"Posts For Behind the Scenes"

Creating CONSTANTINE's Demons from Hell - Go Behind the Scenes at Stan Winston Studio

Creating CONSTANTINE's Demons from Hell - Go Behind the Scenes at Stan Winston Studio


Stan Winston Studio created a variety of demonic (and heavenly) characters for CONSTANTINE (2005), directed by Francis Lawrence and adapted from the 1985 DC and Vertigo horror comic, HELLBLAZER, including demons, victims possessed by demons, and a winged angel.


The main character, John Constantine (Keanu Reeves) interacts with many different types of Hell’s inhabitants. To achieve the desired visual style, these demons had to seem to exist for real. The inspiration for the design of many of these characters, including the scavenger and seplavite demons, came from the art world and real-life autopsy photographs instead of relying on typical medieval-era depictions of demons.

Stan Winston Studio concept artist Aaron Sims designed both the scavenger and the seplavite demons in the computer. The designs were then realized in the real world as computer-milled sculptures.

Pictured above: Left - in-progress seplavite. Right - Finished silicone seplavite by Jason Matthews, Rob Ramsdell and Trevor Hensley. This physical creature provided real-world lighting and texture reference for the CGI modelers and animators.

Although the flying seplavite would be brought to life via CGI, the scavenger demon was a fully articulated puppet with radio-controlled face, jaw mechanisms and cable-controlled fingers, operated on set by six puppeteers.

Pictured above: Left - Scavenger sketches. Right - Aaron Sims design for scavenger.

Pictured above: John Rosengrant rehearses with an animatronic scavenger demon puppet on the set of CONSTANTINE.


Another demon appearing in the film is ‘Vermin Man.' Although this creature would eventually be animated digitally, the filmmakers wanted to shoot a physical character on set, which Stan Winston’s crew realized as a Vermin Man mask and suit. 

Pictured above: Aaron Sims designs for Vermin Man.

Surreal paintings by 16th century artist Giuseppe Arcimboldo inspired the look of 'Vermin Man.' Arcimboldo's work depicted characters formed entirely out of fruits, vegetables, flowers, fish and books; 'Vermin Man' was made up of snakes, rats, crabs and about 20 different types of insects. Real bugs, worms and snakes were molded, cast in clay and then added to the sculpture.

Pictured above: Left - SWS key artist, Trevor Hensley's 'Vermin Man' sculpture. Right - Trevor Hensley adds final touches to 'Vermin Man' (Larry Cedar) before cameras roll.


A number of prosthetic makeups were created for the film. In the prologue, the drifter who finds an ancient relic (portrayed by Jesse Ramirez), wears a subtle transformation makeup. The possessed young girl (Jhoanna Trias) wore a gelatin prosthetic.

Pictured above: Concept art for the possessed girl.

In collaboration with CONSTANTINE's makeup department head, Ve Neill, the Stan Winston crew provided dentures, contact lenses and full-body airbrush painting. The crew also built an articulated head-and-shoulders dummy of the unconscious girl for a brief cut in which the scavenger demon within pushes through her skin. SWS mechanics gave the puppet nostril movement, an internal 'breathing' device, and mechanical eye twitching beneath her closed eyelids.

Pictured above: SWS artist Joey Orosco sculpts a prosthetic makeup for actress Barbara Pilavin. Forensic photos of a three-week-old corpse were used for reference.

Stan Winston Studio artists also collaborated with Ve Neill, Joel Harlow and a team of fifteen assisting makeup artists to create prosthetic effects for a subsequent scene in a hydrotherapy room, where nearly eighty 'half-breed' characters are destroyed by holy water pumped through a sprinkler system.

Pictured above: Dummy for the demon Amin (Tanoai Reed) who disintegrates after being hit with a shotgun blast of holy water.

Shane Mahan and Chris Swift designed the disintegration as a physical effect, sculpting Tanoai Reed’s body from a cyberscan and casting a replica in plaster. The plaster body was hollowed out, painted and filled with a skeleton, internal organs and ten gallons of black goo. The loaded dummy was raised thirteen feet above the studio floor, and then released to explode upon impact.

Pictured above: A silicone replica of actress Rachel Weisz, constructed by Dave Grasso & Nick Marra and painted by Trevor Hensley & John Cherevka. In addition to the 'possessed' scene, this figure was used for the deceased twin scenes as well.

Pictured above: Rachel Weisz wears prosthetic makeup in her possessed state, which included a forehead piece without eyebrows, demonic teeth, black contact lenses and veined, pallid body makeup.


The Stan Winston crew created a two-stage silicone prosthetic makeup for the scene in which the face of the half-breed demon, Balthazar (Gavin Rossdale) dissolves upon contact with holy water.

Pictured above: Left - Shane Mahan sculpted Aaron Sim’s design onto a lifecast of Gavin Rossdale. Right - Gavin Rossdale wears the prosthetic makeup on set.

Stage one included torn skin revealing underlying areas of demon flesh; stage two was a more extensive makeup with overlapping teeth and a shriveled left eye.


Pictured above: Stan Winston Studio created Mammon as an articulated silicone puppet, based on an Aaron Sims design, sculpted and painted by Joey Orosco.

A full-scale (five-foot-ten-inch) Mammon puppet was fitted with a smile mechanism and an articulated rod-puppet armature. Tippett Studio used photographs and cyberscans of the puppet to create a digital version of the character.


