Cinemagic #1 - Winter 1972

7/14/2019 Cinemagic #1 - Winter 1972

http://slidepdf.com/reader/full/cinemagic-1-winter-1972 1/32

1

I

PREMIERE ISSUE! The world 01 amateur lantasy

films and filmmakers $1 .00 Winter



Number 1

Winter 1972

$1.00

PUBLISHER

Donald H. Dohler

EDITORS

Don Dohler

Mark Estren

ASSOCIATE EDITOR

Bri t t McDonough

MAKE - UP I::DITOR

Bi l l Schwarz

PHOTO ASSISTANT

Bob Haupt

LOCO DESIGN

Ja y Lynch

CONTRIBUTORS TO #1

Ernes t D. Farino , J r .

I rving, Texas

Bi l l George

! lat t imore, Md .

Bri t t McDonoughHi l l c r e s t Heights, Md .

Rory Palm i e r i

Lanham, Md .

Bi l l Schwarz

Berl in , N. J .

PRINTING

Creative Printing Co.Hyattsville , Md .

FEATURES

Homemade Animation I>lode l s - Creati ng

a Giant spider

~ I a k e - U p Mak.i ng a pos i t i ve L i fe

Hask. Mold

Histo r y - Quite an Ef f ec t , but • . .

I>liniature Sets - Creating Your Own

Noon Surface

FILM PROFI LES

Bi l l George and The Late Show

Redneck: Man's Search for Evil

The Logos Machine

FI LMMAKER PROFILE

Ernest D. Farino, Jr .

6

14

17

21

I I

18

24

28

PIIOTO CREDITS : CINEMAGIC s t a f f : ins ide f ront

cover; pages 12 , 13 , 18, 19 , 20 , 21 , 22, and 23 .Brit t McDonough: front cover; pages 4 , 6 , 9 , 10 ,24, 25, 26, and 27 . Rory Palmieri: page 18 .Bill Schwarz: pages 15 and 16 ; ape on back cover . Ernie Farino: pages 28 , 29 , 30, and 31 .

CINEMAGIC is pub l ished quarterly , in March , J une , September and December , by Cinebug

Productions , In c . , 6106 The Alameda , Baltimore , Md . 21239. Single copy pr ice: $1 . 00 .Subscriptions (4 issues): $4 . 00 . Foreign: Single copy: $1 . 50 . Subscriptions: $6 . 00

(payable in Internat ional Money Order ) . Contributions are welcomed , although we cannot

assume any responsibi l i ty fo r loss or damage of material . Please enclose a sel f - ad dressed , stamped envelope for th e re turn of rejec t ed material . The film p lo ts and char acters that appear in CINEMAGIC are f ict i t ious (unless otherwise noted) , and any resem blance to r eal persons or events is purely coincidental . Nothing herein may be repro duced in who l e or in part without t he written pe r mission of th e publ isher . Contentscopyright @ 1972 by Donald M Dohler . All r ights rese rv ed . Fir s t printing : Dec . 1972



ERNE)T D. FARINOSTOP FRAME3030 Ellen St.

Irving, Texas 75062

iSTOP O T I O N ~ ViSUALiI E F F E C T ~ MINIATURES II ARMA I URES MODELS It ! ~ ~ ~

_~ ~ ~

_~ ~ L ~ ~

N ' \ ~ R ~ D. WOLFANIMATION PRODUCTIONS

Elkader. Iowa52043



Editorial

GENESIS•••Don Dohler

Way back in 1964 I wrote a book-length le t -

te r to Forrest J . Ackerman (editor of Famou s

Monsters magazine) and de ta i led my plans about a

magazine idea I had, devoted to "the world ofamateur fantasy/science fi c t i on/horror films . . . "Mr. Ackerman approved. Un fo rtunately, my owninexperience, lack of money. and i nabil i ty to

interest other f i l mmak ers in th e magazine causedme to scrap th e whole i dea .

In 19 70 , I re surrec t ed the magaz i ne idea .This t ime it could work, I f igured , because ofnew ad vancements in ama t eu r film gauges whichhad brought about a whole new era of seriousfilmmakers who, no t surpr i s ingly, demanded a lotmore than j erky , homemade movies . These people

we re in to things; they we re doing films on an

ofte n profess iona l l evel , with special visualef fec ts pl aus ib l e enough to convince even themost cr i t ical f i l m fan tha t effects can be morethan fu n: th ey can be and are an entire mediumunto thems elv es . And so , as filmmakers buil tanimation model s , miniature sets and s pacecraftmodel s , an d exp er imented wi th matte shots , rears cr een project ion, real is t ic make-up, backdrops,

and so on , th e se eds to my plot were being sownagain: t he magazine would be more than worth

while now; i t ' d a l mos t be a nec ess i ty .

Of course, th a t was in 1970 . An i dea, aconcept, i f you will, is a good bas i s , bu t i t

would t ake a l ot more than mnd impulses totransform such an i dea into prin te d r eality.

In fact, i t took nearly two years of planning: mulling over layout concepts and techniques ; deciding on a format; contac ting scoresupon scores of people interes t ed in effect sfilming -- horror fans, animation enthus ias t s ,science f iction buffs - - peopl e with a desire to

advocate and/or produce their own effectsoriented films. Add to th i s the technicalit iesof magazine production t ha t had to be wor kedout: meetings with pr inters and photograph ers;innumerab l e t r ips to ar t and s upp ly sto r es ;

hundreds of letters to art is ts , magazine editorsand others associated wi th the f ie l d, to saynothing of th e endless phone ca ll s t o vita lpeople who l iv e in distant ci t ies . . . .

By th e time I had digest ed all of thi s , i twas mid- summer, 1972. The maga zine , i t wasdecided, would be in print by early December.

So af ter five months of consuming art ic l es,fcatures and photographs, wr1t1ng and editi ngmanuscripts, and definitely deciding on whatexactly would be presented in the f irs t issue,we've finally made i t . CI NEMAGIC is here;hopefully to stay .

In this premi er e issue we ' ve selected a mixture of features and articles which will ulti mately set a precedent fo r future issues; cer

tain t ypes of features will continue, bu t withdi fferent slants and contributors. For example,Br i t t o n o u g h s wire and latex model buildingtechn ique : this time we s how you how to create

a spide r -- subsequent i ssues will present diff e rent model s , a ll using th e same basic process .Oth er regular feature s wi l l include miniature

sets , mini ature props, opt ica l techniques, makeup , and of cou rse, an i mportant ingredient:filmmaker prof i le s. Th ese ar e vital to CINEMAGIC, for they explor e th e films, techniques,

knowledge and theor ies of people who have made

and do make f ilms in t he f an tasy genre -- films

which require some sor t of special visual ef

fects.And by "people" I mean , quite l i teral ly ,

people l ike you, th e ama t eur or semi-pro filmmakers and enthusi asts of the world who makefilm s that run the gamut from s t raigh t -out horror shockers to involved sc i ence - fantasy epics.You are the peop l e we ' d like t o feature i n thepages of CIN8-IAGIC, fo r par t ic i pation of ou r

readers is something we ' re counting on. I f theidea i ntrigues you, get in touch with us ! Therear e no special requi rements or rule s -- justthat you do effects-oriented f ilms . Examples ofsuch films (and the profi l es on the filmmakerswho made them) can be found t hroughout this i s

sue and should give yo u an i dea of t he types ofpeople we're interested in .

Finally, I 'd l ike to te l l you about some of

ou r aims with CINEMAGIC. Qui te obviousl y , wewant to entertain you, t hrough visual layouts,unusual photographs, and enlightening text ,coupled with the fact t hat we're presentingmaterial that 's never been pub lished before.Accordingly, then, our main concerns are to givc

a bi t of deserving f ame to f ilmmakers and at the

same time endeavor t o be of some help to thoseof you who want to l earn as many t r i cks andtechn iques about the ef fect s realm as possible .True, some of you will have t r ied and conquered

the techniques we'll pr e sent -- bu t there area lways those among us who haven ' t built a minia

t ure set, or constructed an animation model, or

r ea lized the myriad effects possible with film-and we aren ' t catering to any specific age orexperience group. We ' re here because we want toexpand th e genre and bring together every person

who has ever had a yen to pursue or enjoy "magicin the cinema," or as we prefer, CINEMAG IC.

Your comments, thoughts , ideas, s u g g e s ~ i o n sand criticisms are we l comed . Remember, CINEMAGIC is by nature your magazine as well as

ours .

5



HOMEMADEANIMATION MODELS

Creating a Giant Spider

King Kong fighting preh is toric rooosters andstalking through misty jungles; a giant scorpionwrecking an unsuspecting train; the Venusian"Ymir" terrorizing Rorre and maki ng his las tstand on top of the Coliseum (the climax of Columbia's Twenty Million Miles to Earth) - - theseand scores of other movie creatures were actually animated miniatures: small models averagingfifteen or so inches high (although the mode lsfor King Kong were much bigger). These models.elaborate stop-motion puppets, are completelybEndable or flexible, a characteristic imperative for frame-by-frame animation (by individual posing or manipulations of the models),

As a hobby over th e pas t few years. I havebuilt dinosaurs , insects, mythological beasts,and other weird creatures, which are reasonablyadaptable for animating. The chief materialused in their construction is liquid latex rubber, which can be bought at art supply stores(as a sculptor's tool in casting figures: thelatex is used to make rubber molds) . The latex

acts as a detailed and flexible "skin " fo r theanimation models, which are based on a simplewire skeleton. In painting these creatures,acrylic or polymer paints work best; the paintis mixed directly with the liquid latex (and canbe thinned with household amnon;a if necessary).The following is the step-by-step procedure 1used to build a spider for a horror genre film.

