were clean and in order. The flashback scenes from Psycho IV were filmed first in order to utilize the fresh look of the sets. Upon finishing the flashback scenes from the script. The art department choreographed and implemented an amazing 24 hour transformation, aging the interiors and exteriors of the motel and home to its present day look of decay and neglect. Watery washes of gray and brown paint were sprayed on. Applications of paint over slick glue resulting in flaking and cracking paint, and spraying of special effect cobwebs were applied in every corner.

How was it working with director Mick Garris?
Mick was a young director at the time, and his enthusiasm was engaging. His vision of the film was precise and his communications skills were effective and inspired us all. His friendly tone and level of enthusiasm really held our “family” of actors and crew together. There was a general feeling of joy from all involved. We knew we were walking on hallowed ground, we were amidst a legend, we were re-creating a legend and we all wanted our project to be perfect! Having Hilton A. Green as executive producer on our crew was also an amazing aspect of this production. All of us, including Mick Garris could turn to Hilton and inquire as to the original mood and sentiments of the original Psycho production. We literally had a conduit, a link, in Hilton Green we had a man who had walked through the original Psycho sets, we had a man who worked alongside Alfred Hitchcock ,who knew the true intentions of the original production!

How was it working with Anthony Perkins and the cast?
All of the cast were extremely gracious and easy to work with. Each cast or crew member has specific job descriptions, and you are expected to be prepared and professional, ready to perform your roll in the film production when called upon. When others are performing their skills or are called upon for their area of expertise, you may find yourself waiting. You could always find friendly engaging conversation with any of the actors, in between shots. Anthony Perkins was slightly more aloof, yet always cordial and respectful. He was a mild mannered man with a quiet tone. I was very busy during the actual film shoot so my time was limited for conversation, but have fond memories of all the actors.

Do you recall any funny stories from the shooting?
Not really a funny story, but an amazing event for me. We filmed in June of 1990. My birthday is June 20. The storyline in Psycho IV revolves around a night in Norman Bates present life—it happens to be his birthday, in fact we see his birthday cake in the opening credits. That June 20th, it was my 30th birthday and of course it was the 30th anniversary of the original Psycho, in fact the release date was June 16, 1960. On the night of June 20th we were filming at an exterior location in Orlando. We were filming young Norman Bates, Henry Thomas, at the swamp as he submerges his first victim and her car, into the swamp. We were filming in the evening, the crew surprised me with an impromptu birthday cake. Not to leave anyone out, the cake was also decorated for Norman! I always will remember sharing a birthday cake with Norman Bates. The crew gave me a wonderful 8 X10 glossy of Janet Leigh in the shower (screaming), it was autographed by the entire cast and crew! A special thanks to Mark Zuelzke, who never forgot my Birthday even in future years on the set of ‘Hand that Rocks the Cradle’, and other films.

How did it feel seeing your completed work?
I have always been proud of my work on Psycho IV. I will always cherish the opportunity to be part of such a timeless classic. Whenever Psycho is on the TV, I can’t help stop and watch and remember walking and living at the Bates House and Motel. After filming Psycho IV, I moved to Hollywood and continued my filmmaking career. I remained friends with Anthony Perkins and his stuntman Kurt Paul. I was frequently invited to the Perkins home in the Hollywood Hills. After Anthony’s death in 1992, I remained friendly with his wife Berry Berenson. I did some painting at the home for her, and even painted an altar she had constructed to house Anthony’s ashes!

Describe how the house was set ablaze for the film's conclusion?
The final scene of the movie reveals the destruction of the Bates House, as Norman and his wife walk down the stone steps. That destruction was actually created digitally. Special effects did place gas “flame bars” on the roof line and windows at the exterior Bates house. In the night sequence you see the house erupt into flames as Norman’s wife runs to the front door. The actual construction was not burned and any fire seen was of a controlled nature. In the interior sequences, you see each room bursting into flames, after Norman ignites mother’s bedroom. Once again, special effects worked there magic applying a flame gel to the sets, and together with strategically placed gas “flame bars” - we filmed the effect of the Bates House burning. The interiors were actually built in a soundstage at Universal Orlando, so all fire effects were monitored by the Orlando Fire Department. In one particular sequence we see a flaming wood beam fall, blocking the front door, and Norman’s exit. That beam was hinged on one end. On “Action!” it was dropped. On “Cut!” the flames were put out, the beam was raised into its starting position, flame gel was re-applied and the set was ready for another take! One by one, the film crew moved from set to set and created the illusion of the burn.

When you learned they tore the motel and house down in Florida, what was your reaction?
I am very sad that the Bates House and Motel doesn’t remain at Universal Orlando. The park chose to turn that area into ‘Kids zone’. I guess the old Bates house and motel just isn’t really Kid friendly! I will remember filming at that location, just up the hill from the E.T. adventure, next door to the Hard Rock Café. I’ll remember the thousands of park visitors lined up on the nearby Hard Rock Café. We actually placed a PA over at the Hard Rock to quiet the visitors when we were rolling film at the Exterior location.

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