Director Francis Lawrence didn't want the wings to look like typical white angel wings, but rather dark bird wings. Stan Winston Studio created feathered mechanical wings and ESC generated the wings in CGI.

Pictured above: Tilda Swinton is fitted with feathered, mechanical angel wings for her role.

“What was enjoyable about working with Francis Lawrence on CONSTANTINE was that his thinking was counter to the way most people think about these types of demonic creatures. They weren’t the usual creatures with big fangs and all of that. They were horrifying, but also pathetic. I really liked that.” – SWS Supervisor, co-owner Legacy Effects, John Rosengrant

- Balázs Földesi with selections from The Winston Effect: The Art and History of Stan Winston Studio by Jody Duncan


CHARACTER MAKEUP - Sculpture Breakdown & Moldmaking - Part One
CHARACTER MAKEUP - Sculpture Breakdown & Moldmaking - Part Two
CREATURE DESIGN - Maquette Painting Techniques
CREATURE DESIGN - How to Sculpt Character Maquettes
PAINTING SILICONE SKIN - Realistic Flesh Tones
OUT OF THE KIT - Makeup Effects

The "Original" Predator - Jean-Claude Van Damme

The "Original" Predator - Jean-Claude Van Damme


Makeup FX legend Steve Johnson (GHOSTBUSTERS, SPECIES, BLADE 2) recently sat down with us for our first episode of THE MONSTER SHOW. With his usual mix of candor and comedy, Steve covered the highs and lows of his award-winning career, including his nightmare stint as Boss Films' Creature FX supervisor on the first ill-fated PREDATOR suit, worn by Belgian martial artist and aspiring action star, Jean-Claude Van Damme.

Enjoy the video excerpt below and check out the full interview HERE.

Matt Winston


Matt Winston: Let's talk about Predator.

Steve Johnson: Oh my God, are we really going to do this?

Matt: Of course, it's one of the most iconic characters in the world. Let's talk about that job ...

Steve: Lead me, help me.

Matt: Let's start simple.

Steve: Let's start easy.

Matt: You're pitched this creature. We've got to pull this thing off. What are we going to do?

Steve: We have this meeting and we're sitting around a board table and it's the usual suspects. It's all of the executives. It's Joel Silver, the producer; it's John McTiernan, the director. With great pomp and ceremony, McTiernan comes in and slams down a bunch of designs that have already been done by a production designer, and they were awful.

Pictured above: (Left) Mechanical sketches for the Boss Films Predator. (Right) Predator design by Luc Mayrand for Robert Short Productions between Boss Films and Stan Winston's involvement.

Steve: It was ahead of its time, let's put it that way. But the head did suck. They said, "Here's what we want you to make." What they needed was a character with backward bent reptilian legs, extended arms and a head that was out here and they wanted to shoot on the muddy slopes of Mexico in the real jungles. It was virtually physically impossible to do. I told them it wouldn't work.

Pictured above: Design maquette for the "Original" Predator.

Steve: They wanted to just tell the guy to hop around like a frog and it was Jean-Claude Van Damme who had no idea what he was getting into. He was just off the boat from Brussels. He thought he was going to show his martial arts abilities to the world.

Pictured above: Belgian martial artist Van Damme hoped playing Predator would make him a star.

Steve: So Jean-Claude comes in for his fittings. Remember the cloaking device? Beautiful effect in its day... we made a red version [of the suit] because red is the opposite of green on the color wheel. It had been shot against green in the jungle.

Pictured above: Jean-Claude Van Damme goes through the life-casting process at Boss Films.

Steve: Jean-Claude comes in and we're fitting him in this red suit and just assuming, like the slaves that we are, that the higher ups have told him exactly what's going on. But he thought this was actually the real look of the monster in the movie and he was, "I hate this. I hate this. I hate it. I look like a superhero." He was so angry. 

Pictured above: Director John McTiernan tries on the red fabric-covered "Invisibility Suit."

Steve: I'm like, "Jean-Claude, did no one tell you? It's a cloaking device. You're invisible for half of the picture. This is not you." Which made him even angrier because he thought he could do his martial arts, he could fight Arnold Schwarzenegger. Impossible. Absolutely Impossible.

Pictured above: Jean-Claude Van Damme performs in the red "Invisibility Cloak" suit.

Steve: He didn't realize that he was just kind of a stunt man, right? We get him out there for the first shot and he's just seething.

Pictured above: Jean-Claude Van Damme as the "original" Predator on location in the Mexican jungle.

Steve: We got him in at lunch and you could see his eyes through the rubber muscles of the neck and he's like, "I hate this head. I hate it. I hate it. Hate it."

Pictured above: Jean-Claude Van Damme would never wear a monster suit after his experience as the "original" Predator.

Pictured above: Carl Weathers (with prosthetic arm stump) with Jean-Claude Van Damme (wearing the "Original" Predator arm).


FULL INTERVIEW -  "The Monster Show" with Steve Johnson




The Monster Show March 6th with FX legend Steve Johnson

The Monster Show March 6th with FX legend Steve Johnson


Check out our new Interactive Live Webcast, THE MONSTER SHOW! For our first episode we talked to the mad scientist of Creature FX, Steve Johnson (GHOSTBUSTERS, THE ABYSS, SPECIES).