MATERIALS

The more unusual ones are listed first; theones likely to be found in most homes, last.

LIQUID LATEX RUBBER - This material is absolutely essential for the flexible skin of themodel. I buy i t in quart cans ($3.50) from:

American Handicrafts, Inc.

737 7th Street , N. W.

Washington, D.C.

Latex can also be purchased from:

Sculpture Ilouse

38 East 30th Street

New York, New York

by BRITTM c DONOUGH

or from :

General Latex & Chemical Corp.

666 Main Street

Cambridge, Massachuset ts

BLACK CREPE HAIR (Theatrical crepe)your phone book (yellow pages) for thecostume rental company or theatrica l

store, or contact one of the following:

Junior Mode

3146 Wilson Boulevard

Arlington, virginia 22201

Paramount Theatrical Supplies

32 West 20th Street

New York, New York

- Checkneares t

supply

Crepe hair is usually sold by the yard or foot,at 501t per foot.

NUMBER SIXTEEN GALVANIZED WIRE -

used to form the model's "skeleton"available at most hardware stores.

This

and

The following items,build the spider, are conmon

a 1 o necessaryhousehold ones:

FACIAL TISSUI::

AWMINUM FOIL

SCOTCIl TAPE'

PAPER TOWELING

SCISSORS

; ,; ,

to

And don't forget to buy some po lymer or

acrylic paint (black) . ~ l o s t art stores or artdepartments in department stores carry this newmedium . I use Hyp1ar brand "Mars Black" paint,which is made by Grumbacher, Inc.

SHAPING THE WIRE FRAME

The #16 galvanized wire might seem too st iffto use at first; nevertheless, this is necessaryfo r the skeleton as a whole to hold up againstrepeated bending and the pressure of the latexrubber on i t .

7



1: Overlap the wi reto form a l oop .

2: Twist the loop tightly

-

I

a few times to secureit . The loop now functi ons as the body or"abdomen" of the spider,and the two long ends ofthe wi re serve as thefront legs .

3: Twist three longadditional strandsof wi re around thel oop/leg jOint tocomplete the frame.(Photo 1. )

-- ....... _--

'" '"

"

FORMING THE LEGS

1: Tape paper towelingto each leg , thenwrap i t around theleg.

2: When paper towe lingis completely wrapped,tape i t to make thefinished leg.

Photo 2 shows the paper towel legs complete. In

the left-hand corner of the photo (ten o'clock)is a ball of newspaper which was taped to thebody loop to form the spider's abdomen. Facialtissue wrapped around the newspaper abdomen completes its "roundish" shape.

FINAL MODELING

Photo 3 shows the add i t ion of the head andneck, and the addition of a single liquid l atex

coat, which is brushed over the model with ast i ff-bri stled brush. The head is a small t issue ball (which is taped together to hold itsshape); the neck is also tissue, taped to thespider's abdomen or main body. Once the headand neck are taped on , the latex coat is added.

Next is the fine modeling . The spider'sabdomen is given an additional coat of latex,and while the coa t is st i l l wet, cornmeal i ssprinkled ove r it . The cornmeal gives the modelt e x t ure -- a rough. realistic skin. The tips ofthe legs have been "pointed" by modeling wet la tex mixed with tissue and cotton over them. The



,

spide r 's eyes are small imitation pearls pai nte dwi th red plastic mode l paint (drug or hobbystores) . Cotton and t i ssue are also used tomodel the eye sockets . the eyes stuck in themwh i l e the latex i s st i l l wet. (By the way , thisspider only has two eyes for silfllll city , s sake. F : : : : : : : : : - _ " : : ~Fee 1 free to add as many sets as you want; rea1 : : : ~ ~spiders have eight eyes.)

The spider 's two "fangs" (the "mandibles" or-jaws of the creature) are shaped of aluminum

fo i 1. taped on to the spi der' 5 head . and g; yen afew coats of latex. cx.ce this modeling ;s

completed (photo 4), the spider is ready for acolor coat.

The polymer or acryli c paint must be mixedwith liquid latex before i t is painted on. In ..... ~ __ ~ . .photo 5 the spider ;s shown hanging on a woodenshe 1 . two of its 1 gs s tuck under some heavy 'books. This is done , of course, to make i t pos -sible to paint a large portion of the model atone time.

Once the black color coat is completelyapplied and dry (photo 6) , the spider is readyfor the addition of hair (which is n' t absolutelynecessary , but tends to make the spider look"fuller" and more "grisly real") . The hair usedfor this spider is theatrical cre pe hair . inblack, which is purchased braided and by the

9



yard. Before use, the hair must be unbraided ,soaked in hot water, and fastened to two objectsin such a way that i t ' s stretched while dryingout. (I usually ti e one end of the wet crepehair to the shower curtain rod in my bathroomand weight the other lower, hanging end.)Stretching the crepe makes i t much longer (fourto five times) and easier to comb. Liquid latexagain is used to glue the hair to the spider.

It must be glued from the end of the spider ' slegs. Take a length of crepe, cooo the end ofi t . and cut of f about two and one-half inches ofi t . Spread i t out in your hand and dip a smallstick into plain, uncolored latex and apply asmall band of the latex to the spider's leg.Now stick the crepe hair into the band of wetlatex, pushing the ends of the hair into i t , asone would with a wig.

Spider's leg withband of wet latex.

Ends of crepe hairpushed into latex.

Gl ue hair starting at the ends or tips of thelegs , working toward the spider's body. It just

doesn't work the other way!

Side view of hair on leg, showing individuallengths . When hair is dry, a comb merges theseparate "rows." (For this model, I glued haironly to the top of the spider's leg.)

10

Photo 7 shows the two legs completed and thehair gluing started 00 another. Photo 8 showsthe completed model, ready to pose, and in photo9, ready to animate.

7

8

IN THE NEXT ISSUE: A new animation model, usingthis same process but on a more elaborate scale.Slated: a medieval-type dragon.



•

BILL GEORGE

AND

"THELATESHOW"

Bi l l George i s a Balt imore f i lmmaker cur -

ren t l y at tending the Univers i ty o f Maryland,

Bal t imore Campus, where he is seeking a f i lm

degree . Twenty-one-year-old George has been afantasy f i lm enthusiast s ince age ten, when he

f i r s t obtained some home version prints o f var

ious horror/fantasy movies. His in teres t in th e

fantasy film genre has grown considerably since

then: he founded a hor ro r - f i lm-o r ien ted fanz ine,

BLACK OMeLI:.' , in 1969 (now pub l ished by a

friend, George Stover), and remains as the fan

z ine 's ch ie f f i lm critic .

Subsequent ly , Bi l l began involved corres

pondence with such f i lm pros as Robert B loch,

Alan Ormsby (producer of CHILDREN SHOULLW ' T PLAY

WITH DEAD THINGS), Jack H . Harr is (DINOSAURUS;

BEWARE OF THE BLOB), and Debbie Reynolds, among

a long l i s t o f others .

Bi l l ' s f i lm company i s comprised of several

local fantasy buf fs : Ed Litzinger, a master ful

make-up ar t i s t ; Phil Gun tner , a memorabilia

collector an d key as s i s t an t in production; and

George Stover who, aside from cranking out BLACK

ORACLE, i s a professional actor appearing regu

lar ly in many Baltimore stage plays.

"T he Late Show ," according to Bill George

"is to be a t r i logy of horror epics , par t one o

which is completed , part two o f which found i t s

way to the trash basket, and part th ree of which

i s being shot on video tape, "'ith a la te r con

version to 16mm film intended."

Obviously, I ' l l concern myse l f here with

part one , which I 've viewed, and enjoyed, acouple of times. Actually, if Bill and friends

never complete the epilogue, part one can eas i lystand alone, with some minor edi t in g. It pre

sents a complete s tory in i t s e l f , and could

conceivably suf fer i f t ied in with subsequen

footage.

AnYIo.'ay. The Late Show - Part I opens with acontrasty scene of a dere l ic t hippie pr ep ar in g af ix over his bathroom sink . He is clumsy

though, and drops his s tu f f in the sink bowl.

~ l u c h to th e hippie ' s chagrin, his attempts tosc rape the dope from th e sink are f ru i t less , and

he makes a quick telephone ca l l to his localneighborhood pusher . In this scene Bill uses an

odd prop - - a simulated dialing disc from thephone - - through which the camera looks up atthe hippie. Al fred Hi tchcock wouldn't approve

of such methods , but it ,,'orks in th is par t icula

ins tance, lending an a ir of surre alism to th e

al l - too-dreadful ly-real subject o f a desperate

drug addict pleading to his merciless supplie r .

On the phone, the pusher informs the hippiethat he ' l l supply him with a quick f ix for five

bucks. After hanging up, the hippie realizesthat he doesn ' t have a cent . At th is poin

there ' s a b i t o f cont r i vance , but af te r a ll

what good horror f lick i s n ' t he lp ed along by

"as fate would have i t " coincidence? In thiscase the coincidence is an overgorged vacuumcleaner salesman, who bursts into the hippie ' s

house with an wldeniable "111-1 THERE . . . " I t

takes l i t t l e time for the bumptious so l ic i to r to

throlo.' the proverbial d i r t on th e f loor , sweep

i t up in a flash with his amazing " fa t l i t t l e

monster" vacuum cleaner , and chor t le something

about how, for a few minutes of his t i me. th e

hippie can earn an easy five dol lars . But be

fore the salesman can open his bag of accessor

i es , the hippie i s suddenly gone.

