Blood, Sweat, and Latex
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Blood, Sweat and Latex: The Predator Experience (Part 3)
by Shannon Shea We packed the truck that would travel to location in Palenque, Mexico a few days before we traveled via airplane. The set crew:…
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Blood, Sweat and Latex: The Predator Experience (Part 2)
by Shannon Shea By now, most fans credit Steve Wang and Matt Rose for the creation of the Predator. However, in my conversations with Steve, in…
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Blood, Sweat and Latex: The ‘Predator’ Experience (Part I)
by Shannon Shea There are events that define one’s existence that go beyond being learning or growing experiences. They become scars. Battle scars. They may fade…
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Blood, Sweat and Latex: Lending a (Motorized) Hand to ‘The Monster Squad’
by Shannon Shea After working with both Mark Shostrom and Sonny Burman on Evil Dead II, I had ended up back at Stan Winston’s studio. Stan…
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Blood, Sweat and Latex: The Accidental Iconography of ‘Evil Dead II’
by Shannon Shea You never know. You just never know. I wonder if back in 1930, Universal Studios make up artist, Jack Pierce while constructing his…
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Blood, Sweat and Latex: ‘Aliens’ Pulls Me Back In
by Shannon Shea Doug Beswick’s career, like many creature makers, began with a love and practice of Stop Motion Animation. My understanding is that he met…
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Blood, Sweat and Latex: A Brief Stint on ‘From Beyond’
by Shannon Shea For newbies to the column, I’m recalling defining moments that made me what I am: A Special Effects Make Up Artist looking for…
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Blood, Sweat, and Latex: Tunneling into Tobe Hooper’s ‘Invaders from Mars’
by Shannon Shea As a kid, I loved the original Invaders from Mars. To me, it was more akin to The 5000 Fingers of Dr. T…
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Blood, Sweat and Latex: Wasting Money and Working in Stan Winston’s Mold Shop on ‘Aliens’
by Shannon Shea I was fortunate to meet and work with artists who, unlike me, had already began their nomadic careers moving from shop to shop…