Our 2 hour conversation covered Steve's award-winning monster making career and his upcoming no-holds-barred autobiography about life in the FX trenches, RUBBERHEAD.


Matt Winston

JURASSIC PARK 2: THE LOST WORLD - Compy Dinosaur Attack

JURASSIC PARK 2: THE LOST WORLD - Compy Dinosaur Attack


THE LOST WORLD: JURASSIC PARK introduces the Compsognathus (Compy), a chicken-sized dinosaur and the first dino to be seen in the movie in a chilling encounter with a young girl on the beach.

The Compys return for more mayhem in a later scene in which a pack of them attacks hunter Dieter Stark (Peter Stormare).


Although the Compys that are first seen running in the forest and jumping onto Stormare were computer animated, the actual attack on the hunter was accomplished almost entirely with practical puppets.

Pictured Above: Dieter Stark puts up a fight against a pack of hungry Compys.


Stan Winston Studio built a dozen Compy puppets, of four different types, to create the range of behaviors required in the scene.

Pictured Above: The Compys were made out of foam latex over a wire frame.

“Very often, producers will say, ‘Just make a general puppet,’” said Shane Mahan long-time SWS Supervisor and co-founder of Legacy Effects. “It costs them less to have us build one puppet that can do a handful of general things; but making a general puppet is never as good as making different puppets that can perform specific functions really well.”

Pictured Above: SWS mechanics Chris Colquhoun & Jon Dawe developed a tiny blink mechanism for the Compys.


One type of Compy puppet was attached to the actor by velcro, and rigged with a fishing line that ran to a controller. By tugging on that controller, the puppeteer created a pecking motion.

Pictured Above: Some of the Compys were attached to the vest worn beneath the actor's clothes.

Another type of Compy puppet featured high-powered magnets on its feet to adhere the puppet to the actor’s clothes, which had attracting magnets sewn into them, allowing for shots of the character grabbing Compys and pulling them off. The mechanical crew inserted springs into the magnet Compy to give it a bit of neck movement.

Pictured Above: A stunt man rehearses the attack sequence a final test.


The "Hero" Compys were mechanized with servos to create full head movement, with pneumatic eye blinks and tail movement. The featured hero Compy had all the same functions, plus fully articulated arms that could grab at the actor while attacking.

Pictured Above: The featured hero Compy bites Dieter's lip - the effect made people on set cringe.


Stan Winston himself was impressed with the final effect in the movie. “Some of these puppets were very simple,” Winston said, “strings and springs, basically. But they worked beautifully. Between those simple puppets and the more mechanized ones, we were able to create this violent cacophony of Compy performance.

The scene is so chilling, it actually was listed as the 2nd most horrific death in the Jurassic Park Trilogy by Next Movie.

-Jody Duncan



More JURASSIC PARK stuff from Stan Winston School:


THE LOST WORLD: JURASSIC PARK - Animatronic Raptor Rehearsal

THE LOST WORLD: JURASSIC PARK - Raptor Suit Running Rehearsal

JURASSIC PARK - The Evolution of a Raptor Suit with John Rosengrant

JURASSIC PARK's T-REX - Sculpting a Full-Size Dinosaur

JURASSIC PARK - Animatronic T-Rex Rehearsal - On Set with Stan Winston

JURASSIC PARK'S SPITTER - Building the Animatronic Dilophosaurus Dinosaur Puppet

JURASSIC PARK's Brachiosaurus Animatronic Puppet Chewing Test

SMALL SOLDIERS Behind-the-Scenes - Creating the Ultimate Toys at Stan Winston Studio

SMALL SOLDIERS Behind-the-Scenes - Creating the Ultimate Toys at Stan Winston Studio


For the 1998 film, SMALL SOLDIERS, Stan Winston Studio began designing the toy characters, on paper and in sculptures, a mere five months prior to the start of filming. Due to a deal with Hasbro to mass-produce a SMALL SOLDIERS toy line, and the necessity for the film’s release to be timed precisely with the debut of that toy line, every aspect of the production was subjected to a similarly tight schedule. The making of the film was such a seat-of-the-pants affair, Joe Dante would later call SMALL SOLDIERS ‘the first improv big-budget effects picture.’

Pictured above: Mark Jurinko paints Link Static, a commando character from SMALL SOLDIERS. 


For their design, Winston set up a kind of creative free-for-all within the studio, letting key artists loose to draw as many designs as they cared to. The project gave newer designers, in particular, an opportunity to shine. “Being a new designer at Stan Winston Studio was tough at first,” commented Jim Charmatz, one of those newer artists who got his first shot to design a character for Small Soldiers. “Because Mark "Crash" McCreery was so well established here, it was hard to make your mark as a new designer. But on this show, there was such a tremendous amount of stuff to be designed, a lot of us got a chance to work on it. I was one of about seven people who started right in designing Gorgonites and Commandos.”

Pictured above: Joey Orosco matches one of many ‘Archer’ heads to the paint-master.


After the artists had generated literally hundreds of drawings, Winston narrowed the designs down to those he liked best. Concepts were narrowed further with Joe Dante, Hasbro and executive producer Steven Spielberg. Once an artist’s design had been chosen and approved, the designer was allowed to follow that character through, doing the final sculpting, painting and then on-set puppeteering. John Rosengrant — who had sculpted miniature military figures as a hobby since his teen years — took personal responsibility for two of the leading Commandos, Chip and Kip. “I had a blast designing and sculpting and painting those characters. And, overall, I think my experience with military miniatures really helped us on this show.”