Apparently not one to give up, the salesman

pursues the hippi.e through the house, ult imatelyending up in the basement. I t ' s here that we

see our f i r s t glimpses of special effects . Thesalesman gets to the bottom of the basemen

steps and stops to look around, when we se e along-handled ax chopping down. The blade land s

in the middle of the salesman ' s hand, which i s

holding the s t a i r ra i 1. ~ l a k e - u p a r t i s t Ed

Litzinger has done a remarkably fine jo b of

subst i tu t ing a putty hand for the ac tor ' s . The

ax blade nest led firmly into the hand is aconvincing (though gruesome) effect . The ef fec

i s enhanced as the salesman l i f t s his f inger less

(please turn page

11



hand in dismay.lieve that this

Again , Litzinger makes us beguy ' s fingers have been severed l

Subsequent l y, a combination of intriguingcamera angles (coupled with fine low-level

lighting) by George and expertly applied make-upby Litzinger provide fo r a graphic murder,

which is anything but a euthanasia for the

vacuum cleaner salesman. His head is repeatedlyslashed and hacked, until he falls back againsta cin de r block wall and drops to the floor. Asthe hippie drags the mut i lated body to a closethe notices that the salesman ' s head left a dripping blood stain on the wall. This sequence isperfectly executed, as the blood stain grows,continues to drip, glvlng the i l lusion of a"bleeding" wall. Bill explained that it was amatter of continually pouring chocolate syrup onthe wall, getting out of the way, and filming

the dripping.

Meanwhile, the hippie has encumbered himself

12

with a supply of Ajax, Comet, Spic &Span andsimilar gritty cleansers in an attempt to removethe bl ood stain. The attempt is fu t i le , though,

so the hippie solves the problem by placing amirror over the persistent drip. Satisfied thatall is well, he gloats at the five dollar bi l l

he's swiped from the salesman's corpse, andgets to the phone; however, a resounding crashin the basement startles him. Could i t be the

bleeding wall and th e mirror? Not at all con

vinced of such humbuggery, th e hippie returns tothe scene of the crime.

Litzinger's talents shine out here, too, as

the hippie arrives in the basement and watchesin disbelief as th e blood stain on the wa l ltransforms into the face on the wall! Bill andEd lend to each other admirably in animating th e

face's appearance: they l i teral ly buil t a face

and took time lapse shots of their progress.And even more convincing is the fact that theputty face is a good caricature of the humansalesman's.



The dead have been awakened in th e form o f this Ed Litzinger ghoul make-up .

Following true to th e murder that happenedminutes earl ier . th e face 1s at f i rs t unscathed,then sequen t i al ax marks and rips appear on i t ,

unti l it is a gruesomely exact counterpart of

the real salesman's mangled face.

Fo r a fi na l e , Bill takes The Late Show intothe mysticism school of thought. Once th e face

has materialized , i t proceeds to te l l the hippie

about a sound that l i teral ly wakes th e dead -

the "unfinished symphony" apparently synonymouswith the many unfinished symphonies of the greatcomposers ; and allegedly the very reason thatth e symphonie s were never completed.

The hippie inevitably seeks and discoversth e "sound that wakes th e dead." in th e person

of a ghoul who is conjured up and slashes the

hippie to death with a sickle. The ghoul here

is yet another Ed Litzinger make-up job, in th e

form of a ful l mask resembling th e Peter Cushingghoul in Tales from the Crvpt .

The l ast scene of th e film proves once again

that crime doesn ' t pay, and that the unfinishedsymphony shall remain unf in ished - - or at leastundiscovered -- as a dissolve takes us back toa face on th e basement wall. This time i t isnot th e vacuum cleaner salesman' s; i t is th e

hippie's . . . .--Dan Dah le r

13



FOAM PROSTHETICS-PART J

by BIU SCHWARZ

I 'v e always been interested in films - - esp

ecia l ly fantasy ones . At the age of te n Ireal ly began to notice the technical processes

that were involved in certain films . So when myfather bought a movie camera , I was the f i r s t to

us e it . Soon I began to attempt var ious special

e f fec ts and make _up techniques , though some

d idn ' t work , so I s e t out to improve them. Dur

in g the next several yea rs , through t r ia l anderror, I obtained only a minimum of success .Then in 1968 I saw PLANET OF THE APES . and wrote

to John Chambers . who did the APES make - up .

During a series of communications with him (and

by reading), I developed a foam latex process

for make - up based on Chambers' techniques . This

eventually le d to a series of television appear ances (bo t h acting and doing make-up) on local

sta t ions in Philadelphia, and a co uple of t r ipsto the West Coast to view some of the actual

Chambers techniques f i r s t hand (during the film in g of CONQUEST OF THE PLANET OF THE APES) .

The following ar t ic le (and

is based on what I have learned

ating medium .

subsequent ones)

of this fascin -

Many f i lm buffs who have viewed the earlyUniversal ho r r or films such as the Frankenstein

series . the f m a ~ th e Mummy , etc . wil l prob ably real ize that the fabulous make- up creations

in these films were s pear -headed by a great ar t

i s t named Jack Pierce . With putty . pancake, andfuller ' S earth he created and brought to l i fe

creatures and man - things of horror and fantasy .Bu t time was against him , and in 1939 , a newbreed of make -up mater ials came in t o play in a

now classic film . That film was WIZARD OF OZ .and the mater ial was a type of sponge rubber .The face of th e Cowardly Lion , th e jaw and nose

of th e Tin Man , the neck area of t he St raw Man

and the mu zzles of those s in is ter l i t t l e flying

monk i es , along with the nose of their leader ,the Wicked Witch of the West, we r e a ll created

from this material . ThiS , of course , outmodeda l ot of Pie r ce's mor e primitive , non - flexible

14

materials . And this brings up an interest ing

point . Let's suppose that Pierce had mastered

the use of sponge rubber, or as we cal l i t to day , foam latex. Imagine th e impact of theFrankenstein monster , fo r instance , i f he were

able to wrinkle his brow and convey a greaternumber of expressions. Now I'm not saying thatthere was anything wrong with Pierce's work , but

this exampl e serves to show how such early cre a t ions could have been further enhanced by the

use of foam la tex .

Speaking in terms of films today , foam latexis now an established make- up material in a l l

major studios . There are many experts in this

f ie ld working for th e various studio make - up

departments , and some who are independent spec i a l i s t s called upon to solve dif f icul t problems.

But what of amateur filmmakers? Where do

they get the materials needed to create such

make -u p fo r their films? How do they learn the

techniques involved? Well , it ' s not as di f f i cul t as i t seems . The t r ick is the proper

choice and us e of specific mater ials , many of

which can be bought a t ha r dware and drug sto r es .

Before I ge t into that , though,le t

me sup ply a few make - up mater ials defini t ions . During

the course of my ar t ic les there wil l be somespecific terms you should be familiar with:

SPONGE RUBBER: a soft , pliable latex mater ial

that is produced from a l iquid latex which ha s

been chemically t reated , whipped to a certa involume in a beater or electr ic mixer, then pro

cessed at accelerated temperatures in a curing

oven .

FOAM LATEX: modern name for sponge rubber , and

the one I'll be using in my writing .

PROSTHETIC : an ar t i f ic ia l part or feature ; can

be (acial or ,my limb or area of th e body . (Insurgical terms , this ca n apply to a false re placement for a missing anatomical feature . )

IMPRESSION MATERIAL:

used to make a mold

age , Alginate , etc . )

any cream- l i ke substance

of the face or body (Moul -

LI FE MASK : th e plaster copy of a human face orfeature (o r of an animal , (or that matter) that

is made using the impression mate r i a l s .

CAST I NG STONE : any of

l ike materials used

mold -making pr ocess .

a group of hard , plaster in various steps of th e



PLAST[LINE CLAY: soCt,

cr eate a feature thator ca s t in g stone .

o il - base clay use d t owill be mo l ded in plaste

APPLIANCE: t he f inished foam rubber piece thahss been cure d snd is ready to apply to th e sub

j cc t .

That should takc ca re of major definit ionsfo r now . If I us e new words from time to time

sn explanation of them wil l be included . Bu

now , l e t ' s get to th e work a t hand .

IMPRESSION MATERIALS

Firs t of a l l you' l l have to ge t some imprcs

sion materi a ls . These are various powd ers thaare mixed with water to form a cr camy mold in g

mater i al th a t can be used on th e face or bodyYou may have a lready had an experience or twowith this substance whelhcr you know i t or no t ,

because this is cssent ia l ly what your dent i s

us cd th e las t time you had dental impression

made . The kind he uses is called "a l ginate" andgoes by many brand names (Denta l Perfection

Je l t r ate , etc . ) , and is avai lable a t most dent

al supply houses .Now , you must find yourself a willing sub

ject . Let 's say you ' re making an ent ire faciaprosthetic fo r this person . You'l l need a moldof his (o r her) whole face . To accomplish thishave th e person s i t in the position in which he

will f inal ly be performing with th e appliance

place a ca p on his hcad ( th e ba l d caps so l d in

joke stores or f ive and te n - cent stores workwell), then mix th c alginate wi th water . Onceyou've done this you ' l l have to work fast , buthoroughly . (One thing that keeps th e a l ginate

from set t ing to o fast is th e addition of cold

water . ) Now scoop some alginate up in your le f

hand and begin to apply i t to th e facc with th e

r ight hand (PIIO TO 1 ) . Work steadi ly and make

sure every crevice of th c face is cove red, buavo id blockage of th e nos tr i ls . Once you'veaccompl ished this , you ' l l need some plaster o

Paris to put over th e algina tc (PHOTO 2) . Since

th e a lginate is so soft and rubbery , i t wilnever stand up by i t se l f , so th e p l aster sh e l l

(o r Mother Mold , ss i t is sometimes cal led) is

cast a round i t to form a protective outer coat

in g to keep the inner alginate onc from changing

shape af ter removal from th e face . The plaste

should be mixed r e l a t ively thick to afford fasthsrd sct t ing . (This also helps i n gett ing th e

person out f r om under his temporary prison much

faste r . )Whcn you ' ve Cinished th e Mother Hold , you

must car efully remove th c plastcr and th e algin

ate casts together from th e subject ' s face . Nowturn th e whole arrangement over and you ' l l have

a negative mold of th e person's face (PHOTO 3) .This will be th e basis of th e posit ive cast or

mo ld .