Pictured above: John Rosengrant details the Kip Killigan paint master for SMALL SOLDIERS.

Similarly, Jim Charmatz was allowed to follow his Slam-Fist character — a design he’d sketched in only ten minutes, as an afterthought — all the way through to the end. “I got to design it, sculpt it, help make it work mechanically, design the paint job on the computer, then paint it and actually puppeteer it on the set. That was a great opportunity.”

Pictured above: Jim Charmatz paints his animatronic character, Slam-Fist, as Charles Ratteray assists.


The puppeteers’ status as real actors on the set extended to their providing temporary voices for their characters, speaking the lines of dialogue and vocalizing necessary grunts and howls. “Having us do the voices while they were shooting gave the actors real personalities to act against,” said Rosengrant. “I personally did the voices of Link Static and Slam-Fist. And a few of my on-set sounds actually made it into the final movie. Other than that, my dialogue was replaced with real voice actors.”

Pictured above: Ian Stevenson paints his Punch-It character.


The film's director, Joe Dante, speaking of Stan Winston said, “When you get into the world Stan’s in, you find it generally populated by movie fans — guys who really loved these pictures when they were kids and always wanted to build monsters and play monsters and get into the world of special effects. Stan is no exception. I met him right after he directed PUMPKINHEAD, which was a pretty cool little movie. But I didn’t actually get to work with him until Small Soldiers, and by then he had created this empire. We’d make a pilgrimage over to his studio a couple of times a week to watch their progress. It was very time consuming and labor intensive to design so many characters and create them in a way that made them look alive. It was intense, but Stan made it fun.”

Pictured above: A partially disassembled Archer puppet. 


Winston learned a lot about the toy business through his close association with Hasbro throughout the making of the film. “We found out what it really takes to make a great toy, to make it stand out on the shelf. We learned how the joints of toys worked, all the mechanics that go into them. The whole thing was an education; and we helped to create a toy line that was extremely successful for Hasbro. In fact, ultimately, sales for the SMALL SOLDIERS toys out-performed the movie.”

-Jody Duncan



Creature Creators on the News! - KTLA's Allie Mac Kay Visits Legacy Effects

Creature Creators on the News! - KTLA's Allie Mac Kay Visits Legacy Effects

Hey Monster Fans,

With Halloween around the corner, Creature FX artists are making the news! This morning, our friends at Legacy Effects revealed some of their movie magic for millions of Southern California TV viewers  when KTLA Morning News' Allie Mac Kay paid a visit to their mind-blowing Character Creation studio. Check out all three segments by clicking the video players below.

For more from Legacy Effects, be sure to check out their Website and YouTube Channel and don't forget to download Legacy's iMut8r App to tranform yourself on your smartphone just in time for Halloween!

-Matt Winston

Pictured above: Left - KTLA's Allie Mac Kay checks out Legacy's design room. Right - Legacy co-founder Alan Scott reveals the man inside the Giant Robot Mech, Bruce D. Mitchell.

Pictured above: Left - Allie gets mutated courtesy of Legacy's iMut8r app. Right - Hanging in the Legacy display room.

Channel Islands Pygmy Mammoth, "Chippy" Walks Again over 10,000 Years After Extinction - Thanks to Animatronics

Channel Islands Pygmy Mammoth, "Chippy" Walks Again over 10,000 Years After Extinction - Thanks to Animatronics

Photo by Anthony Plascencia,VENTURA COUNTY STAR.


By Mark Sawicki

I am always pleasantly surprised to find people creating creatures everywhere I go. In this case I found a creature just down from where I live at the Channel Islands Harbor named Chippy.  Chippy is the brainchild of Mike Lamm who owns the Channel Island Kayak center out here in Oxnard. Mike is a former pro surfer who converted his surf store to a Kayak center to take advantage of tourists wanting to explore the fabulous Channel Islands. As Lamm learned more about the islands he became fascinated with the fact that huge pre-historic mammoths once came to the islands in search of food. Some of the creatures stayed behind but over time, due to the limited food supply, the offspring of the original mammoths evolved to pygmy-size--a variant that only existed on the Channel Islands. 

Mike, finding that Winter was a challenging time for his tours due to weather conditions, wanted to create an attraction that could be explored near shore on the mainland, hence "Chippy" was born. Chippy is an acronym of sorts for Channel Islands Pygmy Mammoth. Chippy is a 5-foot tall animatronic recreation of the pre-historic animal. Creature wizard Ron Pardini of CIFX built it. Ron was generous enough to share his experience in an online interview along with some cool pictures. Here are Ron's words of wisdom.

Pictured above: Ron Pardini (in the hat) and Dana Namen (no hat) at CIFX pose with the mammoth they call, "Chippy" a near acronym for Channel Islands Pygmy-Mammoth.


RON PARDINI: I accidentally entered the field of special effects while in college. I was heavily involved in the drama department at Whittier College, at the time it was an extremely small department and I was basically running the props department. We were doing THE BACCHAE, an ancient Greek tragic play, and the director wanted to have a severed head for the end of the play. I thought it would be cool to try and make a head that resembled the actor rather than use some make-up/hair practice dummy head. I got a book, purchased some materials and proceeded to "wing it." The faux head ended up turning out pretty cool and one of my friends approached me after the show and asked if I knew of "the special effects guy" who had a shop in Uptown Whittier. I wandered down to "the guy's" shop and proceeded to work my way into an internship with Steve Patino (PREDATOR, THE MONSTER SQUAD, PUMPKINHEAD) of SPFX, Inc.

Whittier College was really cool and allowed me to design a program wherein I could work for Mr. Patino and learn the trade and turn in a sort of diary of my experiences and earn credits towards my degree. From that point on I spent the next 10 years working in the movie industry. Then, in the mid 90's, CGI was sort of starting to take off and the movie industry was no longer supporting as many special effects artists, so at that point I jumped over to the theme park industry. Currently I work on theme parks, an occasional movie, create custom work for churches, and am heavily involved in the haunted attraction industry. 

Pictured above: A selection of images from The Haunted Vinyard, an annual Halloween experience that ran from 2002 through 2005 with effects by Ron Pardini's CIFX.


MARK SAWICKI: How did you first hear about this project?

RON PARDINI: I met Mike Lamm through a friend Mike Traxler. Mike Traxler owns a custom plastics and tooling company and Mike Lamm had approached him looking for a couple of skulls to enhance a kayak tour he had created. Mike T. sent Mr. Lamm to me because he knew I created really authentic looking faux skulls. Since then Mike Lamm has continued to grow his harbor tour and CIFX has been there to help him with each expansion. 

Pictured above: Step one: the finished urethane foam-carved sculpture of Chippy, the pygmy mammoth.


RON PARDINI: The biggest challenge with creating Chippy was designing and creating a prop, which could be mobile so that he could be moved into a safe location every night and then set-up each day for the tours. Normally, a prop of this sort would be permanently installed. Since we were creating a creature that actually once existed, we wanted it to be a "true-to-life" example of the pygmy mammoth. We researched both the pygmy and normal versions of mammoths from this area. We looked at photos of skeletons, renderings, and even found some pictures of actual mummified mammoths. We also visited the La Brea Tar Pits to view samples of other artist's versions of mammoths. In the end we chose specific aspects from several differentpictures/illustrations and created a composite mammoth that we felt best depicted the pygmy mammoth.  

From the get go, we knew we wanted to include some sort of animation to help bring Chippy to life. Originally, Chippy was designed to be mobile so that he could be pushed out and set up in the morning and then pulled back into a safe and secure location in the evenings. Normally we use pneumatics or hydraulics to create our movements, but due to the location, the necessity to keep Chippy mobile, and our desire to keep the project within the established budget, we ended up having to use small electric motors to provide our animation. Since we knew that Chippy would be a fair distance away from the viewers, the movement had to be sort of blatant to ensure the viewers would see it (hence no eye blinks, or other subtle facial movements). We felt a head turn would be the best motion that we could achieve within the given parameters.  

Pictured above: Rather than do a sculpture in clay, Chippy's form was achieved through foam fabrication. Here, Dana Namen sculpts urethane foam. Ron Pardini also sculpted.

RON PARDINI: Chippy was sculpted from a big block of urethane foam. Once sculpted, we applied a detail coat (catalyzed automotive primer) to seal the foam and provide a protective "candy shell". We then had FRP (Fiberglass-Reinforced Plastic) tools made from the sculpture and followed that up by having FRP parts pulled from the tools.

Chippy is primarily constructed of FRP (Fiberglass Reinforced Plastic). The final version of Chippy is a hollow Fiberglass figure with a welded steel internal structure. This is a pretty common way of creating figures. Because Chippy is located in a marine environment, we took several steps to minimize corrosion of the internal structure. We sealed all of the structural metal, utilized stainless steel hardware, and housed all of the electronic equipment in a watertight box. 

Pictured above: A synthetic fur discovered in Los Angeles' renowned garment district provides a lifelike surface to the fiberglass structure of the creature.


RON PARDINI: We spent a lot of time trying to locate appropriate fur for Chippy. We ended up using a synthetic fur that we discovered in the Fabric district in downtown LA. 

The look of the segmented sections of Chippy's trunk partially covered with fur was actually an artistic detail that was added to emulate pictures from a mummified mammoth that we came across. On the real mammoth carcass, the trunk was not completely covered in fur, but rather had fur growing out from between the creases on the trunk. 

MARK SAWICKI: What kind of maintenance is involved for Chippy?

RON PARDINI: We tried to keep Chippy relatively low maintenance. Pretty much just the main concern is the motor and we chose a pretty heavy-duty motor with the hopes that it would not need a lot of maintenance. As for the outer look of Chippy...eventually his fur and paint will need touch-ups, but we expect it to last a good five or more years before that is needed, besides Chippy is a mammoth after all, so if he gets to be a little ratty it will just help make him look that much more authentic!

Pictured above: Welder Henry Perez looks on as Armondo Estrada makes an adjustment. Ron Pardini and his crew chose a heavy-duty motor to drive this custom prop. With luck, Ron says, it might last "a good five or more" years.


RON PARDINI: The sculpture took a couple weeks to complete. The tooling and fabrication portion was an additional couple of week’s worth of work. Another week to fit/clean-up the FRP, fabricate the frame, and install the electronics. The figure finishing (paintwork and hair) took another 3-4 days. All in all, it was a little over a month worth of work, but due to scheduling difficulties and navigating through a couple of unexpected "issues" along the way it ended up taking about three months from start to finish. 