15



POSITIVE MOLD

For this step you' l l need some castingstone . This is a very hard pl aste r avai l ab l efrom various dental s uppl y companies . Mix th e

stone and pour i t into th e negative mold youmade ear l ier with alginate and pl aste r . (Hakesu r e you do this step as 600n as possible after

making th e a l ginate cast , because alginate tendsto sh r ink a f t er a time and i f you wait to o long ,

your impression wi l l be false . ) Smooth th e

cas t ing stone with your hand (PHOTO 4) , and

gen tly push i t against th e negative mold with

your f is t (PIIOTO 5) to insu re a good impre s

sion.Afte r i t ha s se t , ca r efu lly remove your cast

from th e alginate -Mother Hold combination . You

will fin d th a t th e alginate usually tears, but

you can use i t again , anyway . At any r ate , youshould now have a well - formed stone likeness of

th e person who posed for th e mold (PHOTO 6) .

Now you have a b it of insight into th e crea tion of your f i r s t l ife mask . This wil l eventu ally become th e working surface fo r an appliance

and la ter wil l se r ve as half of th e mold fromwhich you ' l l be able to make numerous copies ofth e appliance . Practice is important with the

like mask because i t is probably th e most d i f f i

cu l t part of th e entire process .

•

16

,

In CI NEHAGI C #2 I'll show you how to take

these l i f e masks and us e them as th e base for a

c l ay sculpture that wi l l be the original modelfo r a foam appliance . I'll als o explain how th e

foam ia produced and poured into th e mold . Un t i l then, kee p a t i t , and good luck with your

f i r s t l i fe mask .__ BI LL SCHWARZ



~ n I T E A NEFFEI:T, BnT ..Notes on Some Ef fec ts , Historical and Hysterical

byMARKESTRiN

We take so many technical advances in filmfor granted today that we eas; 1y forget therewas a time. not too long ago, when the production of effects was impossible, incolll>rehensible,or -- worse st i l l -- unintentional.

Just about a hundred years ago, when theviews of the positivist philosopher Cornte on TheReal were in vogue, it was starkly realisticeffects fo r which the theatre was striving. Thesearch for realism reached heights of absurdityin the productions of David Belasco. who broughtan entire boardinghouse room intact to the theatre for The Easiest Way and set it up on stage,and who created an exact replica of Child'srestaurant for The Governor ' s Lady . and who -shades of Smellovis;on! -- pumped the smell ofcoffee through the theatre's ventilation systemto reinforce a coffee-drinking scene.

Yet theatre is not film -- though the prehistory of film shows plenty of effects thatdidn't quite come off. For instance. film projection goes back to the camera obscura immobil-

is (literally and accurately , a dark room thatdoesn't go anywhere). which was probably knownto Euclid and Ptolemy and was certainly known toRoger Bacon and Leonardo da Vinci. This thinginvolved cutting a hole in one wall of a room.through which light would fallon the oppositesurface. If the outside scene were brightlyenough illuminated. an image of the scene wouldappear on the far wall. Problem: the imagewould be upside down and reversed. like amirror-image you see when standing on your head.Qui te an effect, but not exactly what anyone waslooking for at the time.

Possibly the earliest ancestors of modernday effects were the Phantasmagoria shows of theBelgian E.G. Robertson (real name: Etienne Gaspard Robert). Robertson used a magic lanternwith a mobile disk in front of the lens; thewhole thing was mounted on a sort of tea cart,which could be rolled forward or backward tomake the images on the screen larger or smaller.Contemporary drawings show men and women alikerecoi ling in fear from these effects -- thoughthe reactions were probably aided by the localeRobertson chose for his shows: an abandoned,partially ruined monastery. And mind you , thiswas going on in the late eighteenth century!

Many commonly accepted film ef fects orlg l nated during the nineteenth century , in crudehome workshops. There was the fi rst effect ofsuperimposition, for instance. It came from atoy created by Or. John Paris in 1823 and calledthe Thaumatrope. Different images appeared onthe two sides of a cardboard disk , which couldbe spun by loops of string attached to i t . Witha bird on one side and a cage on the other, thebird would seem to be in the cage.

A more sophisticated version of this sort ofthing was Emil Reynaud's Praxinoscope. This wasa double projection system -- one for rearprojecting the backgrounds, and one for rearprojecting the images moving over the backgrounds.

Incidentally, don't be surprised at nameslike "Praxinoscope" if you look into the forerunners of modern-day cinematography . That nameis rather simple, actually. and was complicatedfurther into Zoopraxiscope by a man with thesuitably complicated name of Eadwea rd Muybridge.The Zoopraxi scope. in fact , earned Muybri dge

credit for the first projection of photographsthat achieved the illusion of motion. It was ahuge success at the 1893 Chicago World's Fair ,where i t was installed in its own Zoopraxographical Hall.

A few other nineteenth-century contributionsto the budding art of the cinema included the

Z o ~ s c o p e , the ZoHrope, the Phantascope, thePhantasmascope. the Phenakistiscope, the Choreutoscope. the Stereothauma trope. the Ei dotrope,and the Phosmatrope. Then a9ain, does any ofthose names sound so much stranger than theCinema tographe of the brothers lumiere -- thefirst true motion picture camera and projector?

The idea behind al l this hectic developmentwas to create the illusion of motion -- the mostimportant effect of all. The first lumiereshow, in 1895, had films of soldiers, a wall being knocked down, a baby eating (sloppily). atrain pulling into a station, and workers leaving the Lumiere factory (the earliest knowninstance of mugging for the camera). There wasalso the rolling sea, which was said to makeladies squeal and snatch up their skirts as theysaw the ocean's waves lap towards them. And thelumiere brothers didn't need a decaying monastery to ; nvo Ive thei r audi ences !

The point of all this is that the history ofeffects and the history of cinema i tself are inmany ways the same history. As we use our modern equipment and take for granted everythingtechnology has given us, i t is worthwhile toremember that our entire medium is based on theproduction of a false effect. For the motionwe create when we make movies is. after all .only the succession of a series of st i l l photographs, too fas t for the eye to real i ze one isgone before the next appears. So no matter whatsort of film we do , we are creat i ng a specialeffect by the mere act of mak i ng that film . _

17



Film Prolile

18

man'ssea,·ch

Rory Palmieri is an eighteen-year-old re s i -dent of Lanham, f,lary l and, who is currently at-

tending Harvard University . where he plans tomajor in English. Rory ' s fi lm, Redneck: Man ' s

Search for Evil , was originally made as a required high school assignment for a Christian

Ethics class. It was mandatory that a ll of thefilms fo r the assignment use the three words,

" ~ l a n ' s Search for -- I t in the i r t i t l e , so, as

Rory says, " . . . th e course t i t l e was to o t r i t e ,

because Redneck turned out to he an allegorypresenting-my view on th e evil and violence inmankind."

He adds, "1 t r ied to maintain an atmosphere

of horror in the fi lm, but I found my in te res t

in violence dominated the project ."

On his interest in films and filmmaking,

Rory offers th e following: "English has been my

chief interest ever since I began studying i t in

elementary school. I didn't think of mov i es as

a rival interest to English unti l sometime dur

in g my senior year in high school, probably not

unti l Redneck was completed . Movies had been animportant pastime to me since second grade,

when I started going to see several films a weekat th e theatre on th e Air Force base where Ilived. In my junior year a t DeMatha High SchoolI was film cri t ic fo r th e school ' s f i r s t l i ter-

ary magazine (which 1 helped to found). Workingon Redneck in my senior year was extremely

i mportant to me for 1 learned much about wha tgoes into th e making of a film. I was able toapproach th e movies I sa w with a much sharpercr i t ical eye; 1 also found that I enjoyed studyin g fi Ims as much as I di d Engl ish."

" ~ l y favorite filmmakers ar e Kubrick, SamPeckinpah, Roman Polanski, and Ken Russell. Ihave become very interested in studies of viol

ence in film, such as Peckinpah's Th e Wild Bunchand Straw Dogs, John Boorman's Poi n t Blank, and,

of course, Kubrick's A Clockwork Orange. "

The fo l l owing is a plot synopsis of Redneck :

Man's Search for Evi l , written by Rory Palmier i .

Boredom . Frustrat ion. An overpowering

sense o f fat igue . He jus t wanted th is la s t ha l f

hour to pass quick ly . Then he could walk the

short dis tance from th is lab and be alone wi th

h is thoughts . He hated th is job a t the science

center . Meaningless, boring, menial labor wasa l l it was, a l l he was gi ve n . He qawned again .

Atap on

h isshoulder brought hi m back tollis work in the lab. "Wake up ! You ' ve still

got a lo t o f work to do before yo u can leave .

Put tha t down ! Have you done . . . what i s this?

You did th is a ll wrong . Now look , pay a t t en t -

ion! I f you don · t ... ..

He couldn ' t help i t if he was bored with the

work he was given . Af ter a l l , the work wasdul l . Nevertheless , he could always count on

h is over seer to jump on h is back every damn da y .

Now as h is boss moved away, the anger grew .

Lousy sonofabi tch . He knew tlle anger was f ind-

ing a r elease througll a v io len t fantasy which he

knew had j u s t reg is te r ed in h is brain . He f e l t



The protagonist (Rory Palmieri) ,with the verbal attacks fromTwining).

lef t , is boredhis boss (Dana

h is e v i l spiQ-t , the Vio len t One, kicking i n h i sbra in , l i ke a baby in a womb, s t ruggl ing to be

se t f ree.

He found h imsel f nex t to h is boss I .i th akni fe in h is hand. Grabbing the man ' s shoulder ,

he spun him around. With a f irm gr ip , he raised

the f ine ly honed ki tchen kn i fe high in the a ir .

With one sw i f t , smooth motion he brought the

weapon across the man ' s face, engraving a deep

s lash down the length o f h is vict im ' s face an d

popping h is eye in the process. Yet h is pas-

s ionate lu s t for vio lence agains t th i s man had

no t been sa t i s f i ed . And enormous exhi larat ion

stormed ins ide h is whole body as he continued to

hack away a t the bloodied f l esh . NOW he foundh is overseer , h is boss , h is tormentor on h is

knees begging for mercy . "Begging wi l l do you

no good." A powerful lunge of the k n i f e

s t ra igh t from the shoulder drove through the

man's cheek an d sen t him down on h is back . He

was helpless under the ra in o f blows coming from

his assai lant ' s kn i fe . The f rustrated labworker

was now joy fu l as he bent over the muti la ted man

an d drew out the l i f e o f the man, h is blood,

with the brutal weapon . Th e room began to turnan d sp in as in a dream. Slash . • . s t roke . . . cu t . . .

blood ...blood . . . a r ipper ... a modern vampire . . . .

stab • . . s tab . • .

I t was a dream, a shameful dream; somethingd i r t y .

"Why do I think. such e v i l thoughts?"

asked himsel f . "Why?"

He t r ied to rub ou t the foul thought

h is mind - - a l l the foul thoughts that ha d

coming to him for the past several years ,

th i s was impossib le . These thou gh ts weredeeply engrained in h is mind; they went back

fa r to be erased now.

he

frombeen

bo t

Th e overseer had been concerned about t h i s

man for qui te a while now: l a t e l y , th is lab

ass i s tan t didn ' t seem to be able to concentrate

on h is work; he always seemed to be adr i f t in

space . Now look a t him, he thought. Maybe heshould see a psychia tr is t .

Thus ends th e f i rs t sc ene of th e film. Ifthis episode is understood, th e rest of Redneck

is quite easy to follow . The protagonist isintroduced as a man who is bored with and frus-

trated in his job. ~ ~ e n he is upset, he re-leases his emotions through vicarious violence.The audience must understand that th e violen t

sequence is only occurring in th e mind of th eprotagonist; this fact is clearly realized whenth e boss's reaction is seen at th e end of thisepisode. The protagonist will undergo a rebirthl ater in the film: he will be born into a l i fe

of actual rather than vicarious violence; inthis f i rs t scene th e audience sees th e begin-nings of labor pains in the man ' s mind, though

they may no t realize this particular aspect of

th e film this early. J f the audience under-

stands these concepts, the film is easy to fol-low from here.

Th e next scene , in which the protagonis t i s

hassled by a street gang , does no t necessar i l y

occur on the same da y that the f i r s t scene does .Th e idea i s that the f i r s t two episodes , the

protagonis t ' s react ions to the bera t ing from h is

boss and the hassl ing by the s t re e t gang, are

two events drawn at random from th i s man's l i f e

which are connected on ly by the f ac t t h a ~ they

i l lu s t r a te h is inner vio lence .

Following the v icar ious massacre o f th e

s t r ee t gang, the pro tagonis t i s seen in apsych ia t r i s t ' s o f f i c e rela t ing th e d o c ~ o r

~ h i s part icular fantasy an d then begging for

help to end these shameful thoughts . The doctor

t r ies to reassure hi m that everyth ing w i l l be

a ll r igh t . As the p r o ~ a g o n i s ~ leaves the of-

f i c e , doctor i s seen with an e v i l grin onh is face mut tering, "Soon . . . "

The protagonis t i s next seen a t home engros-

sed in Bram Stoker ' s Dracula. Around hi m areseen other books on the supernatural an d macab-

re , as wel l as books about vio lence and sadism .

His wife i s i r r i t a t ed because he ' s so engrossed

in reading about vampires and doesn ' t pa y any

a t ten t ion to her. Exci t ed l y , he t r i e s to ex -

plain to her about vampires, showing her how one

can defend onese l f aga ins t vampires an d also how

a vampire can be destroyed. None o f h is enthus-

iasm rubs o f f on her; she on ly turns around and

walks away from him, c la iming that the whole

business i s rubbish . This enrages him, for

vampi r i sm i s very real to hi m . He rushes af terher, t rying to make her bel ieve in the super-

natural world, b u t she on ly turns back again .

He has been frustrated again, an d by h is own

wi fe , no l e s s . He cannot conta in h is anger and

once again he g ives ven t to vio lence - - on ly

this t ime it i s not v icar ious . By grabbing h is

w ife an d throwing her to the f loor , he commits

h is f i r s t a ct of real v io l ence . Regret t ing t h i s

act ion an d seeing the impl icat ions o f it, herushes back to h is psychia tr is t . His wife sees

how upset he i s an d rushes af ter hi m to console

him .

19



Arriv ing a t the p s ych i a t r i s t ' s o f f i c e , th e

protagonist i s soon put i n to a trance by h is

doctor . Th e doctor, now seen to be a vampire

(a messenger o f the dev i l ) , bares h is fangs an d

b i t e s the man ' s neck and sucks out some o f h is

blood . Th e protagonis t has now found a re lease

from the boredom and f rus t ra t ion in h is life by

dying from h is c i v i l i z e d s ta te in which violence

i s only expressed menta l ly , an d by being born

i n to a pr imi t ive s ta t e in which violence i sexpressed physical ly . Fo r th e f i r s t t ime in the

f i lm, there i s a look o f joy on h is face. A t

t h i s moment the wife runs in to the room an d sees

blood on the psych ia t r i s t ' S mouth; she screams

an d runs back home. The protagonis t i s sen t out

with the blessing of the devi l to f ind happiness

in violence . li e encounters the gang which had

hass led hi m ear l i e r , and t h i s time rea l ly

massacres them . On ly the gang leader surv ives;

he s tares around in d i sbe l i e f a t h is murdered

companions and resolves to revenge the death o f

h is gang . He picks up the neares t weapon, along s t i ck with jagged ends, an d se ts out a f t e r

the protagonis t .

Meanwhile, the wi f e i s attacked by the

psychiatr i s t -vampire , who has fol lowed her home.

Terr i f i ed beyond any ab i l i t y to th ink c lear ly ,

she grabs the an t i - vampire equipment her husband

has l e f t on the table an d in a brutal a c t o f

violence brought on by her unhappiness a t her

husband ' s condi t ion, which i s a t the back o f her

mind, an d the overwhelming fear o f her assa i l

ant, she destroys the ages-o ld vampire who

dis in tegrates in to noth ingness . As she looks in

di sgus t an d horror a t what she ' s done, her hus

~ n d walks in . She goes in to h is arms . while

he 's sucking her blood, the gang leader comes

down the s ta i rs behind him. Th e protagonis t

bares h is fangs in chal lenge. With a l l h is

strength the gang leader shoves the wooden spear

through the protagonis t ' s heart an d out h is

back . Standing over the dying vampire, the gang

leader fee ls a sharp pain in h is neck; he has

been bi t ten by the wi fe , who ha d been translorm

ed i n to a vampire only a fe w minutes before by

her husband.

This expresses my belief that evil and viol ·ence will continue to exist because they arelike a contagious disease which will spread fromone human being to another. for each evil thatis destroyed. another is created .

CAST

Protagonis t ..... . . ..•..............Rory Palmieri

La b Overseer .• . •.•.••.•.......•..• . .Dana Twining

Gang Leader • • • • . • . •••••• ... ..... . F.P. Woodbridge

Psych ia t r i s t ....... .... ..... ...Bruce van Stratum

Wife •.••••••....•.•............. ....Hay Finerman

Writ ten by Rory Palmieri; produced by Rory Palm

i e r i and John Oliver; f i lmed by Rocco Mennella .

20

THE EVIL SPREADS from th e psychlatrlst - vampire(top), to th e protagonlst, who ls finally killed(center); but no t before he inflicts hls wlfe

(bottom) .



MINIATURE SETS :

By DON OOHLER

The moon: a celes t ia l body o f jagged moun-

tain peaks and mile-long craters , and located

approximately two hundred an d f i f t y thousand

miles fram th e earth. A pretty desolate propos

i t ion , at bes t , but inspirat ion enough fo r many

a science ficti f i lm .

Obviously. you can' t shoot a movie on thesurface o f the moon, unless you happen to be an

astronaut scheduled for the next Apollo blas t -of f . Bu t you can do th e next best t h i ng -

create your own moon surface.

I f it sounds complicated or technical lg

oriented, i t ' s not; and in fact , i s real ly quite

easy. Your moon surface wil l be a mere minia

ture model, but it can look as good as th e real

thing.