Pictured above: Henry Perez from CIFX welds the steel undestructure that support the Pygmy Mammoth as well as the internal mechanisms that give the prop movement. 


MARK SAWICKI: Were toxic materials needed to withstand the environmental challenges?

RON PARDINI: Yes, though only to protect the steel under structure. We would have used FRP regardless. It is always unpleasant to work with FRP. Whether it is creating the tools, laying-up the parts, or cutting and fitting the finished pieces, you have to be protected from head to toe. We wear jump suit cover-ups, latex gloves, protective eye gear, and chemical respirators at all times. It is nasty work, but the end result can last for decades. 

Pictured above: Detail of tusk, fur and eye for Chippy the pygmy mammoth as his creator, Ron Pardini, gets him ready for a rugged role as the main winter attraction in a Channel Islands Kayak tour.


MARK SAWICKI: When Chippy moves is he on a pre-programmed track or is he manipulated live with radio control?

RON PARDINI: Chippy's movements are pre-programmed and activated via a remote control switch.

MARK SAWICKI: Are you seeing more of these types of attractions taken on by small to mid size companies?

RON PARDINI: Well, yes and no. Many of the "smaller" themed parks (water parks, goofy golfing, etc.) seem to be looking to increase their theming, but this was definitely a first. Mike Lamm is breaking the mold on what people expect from a kayaking company. He has a clear vision of what he wants to create and has the ambition to go out and make it happen "one baby step at a time" as he likes to say. 

Pictured above: The finished head of Chippy, the pygmy mammoth...ready to make his debut on the Kayak Tour.

Chippy can be found at the Channel Islands Kayak center at 3600 S. Harbor Blvd. suite 213 in Oxnard, CA.  You can also find the center on Facebook.

Ron's effects shop, CIFX Corp, is at located at 9830 Jersey Avenue, Santa Fe Springs, CA 90670. Ron even has an Esty shop Macabre Creations where he sells his custom Halloween themed goodies.

- Mark Sawicki

Mark Sawicki is the author of  “Filming the Fantastic” and “Animating with Stop Motion Pro” published by Focal Press.  He is proud to be a lesson creator for the Stan Winston School of Character Arts.

CLICK here to see Mark's lesson on Stop-Motion Character Performance and Rear Projection.

CLICK here to see Mark's lesson on Mirror-Magic - Visual Effects Using Reflections.

More SWSCA BLOGS from Mark Sawicki:

Axtell Expressions - Puppet Performance and Puppetry from Design to Delivery

Stop-Motion bread monster aka "BREADWICH" terrorizes puppet-town for TOGO's

TERMINATOR SALVATION - T-600 Blown Apart Puppet Rehearsal

TERMINATOR SALVATION - T-600 Blown Apart Puppet Rehearsal


By Matt Winston

TERMINATOR SALVATION introduced a host of new Terminator models, from aquatic hydrobots to hulking T-600s, and director McG was eager to realize them using the same blend of Practical Effects and CGI that had given the cyborg assassins of the first three films their gritty, tactile realism.

Pictured above: (Left) John Rosengrant and Christian Bale wrestle a Hydrobot puppet. (Right) New Terminators for a new Terminator film.


In designing the T-600's the idea was to construct a much more primitive looking character than the sleek T-800, T-1000 and T-X from the earlier films. Comparing Terminator evolution to human evolution, John Rosengrant, co-founder of Legacy Effects and 25-year Stan Winston Studio supervisor, said, "The T-600 was kind of the neanderthal version" of the T-800.

Pictured above: T-600 designs by Scott Patton. (Left) Early T-600 rendering to get the feel of the character. (Right) Completed head design.


To give life to the T-600's the Stan Winston Studio crew, led by Rosengrant, relied on a combination of techniques, both old and new. "The [blown apart T-600] puppet was created as a rod puppet with RC head movement and jaw," said Rosengrant. "Where there were advancements with this puppet came really from new materials that were stronger and lighter. [The T-600's] hands were articulated cable-controlled hands. That technology hasn't really changed that much other than the look of it. But it's still very effective."

Pictured above: (Left) John Cherevka details damaged T-600 heads. (Right) David Merritt puppeteers the T-600's cable-controlled hand.


But all the work that went into creating these new Terminators would have meant nothing if they weren't able to perform, on set, with the clock ticking and a brutal production schedule to keep up with. "We started rehearsing with Christian Bale's stunt double so that we would get this down before we worked with Christian on the day," recalled Rosengrant. "Like any puppet performance it becomes a matter of choreography and everybody getting very familiar with their role and what they have to add into it to bring it to life."

Pictured above: T-600 puppet rehearsal with Christian Bale's stunt double. (Right) Richard Landon, sitting, puppeteers the T-600's RC controlled jaw.


Their preparation paid off, resulting in one of TERMINATOR SALVATION's most memorable sequences. "John Connor (Christian Bale) thinks he's killed [the T-600]," recounted Rosengrant. "He empties the clip into it and then pushes it off of him and then, in typical Terminator fashion, it comes back at him."

Pictured above: John Connor (Christian Bale) struggles with a tenacious T-600 puppet.


"When we were first brought in by McG to work on TERMINATOR SALVATION, he was really a proponent of getting the live action," said Rosengrant. "He wanted to tie in his movie with the previous three so that there was a seamless connection to the past."

-Matt Winston


More from John Rosengrant


More TERMINATOR STUFF from Stan Winston School

MR. ROBOTO - STYX & Stan Winston Cosplay Tribute

MR. ROBOTO - STYX & Stan Winston Cosplay Tribute


By Roberto Suarez

My name is Roberto Suarez, and I’ve been a costumer (or “cosplayer”) all my life, but my work has become much more professional-looking since 2003 when I joined the 501st Legion, an international fan-based organization dedicated to the construction and wearing of screen-accurate replicas of costumes from the Star Wars universe. Building up to my first convention attendance at Dragon Con that same year, I learned to work with Bondo putty, fiberglass, resins, and other tools. My other previous experience making molds was over 25 years ago for a ceramics class I took just after graduating High School.

Pictured above: Stan Winston sculpts Mr. Roboto for a Styx music video, the character would become one of the most iconic pop-culture figures of the 1980’s.

One thing I noticed at Dragon Con (and many other conventions), is the range of different costumes--you don’t have to belong to a specific group. Often at San Diego’s Comic-Con International and Dragon Con fans bring a big “secret” costume to showcase and amaze everyone. The opportunity to go beyond conventional costumes—Stormtroopers and the same heroes and villains seen year after year—sparked my interest in “other” costumes, an open window for my creativity. Over the years I made some typical costumes… but I needed to make something that no one had ever seen, at least from my perspective.

I grew up in the 1980’s and the characters from those years are some of my favorites. I have many fond memories of characters that everyone who lived through those years would know, but that hadn’t been seen really at all among the cosplayers at today’s conventions. I came up with two ideas: the first was to dress up as Condorman from the 1981 movie of the same title. My Condorman cosplay ended up winning “Best Disney Character” at Dragon Con in 2012. My second idea was the robot character featured on the album art of the Styx record, KILLROY WAS HERE, and also featured in video for the album’s biggest hit song, “Mr. Roboto.”

Click the Video Player above to watch the original Mr. Roboto video by Styx


It was a challenging choice for me, since there was little information available on the costumes. The project was the culmination of about two years worth of research. I studied the video online, and I obtained a copy of the “mini-movie” that Styx used to play just before playing the song at concerts. I pored over screen grabs of the videos and analyzed each frame. Of course the video quality was bad, but I had to make the best out of them for accuracy.

Pictured above: (Left) The initial drawings made from meticulous copies of album art; (Right) Sculpt of the Roboto head, large enough to accommodate the wearer’s head inside.


After making printouts to scale (definitely NOT pepakura), I took measurements of my own head, and adjusted size of the helmet so I could wear it over my head. I then used the measurements to make a clay sculpture. This would allow me to take molds and make the castings using vacuforming. Not having a vacuum machine, I taught myself the art of vacuforming using my kitchen oven. There were many bumps along the way. I learned the important difference between latex rubber and silicone rubber. My molds were made out of latex since, working on a budget, it was the only material available, but latex tends to reduce as it dries up so I had to allow for that. I made the vacuum table plugs out of “HydraStone” (a kind of plaster used to make molds for ceramics), simply because it was cheap and easily available for me.

Pictured above: Work in progress: (Left) The front part of the helmet waits for de-molding. (Right) Each cast resin part of the helmet is now ready for vacuforming.

Pictured above: (Left) A homemade plate ready for vacuforming. (Right) The parts of the plastic mask are now finished and ready for assembly and paint.

Other materials I used included perforated plastic for the ears, PVC pipes to make part of the ears (I made molds and cast the parts in resin), Bondo brand automotive filler, and Bondo brand spot glazing putty, and, of course, nearly all grit grades of sandpaper.


The suits used in the video at first looked to me like they were made from foam rubber, but watching every video so many times over-and-over-and-over, got me to the point of thinking that it was a foam/cloth material like you might see used for car roof interiors. I used a pattern for a Civil War Era uniform as the guideline for the shape, though I made some custom changes, especially in the shoulders, to better match the look of the suits in the video.

Pictured above: A Civil War costume pattern provided the basic shape of the Mr. Roboto costume, with some custom alterations.


The most challenging part of the costume to construct turned out to be the gloves and boots. Instead of sculpting the entire glove and then molding it, I used a process by which I sculpted one half, molded it, then sculpted the bottom half on the already completed side. I had no experience with this and had to work it out as I went along. For the boots, there was no information available and no good pictures; all I could see in the video was a silhouette. It seemed to me at the time that they may have been soft “moon boots” but I was not sure, yet I sculpted them in that way.

Pictured above: The two-side scupture for the Roboto gloves, the sculpt for one-half was created on top of the already molded sculpt of the first half.


I installed LED’s on the helmet, even though I have no knowledge of electronics—side note: since I started this project, I’ve been trying to learn more about basic electronics—but for the purposes of this project, these LED’s are only for display.

Pictured above: Work in progress detail of (Left) the boot, and (Right) the painted helmet showing the LED lights.


Ultimately, I’m proud of how it turned out, despite having to create the whole costume on a trial-and-error basis, making parts and slow progress over time. It was worth it. I look forward to making some small changes in the molds so that I can wear and present the costume again next year even better. Knowing that Stan Winston—the creator of so many great 80’s icons—created the original Mr. Roboto, it was an honor making something that Stan Winston Studio created years ago, and I was happy to be able to honor Styx and Dennis DeYoung in the process.  In the meantime…for my next challenge, I’m thinking now about making an ULTRAMAN costume.