The moon-model materials are a ll simple

i t ems , easi ly obtained. In some cases (use your

imagination), you can subst i tute material . Al i s t o f the basic needs:

A sheet of plY\'o'ood or similar material(can be hardboard, fiberboard, etc,),

{The s ize of the sheet depends on how

l ~ r g e you w ~ n t your lunar surface tobe. I 've used a two-by-three-foot

piece of plywood, though I 'd recommend

a larger s i ze (at l eas t four-by-six) .J

Plaster of Paris (five pounds).

Some soda bottles (here's a chance to

make good use of throw-aways).

Flour and water.

Old newspapers, cut up in two-by-eight

inch strips .

A few assorted sizes of rubber balls.

Some cardboard cores from rolls of papertowels or wrapping paper.

T ~ o medium-size plastic bowls.

Spray acrylic paint ( f la t white),

After you've gathered your materials , find agood place to work. Forewarned : this can get

qui te messy , so if you have a basement workbench

or table, uso it. If you're forced to use akitchen or dining room table , be sure to spread

plenty of newspapers on and around it. Take

special care in protecting any carpeted areas;

you ' l l be working with plaster o f Paris which,

if spi l led , can be very d i f f i c u l t to remove fromcarpets or rugs.

Fo r the sake of instruct ion, I 've kept this

surface very small and simple, with slightl"y

exaggerated mountains . Once you've gotten into

th e shaping process, you ' l l find that you can

develop s i z e , shape and proportions o f the craters and mountains as you see f i t .

THE MOON SURFACE MATERIALS

• , --\

21



STEP 1:After placing your plywood (or similar material)on your work area, use a sharp knife or blade tocu t th e rubber balls in hal f . line your mater

ials up, making sure that you have everything

you'll need.

STEP 2:

~ t a k e a mental picture of mountain and craterlocation. In doing this, consider things likecamera accessibi l i ty, lighting, etc . Here, I 'veplaced my mountain frames (soda bottles & towelcores) toward the back, my bal l halves (craters)nearer the front.

(Note that I've pu t a strip of board behind my

surface here. This will be draped with black

fabric later, to se rve as a backdrop.)

s rEP 3:

~ t i x the flour and water to what seems like a

runny consistency -- this, of course, will beused to make papier-mache, which will form thebasic structure and shape of your mounLains andcraters. Now, take one of the cut-up ne\;'spaperst r ips , run i t through the flour/water mix untilsoaked, and apply i t to a bottle or towel core,starting at the bottom. Continue this process,working in a circular fashion, until you've

worked your way up each bottle/core. There's noset rule fo r this -- just keep adding th e paperstr ips until the mountains start getting somebu l k.

STEP 4:

Papier-mache mountains basically complete, you

can start on th e craters. Place one end of apaper str ip in th e center of a ball half andoverlap the other half out to your plywood. This

forms the slope of the crater. Do this until allthe ball halves are pret ty we 11 covered.

STEP 5:

After th e craters are done keep working with thepapier-mache strips until you've achieved a de-sired overall look to the whole surface. Be sureto make the mountains and craters look "solid."Cover them well and avoid any ragged paper edges

that may show by overlapping each strip.

STEP6:

With th e papier-mache completed (starting toshape up already, isn ' t i t ?) . your surface isprobably pretty soggy. so allow i t to dry a bitbefore preparing the plaster of Paris . I 'vemixed my plaster in a re l atively small plasticcontainer. I t 's best not to mix large amounts ofpl aster at one time, since i t usually dries(hardens) quickly. ~ I i x i t to a medium thickconsistency (like a milkshake) be sure i t ' ssmooth and free of a ir bubbles.

22

3

4

•\ .

,\

{ :

-

~ : . ; . , : . ; . . . : - " ' 7 " - : --

-

-



STEP 7:Work fastl Pour t he plaster all over th e surface: between th e mOWltains. and in and aroundth e sides of th e craters. Continue this unti lth e bulk of your surface is covered with plaster. Since you ' re working with a smal l contain

er , you ' l l have to mix several batches in orderto cover everything properly.

STEP 8:

You' l l notice t hat th e surface l ooks to o smoothafter th e ini t ia l plaster coat. You remedy thisby mixing a fairly thick batch of plaster to apoint \o,'here i t ' s almost (but no t quite) dry.

Grab a handful of plaster and flop i t onto the

surface, then pull your fingers up quickly.

This wi l l give th e rough textured look of th emoon . Again, there ' s no set way of doing this ,but once you star t , you'll be able to judge

when everything l o o k jagged enough. (By the

way , don't forget to smear some plaster up anddown th e sides of th e mountains. You don't haveto cover them completely; just add enough plaster to "rough 'em up .")

STEP 9:Blend th e papier-mache exposed areas of th e surface by spraying with flat white paint. I t ' sbest to do this a day la ter , though, since

everything wi 11 be extremely \o,'et and damp afteryou've c.ompleted th e f irst eight steps. At thispoint you can leave your surface as i s , or youmay prefer to experiment \o,'ith other colors

(light greys or blues). But remember: to o

many cooks spoil th e broth, or in this case, to omany colors spoil th e moon.

Now t l lat !lour moon sur face i s complete, your

next ambition wi l l be to photograph it . When

making f i lms o f the moon, keep in mind that the

real moon gets l igh t ing fram one s ide on ly .

Though th is i s no t pract ical for movies, you ca n

achieve the same e f f ec t . Place a key l i gh t a t

one s ide of your surface , so that it casts dark

shadows f rom tho mountains an d jagged rock

peaks. Then use a f i l l l i gh t from the po in t o f

camera posi t ion. This l i gh t should not over-

whelm the shadows cast by the o ther l igh t , bu tshould serve to decrease extreme contrast . Of

course , yo u might tr!l severa l l ight ing se t -ups

to get the bes t e f f e c t an d exposure values .

MOON SURFACE GALLERY: Take a photograph of yourmoon surface and send i t to CINEMAGIC. We ' l lpublish a gallery of th e best of these in a future issue . Photos will become th e property of

CINEMAGIC, and cannot be returned . And besure to include your name fo r use in th e galle ryfeature .

A f inal suggest ion: as I ' ve done here,

a sheet of black matte mater ia l to use

backdrop when f i lming your moon sur face .

pinch, a sheet of le f tover paneling sprayed

black might do the t r i c k .

get

as a

In af la t



Film Profile

THE

NOTE: The Logos />lachine i s a f anc i fu l sc ience-

fantasy yarn which won the f i r s t - place award

th i s past year a t the annual Film Competition

o f the wasl l ington (D . C . ) Soc ie ty o f Cinematog-

raphers. Herewith the ins ide story on the mak-

in g o f th e f i lm .

By BRITT McDONOUGH

During the summer o f 1971 1 made a science

f ic t ion film ent i t led The Logos Machine. Thefilm's plot was typical of feature films of the

Fif t ies in th e genre. such as The Day th e Earth

Stood S t i l l and Forbidden Plane t , though not as

ambitious as e i ther of these. The real fu n of

th e film was in th e making and planning of i t ;

that i s , of solving chal lenging problems in

terms of special visual effects techniques. Thefilm sc r ip t , which turned out to be a catalog of

ef fec ts , took two months to wri te and revise in ·

to a f inal form. During this t ime, miniatu r e

sets and props Iwre lUlder construction as need

ed. The actual shooting of th e film took twoand one-half weeks. Logos was shot in Single-8

black and white, Fujipan RSO stock. The Sing

le-8 system was absolutely necessary for th e

film , since a th i rd of Logos is composed of

shots which required double and t r ip le expos

ures. Contro l led double exposures for more than

ninety frames is possible in Single-8 (no t inconventional Super 8).

Before discussing th e f i l m's visual effects

in de ta i l , here 's a br ie f synopsis of i t s plot :

A sauce r ship glides through space and soars

past th e camera, followed by th e f i l m' s t i t l e

The Logos Machine. The came r a slowly zooms inon th e saucer ' s cabin and disso l ve s to an in ter

io r shot of th e spaceship to reveal i t under th e

control of a r obot navigator. The ship 's humanoccupant is seen lying in a glass chamber; he is

in suspended animation unt i l th e ship lands.

Under th e guidance of i t s robot p i lo t , th e

saucer approaches a desolate planet and lands.

Out of th e ship emerges a lone sc ient i s t -as t ro-

24

naut who begins exploring th e al ien world. As

he presses onward he sees dis tant towering c i t -

ies in ruins, and gracefully designed airshipswrecked and rot t ing. "",oving on, he finds alaser p is to l , and tes ts it by blasting a nearby

wooded area to cinders. Sat isf ied that th e

weapon works , he keeps i t for scient i f ic study.

Back a t th e ship that n ight , th e sc ien t i s t

speculates that a l l I i fe forms on th e planet

were annihi lated in a great biological war. Ashe ponders th e events of th e day, his thoughts

are te lepathical ly recorded on a data screen

known as The Logos l>lachine. The planet 's exis t

ing civi l izat ion having long since been destroy

ed , i t s sel f-operat ing, autonomous war machines

have continued th e struggle.

The next day th e space explorer is aroused

by a warning s i ren. An al ien airship f l ies over

his saucer and f i res on it . Automatica l l y th e

saucer 's force f ield protects i t f r om th e blast .

Suddenly and without warning, th e al i en craf t

fal ters in f l ight and crashes. Trail ing th e

disabled craf t , th e astronaut enters th e ground

ed ship and discovers th e remains of a huge

biology laboratory. He relays th i s information

to h is robot comrade back a t th e ship , then pro

ceeds to explore th e al ien la b further. His

f i r s t discovery is a mi c roscope , which he pee r s

into.

Unseen by th e sc ien t i s t , who is engrossed inlooking a t a s l ide , an al ien creature appears

behind him. I t i s horr ifying : three- legged,

bug-eyed, with bulbous brain , and carrying adisintegrat i on rod. The creature slow l y creeps

up on th e innocuous sc ien t i s t and grabs hisshoulder! Star t led , th e sc ien t i s t knocks over



a vial containing some strange , organic fluid,which breaks open on the laboratory floor . Thescientis t flees from the spaceship , bu t the alien follows, firing i t s disintegration rod at the

terrif ied astronaut. After seve ral near-misses,the scientist runs fo r cover, pulls out the laser he found earl ier , and fires at the alien -disintegrating th e creature]

Pausing after thi s to catch his breath, thescienti st signals his ship. While signaling

(via a wrist-worn transceiver), he notices asp lot ch of growth on his palm. His hand is be coming l ight and l ifeless, his energy fading.

Recalling the broken test tube in the alien lab,he realizes that he has become infected with thesame germ that made life on the planet extinct.Soon he is totally paralyzed and falls to theground. A shot of his inanimate body dissolves

into a final scene of his robot co-pi lot carTY-ing the scientist ' s corpse back into the saucership.

FADE-mTJ'

I ' l l now discuss the production

considering i t from three basic

prop/miniature set construction,fects, and animation t e c h ~ i q u e s .

of th e film,standpoints:

optical ef-

PROPS/MINIATURE SETS

One fascinating thing about the making ofLogos was that i t necessitated the creation ofa variety of unusual props: ray guns, miniature

spaceships , and so on. ~ ' o s t of these props wereconstructed out of assembled odds and ends,which I keep a large collection of just for this

purpose. With every film I make, my co l lectionof props grows; and I ' m always on the lookout

fo r interesting pieces of junk, plastic bits andsuch, that look as i f they might have potentialas props for a film. One of the best examplesef th e use of miscellaneous debris was thecons truction of the miniature set representingthe inter ior of th e scientis t ' S saucership. In

this miniature se t a sharp-eyed viewer can spotrug insulation material (the floor of the ship),hair curlers painted si lver , defunct projectionlamps, 8mm fifty-foot reels neatly stacked andgenerating a piece of equipment, inverted plastic cups, and so on. There ' s even an old KodakBrownie flash attachment, which has become theshining silver base of a navigation device.

One scene in the film cal led fo r a long shotof a wreCked, futuris t ic city. Specifically:

LCWG SHC1r: Camera pans across a barren,

la te landscape. PAN STOPS on a wrecked,

c i ty in ruins.

deso-domed

Below : Some o f th e many props used in Logos.

II

25



TWO VIEWS, Above, the minia ture

saucerc ra f t i n t e r io r s e t , as seen in

rea l i t y on my back yard patio . Th e

wal ls are made o f heavy artboard,

which has been curved an d taped to

give a "modular" look. Th e photo a t

r ight shows the same s e t , d i f f e ren t

angle, as it appeared in the f i lm .

In th i s shot yo u can eas i ly de tec t

many o f the odds and ends that maka

up the sc ien t i f ic - look ing gadgetry :

hair cur ler s {painted s i l ver} , an

o ld project ion lamp, a small rubber

ba l l , inver ted p las t i c cups, and, o f

course , carpe t padding fo r the f loor

o f the c r a f t .

26

J

,



This shot was a combinati on of photo cutouts

(of deso la te ter ra in , mountains, and such) com-bined with a very small miniature "wrecked

ci ty ." The buildings were put togethe r ou t of

balsa wood, glass headed pins , plas t ic film

spoo l s , ping pong bal ls , e tc . , and th e whole

shabang was painted white with acrylic paint.Then black paint was put on a piece of cotton

and rubbed on th e buildings to s i mulate soot.

Next th e buildings were bent up a bi t , to maketh e whole thing look "devastated."

The miniature inte r i or set of th e alienspaceship laboratory was constructed much th esame way as th e saucercraft in ter ior was, except

that the walls of th e saucercraft were white.

The in te rio r of th e alien ship was made black,

fo r both aesthetic and pract ical reasons. Ablack background during the alien ship in ter ior

sequences Io'as th e universal equalizer between

l ive actor (against a large black backdrop) andanimated model (against a small black surround).

Using dead black for th e inside of the alienship eliminated th e possible task of having to

build a ful l -scale in ter ior . I t also made i t

easy to double-exposure a predominantly whiteclad scient is t into a miniature set about, at

most, te n inches high .

The flying saucer model used for the film

was made from a styrofoam top of one of those

cheap ic e buckets. A rubber ba l l cut in halfand centered on the lid became th e ship ' s cabin,

and acryl ic putty and white paint blended the

two materials pleasingly together.

Every scene in Logos was shot using as muchl ight as possible fo r each set-up, be i t mini

ature se t , l ive action sequences or whatever.

The camera was always adjusted to be in as wide

angle a le ns sett ing as possible (using a zoomlens). As a result th e enti re film is in "deep

focus ," which is to sa y that every thing, be i t afew inches from th e camera or far off in the

background, appears very sharp. This was neces

sary fo r many of the miniature shots, to insure

that th e in t r icate details of, say, th e saucer

ship ' s control panel , did no t look fuzzy a fewinches in front of the animated robot working atthem.

(To Be Continued)

IN CINEMAGIC 12 : The second an d concluding pact

o f th e making o f The Logos Machine, detail ing

the optical and animation e f f ec t s emploged .

RIGHT ( top to bottom): 1. The earthman ' s

saucership glides in to a landing on the

al ien planet . 2. Inside the saucership

the sc ien t i s t res t s in suspended anima -

t ion (a to g doll in a hollow plas t ic

tube) . J . Th e ruins o f an al ien domed

ci tg (a cracked plas t ic dome with bi t s

o f shaped stgrofoam ins ide) . 4 . A view

o f the miniature al ien laboratorg se t .



Fllmmalter Profile

The only way to learn how to make a film isto go out and do it (much l ess animation) andalthough many people at tend film schools or are

aspir ing to do so , 1 would a t l eas t l ike to warn

against being unintentionally acclimated to pre

conceived notions, ideas and theories and techniques which do not necessarily apply in th e

actual film business. Good schools have a mini

mum of this problem, but 1 feel that no school

can completely avoid i t .

For th e most part , my own education has no t

been associated with film or film courses. Ispent th e f i rs t semester of my college freshmanyear (September-December, 1970) at New ~ l e x i c oState University majoring in journalism (mainlybecause that department included a film course,

although I'm also in terested in print ing, news

paper/magazine work, etc . ) . AI though the course

was intended for juniors and seniors, I managedto talk/sneak my way in and produced a six-min

ute stop-motion film based on an award-winning

Playboy shor t s tory ent i t led "The Giant Chicken

Eatin g Fro g Will Soon Be Extinct Unless \\'e Take

Action Now!" The film was 16mm black and white

(sound) and was received very well , garnering an

"A" for the course.

That was my on e an d only semester a t N ~ I S Uhowever, moving to the University of Dallas in

order to take advantage of the i r " exchange" pro

gram: they have a campus in Rome , I taly where

sophomores can spend an ent i re semester studying

an d t ravel l ing throughout Europe, During the

second semester of my freshman year, a t UD, my

English class was assigned to do a project con

cerning Dan t e 's "Inferno." Since the professor,

Dr . Robert S. Dupree, was a film buff, he sug

gested that we organize into groups and makesho r t film adaptations or in terpretat ions of

Dante's poem. group ended up consis t ing of

about four people, which was nice, and unlike

the other groups who were doing modem, symbol -

i s t i c in terpretat ions of "The Inferno," we de

cided to do i t "s t ra ight ." The resul t ing half

hour 's worth of f ilm, shot throughout the semes

t e r , was never afforded the addition o f a sound

track as original l y planned, but the editedfootage was enough for Dr. Dupree to judge. Thefilm was great fu n and featured a ll sorts of

animation; harpies , a sort of Ymir-ish serpent /

dragon, the three-headed dog Cerberus, and, of

course, a gigant ic Satan. With the exception of

the harpies , the models were made of clay, which

caused a lo t of trouble. The harpies were made

28

by a friend an d co-worker of mine, Robert Frye,

of la tex over a wire framework and have held upvery well.

I f i r s t became interested in fi lms and film

making during the eighth grade when I received a

Kodak M-6 Super 8 camera for Christmas . Being asimultaneous horror films/James Bond fan, my

f i r s t two cel lu loid ve nture s became The Curse o f

Dracula and For Your Eyes Only, bot h s ta r r ing my

younger br other . But a ll during this i n i t i a l

experimentation period, I had been pondering

tha t l i t t l e chapter in the ins t ruct ion manual

about Single-frame animation. Fired with enthu

siasm on e day, I coerced my mother to buy acable release at the local camera s tore and se t

about filming my f i r s t s t op-motion opus: a se l f -

propelled chess game. Having no l ights a t the

time, I shot the t wenty or so feet outdoors,

resul t ing in a film more in teres t ing as a t ime

lapse study than anything else. It was prettypoor, in ret rospect , and 1 remember that I wasconcentrating so much on the animation that Imoved "whi te" twice in a row . . . .

There was a lapse of about two years unt i lJanuary 25 , 1968, when I act ively s ta r ted work

on The Mesozoic Menagerie. I t was my sophomo r eyear in high school and the film was fu lf i l l ing

the requirements of a biology class project .The project was approved, a lbe i t with a bi t of

skepticism, and I forged ahead. Foam or latex

BELOW; Ernie Farino and John Cacciatore (behind

camera) a t work filming a te levision commercial.



models were automatically eliminated since I hadabsolutely no conception of th e materials, pro

cedures or amount of work that was necessary.But at that time, even working with clay provedto be a new experience as far as developing asuitable armature (soft wire), coloring th e

clay (powder paint mixed in), and other factors.I experimented, for example, with coating th e

clay model with latex only to find that it dried

up th e c l ay , causing i t to crumble into numerousrocky pieces. (There were at least two versionsof each monster Triceratops, Dimetrodon,

Stegosaurus during th e various experimentalstages, with at least four Tyrannosauruses.) Thesetting evolved into a small box canyon when Idecided that I didn't want to hassle with painted backdrops that might reveal themselves to bejust what they were. The set was constructed ofcardboard and a lot of plaster of Paris, colored

with dyes and paint and appropriately decorated

with lichen s and ar t i f ic ia l plants.The original script for Menagerie was much

longer than th e resulting film, mainly due toth e increasing pressure I wa s under to get th e

film done on time. Consequently, 1 didn't havetime to develop an internal armature for my long

Brontosaurus neck , so he was booted out, a l ongwith 3n underwater sequence featuring a Plesiosaurus , simply because I wasn't aware of th eprincip l es or techniques of making and using anaerial brace.

I also became aware of the hazards of vol t age fluctuation during th e making of th e film,'"'hen I saw one sequence marred by increase s anddecreases in exposure caused by variation inlighting intensity. The sequence was salvaged,

however, with th e simp le addition of a l i t t l e

thunder on th e soundtrack. People s t i l l ask me

how i t was done after viewing th e film!The Mesozoic Menagerie ended on a humorous

note when, at th e end of the film, with th e

theme from The Great Escape playing on th e

soundtrack, all th e animals (appropriately band

aged and limping from th e various battles), cameout for curtain ca l l s and took their bows . . . .

Menagerie was actually much smoother than 1think many had expected and, I dare to say, moreso than a lo t of f irs t efforts (the ones I ' veseen, at least). I don ' t egotis t ically at t r ibute this to any inborn talent, natural abili tyor other such intangible influence, bu t ratherto th e arduous study of animation that had pre-

29



ceded th e making of the film. The animation

can ' t even be compared in the same sentence (o r

even book, fo r that matter) with that of Ilarry

hausen, bu t s tudy of his work and that of Danforth, O' Brien and others helped in determining

such ini t ia l ly overlooked factors as the "gradu

ation of movement" (which is , simp l y, th e s tar t -

ing of a movement with sma l l incrementa l changesgoing to larger moves between frames to speed

up, and then smaller change s again to slow down.Everything in nature works this way: a car, for

example, does not immediately reach 60 mph froma dead stop. There is a period of accelerat ion) , and even such basics as simply makingvery smal l moves -- not rushing things -- andexposing onl y one frame of film pe r move (whichadmittedly was rath er strenuous on the clay

models).

It was during th e making of this film that Imet and became friend s with John Cacc iatore, anex-OJ and current film buff. lie agreed to pu t

th e sound on my film and created a terr i f ic

soundtrack with assorted music cuts , animalroars,

andisolated

soundeffects. My narration

was also "echoed" a bi t , giving i t a hollow,

di stant sound.

John and I, af ter making a few more short,non-animated films, decided to form a company,and United Cine Productions was born. Throughvarious contacts, ,",'e soon landed a contract wi ththe Dallas-based Frozen Food Express truckingcompany for a fifteen-minute industrial film.The film provided professional training groundnot on ly with regard to technique, bu t concern

ing th e business end as well, The entire film

cost about $10,000., which, at the time we submitted th e bid, also included individual sa l aries . It was only during the actual making ofthe film that we discovered all the l i t t le

tr ivial costs and unanticipated expenses thatmust be accounted fo r in th e making of a film.Our salaries diminished quickly.

But we went on to other films, including

some Pepsi-Co la television commercia l s with JohnNiland of the Dal l as Cowboys fo r BBD&G Advert is ing, and entertainment/promotional film fo r

the Dal la s Chamber of Commerce and Thanksgiving

Square Committee (which, in i l lustrating vio l

ence through history as an ultimate pl ea fo rpeace, involved old film clips , staged liveaction, and still-photograph montages), and var-

Ernie /-'arino holds a removable portion o f a recently bui l t miniature prehistoric cave se t .

The cave i s made o f Hydracol plaster and reinforced, industr ial-s trength paper toweling.

30



ABOVE: The Harpy from Ernie 's college

version o f Dante ' s "Inferno."

ious other projects. have recently dissolvedmy interes t in United Cine, however, in order toconcentrate a ll my time towards special effects.Since that time, I ' ve been developing moldingtechniques, armature construction methods, aswell as building up my repertoire of equipmentand special effects devices. Long-time friendMark Wolf and I have actually started work onsome projects for other filmmakers.

I think that many of the imperfections thatcrop up in many movies today cou ld be e l iminatedby a more exacting approach. With regard tol i ve action -- and 1 suppose the precise natureof special effects has acclimated me this way -I personally prefer to have every shot, action ,camera movement, composition and everything elsecompletely planned ou t to the finest detailpr ior to the actual shooting. I have recentlyfound ou t that Alfred Jlitchcock ""orks this '.myand that during a rough-cut screening of Frenzy,

he ratt led off the one cut miSSing from th e 104-shot sequence where the kil ler goes after themissing pin in the potato truck. The film editor checked and, sure enough, the shot had beenerroneously deleted. This type of complete control and complete knowl edge of every aspect ofthe production 1 feel is esse ntial from adirector 's standpoint.

Applied to special effects , specificallystop-motion, i t simply means that th e specialeffects man must know every aspect of his partof th e production and how his work will f i t in,as well as a l l of the details concerning th eactual work he ' l l be doing. Elaborate drawings

and storyboards are useful to me not only fo rexploring the appearance of a character orestablishing rough compositions fo r the scenes,but also fo r a s tar t in imagining the movementsand gestures of th e characters. I can start tovisualize how such-and-such a character ""ouldreact in such-and-such a situation . As ispretty standard practice, I find i t useful tore-draw the character in many different positions after th e final design has been decided

upon, just to become more familiar with everymusc l e, scar, angle and curve of i ts figure.But more important, probably, this helps actual

ly visualize the creature in various positions

to sec how it looks standing, wa l king, fal l ingetc. , so that the actual animation will incorporate any changes that are made obvious andnecessary in the se preliminary stages.

1 am cons t antly working out the varioumoves and actions in my head and on paper untiI have a pretty exact idea of what everybodywill be doing in each scene, even i f there is noelaborate involvement between the actors and the

animation. Then I return to the storyboards andplan my cho reography more closely so that , whenon the set , I will know exactly what I need fromthe actors who arc in th e sce ne with the animated creatures. The production wi l l then movmuch quicker and smoother. All scenes should bplanned ill this very precise way, no matter howsimple or elabora te (the prime example s of suchpreclslon choreography are, of course , IJarryhausen"S skeleton battles) .

I have just rece nt ly comp le tely forsaken 8mm

or Super 8 in favor of 16mm, even i f i t meanlimiting my ...·o rk output. I 've work ed a lo t in16mm, although (for budgetary reasons) most omy anima tion work has been in Super 8. Thl imitations and variab l es of Super 8 have becomto o restr ictive fo r me, so I 've decided to movstrictly and unconditionally into 16mm.

Incidentally, I ' ve used equipment rangin

from Super 8 cameras (Elmo , Kodak, Belieau, Canon) to 16 1M! (Arriflex "H," "S," and "BL"; Koda

Cine-Specia l ; Bell & Ilen'lell Filmo; Bolex Rex)I 've used professional - R i c h a r d s o n studiolights with quartz-halogen lighting, Nagra soundrecorders and, in th e making of industrial andtelevision commercials, just about every othepiece of professional equipment necessary tomake a 16mm color, sound film. "studio" a

present consists of my large, two-car gara gwith an aerial brace hanging from th e ceiling.am developing a front-prOjection system and hava four-by-four-foot Polacoat professional reaprojection screen with a two-by-two-foot fronsurface mirror arrangement. I have faci l i t iesand e q u i p m ~ n t fo r making rubber and plastimolds , foam models, plast ic eyes and set piecesmasks and appliance make-ups, ball and sockearmatures and other necessary equipment anmaterialS. In addition, I own a Cine Printefo r making color or black and white dupes owork prints in 8mm, Super amm, and 16mm.

--Ernie f'arino

t:DITOR'S NOTE:

Ernie Farino is a semi-pro filmmaker based inIrving, Texas, who has a specia l enthusiasm fo

film animation, particularly the work of RalIarryhausen. Ernie , along with a good friendSam Calvin , edits and publishes a magazincalled FXRH, which is shor t fo r Special Visua

E£fccts Created By Ray Harryhausen . CINEMAG Ireaders can obtain a copy of FXRH (' 4 now available) by sending $1.00 to :

Talos Publications3030 Ellen StreetIrving, Texas 75062.

3



This ape is NOT from th e PLANET OF APES, but i t ' s a pretty close

facsimile - - i t was created by CINEHAGIC'S make-up editor , Bill

Schwarz who, indeed, gathered much of his knowledge from th e man

who s tar ted th e ape make -up craze: John Chambers . To find out how

Cinemagic #1 - Winter 1972

Documents

Transcript of Cinemagic #1 - Winter 1972