Pictured above: Roberto Suarez wears his completed Mr. Roboto Costume.

Feel free to look at all the pictures of my progress with the costume in detail, including the music video, and the Kilroy “Mini-movies” in the link below.



Roberto Suarez


More ARTIST SPOTLIGHTS from Stan Winston School:

SMALL SOLDIERS Behind-the-Scenes - Rehearsing a Puppet Battle

SMALL SOLDIERS Behind-the-Scenes - Rehearsing a Puppet Battle


For SMALL SOLDIERS (1998), Joe Dante’s film about action figures that are brought to life through high-tech military ‘smart’ chips, Stan Winston Studio designed and built two categories of characters for the film — Commando Elite soldiers, and alien Gorgonites, all of which were realized as articulated puppets combined with CGI from ILM.

Pictured above: The puppet stars of SMALL SOLDIERS, the Gorgonites and the Commando Elite.


One of the early aesthetic issues for Stan Winston and his crew was determining whether the Commandos and Gorgonites should look and move like plastic action figures or like real, organic characters. “The question was,” said Winston, “do we design the same limitations we saw in real action figures into our characters? Or do we go beyond those limitations to give them more life? We decided that to create really great performances, we had to give our characters a greater range of motion than a real toy. Our rationale was that these weren’t just toys — they were the coolest toys ever, which had somehow come to life.”

Pictured above: Joey Orosco sculpts SMALL SOLDIERS' miniature hero, Archer, the leader of The Gorgonites.


In building these puppets, the studio that had only recently been working with twenty-foot-tall T-rexes and large-scale hydraulics suddenly found itself machining tiny, watch-sized mechanisms and fitting them into twelve-inch-tall bodies. “It was a strange thing to go from dealing with giant dinosaurs to dealing with these very tiny puppets,” remarked John Rosengrant, 25-year SWS supervisor and co-founder of Legacy Effects. “In one sense, smaller was easier because we could put all our puppets in a suitcase and carry them to the set. But what made it hard was getting puppets that small mechanized and moving right.”

Pictured above: (L to R) Mechanic Matt Heimlich assembles an Archer puppet, Chip Hazard underway, artist Jim Charmatz paints his character, Slamfist.


Fortunately, the chicken-sized Compys built for THE LOST WORLD: JURASSIC PARK and the similarly-sized puppets built for PAULIE and MOUSE HUNT had taught Winston’s crew much about smaller mechanics and servos. “It was a good thing that we’d worked on those films,” added Rosengrant, “and acquired some experience with small characters by the time SMALL SOLDIERS came along.”

Pictured above: SWS Mechanic Rich Haugen works on the hero Chip Hazard puppet with the precision of a Swiss watchmaker.


The original production plan was to shoot most of the live-action toy scenes on a bluescreen stage, rather than on the sets. Industrial Light & Magic would then composite those bluescreen elements into final scenes. Shortly into production, Joe Dante abandoned the idea, preferring an in-camera, live-action approach, with the toy puppets right there on his sets, interacting with the actors.

Pictured above: Stan Winston, Al Sousa and John Rosengrant put Chip Hazard through his paces at SWS.


Bringing these characters to life on Dante’s set was pure joy for the show’s puppeteering team. “It's always fun for us to go to the set and spark up the radios and start puppeteering in front of the actors and the cameras,” Jim Charmatz said. “That was particularly true in this case, because these characters were so much fun. I distinctly remember Phil Hartman [who played Phil Fimple] sticking his head in to watch the characters going through their moves, and really enjoying it. Watching his reactions to these puppets remains one of my best memories from that show.”

Pictured above: Chip Hazard and Archer square off during rehearsal at SWS. (L to R) Bill Basso, John Rosengrant and Chris Swift.


“What was so much fun about puppeteering on SMALL SOLDIERS,” added Joey Orosco, who designed, sculpted, painted and puppeteered the character of Archer, “was that this movie was really about these toys. Our puppets were the stars of this movie. They had to perform like real actors, with gesture and emotion. They had to really act. I look at that movie now, and I’m amazed at how successful we were in doing that.”

Pictured above: SWS team member Alan Scott brings Archer to life on the set of SMALL SOLDIERS.


SMALL SOLDIERS remains one of the highlight projects in the history of Stan Winston Studio, because it provided Winston and his crew with an opportunity to temporarily return to their respective childhoods and play with the most amazing toys ever conceived. “Those of us who do this for a living are clearly people who don’t want to grow up,” Winston said, laughing.

Pictured above: Stan Winston poses with his living toys: the Commando Elite and the Gorgonites.

“Some of us could have been doctors or lawyers, but we preferred to play with toys and draw pictures and push clay around. We’re all kids in men’s bodies, and we’re all toy lovers. So who among us wouldn’t want to go to work and play with cool action figures? Small Soldiers was a fantastic experience, for all of us.”

-Jody Duncan



More PUPPET STUFF from Stan Winston School:

Axtell Expressions - Puppet Performance and Puppetry from Design to Delivery

Axtell Expressions - Puppet Performance and Puppetry from Design to Delivery


By Mark Sawicki

Many years have passed since I was able to recapture that innocent sense of wonder seen only in wide-eyed children experiencing a magical creature for the first time. It all came back to me when I paid a visit to puppet and magic company Axtell Expressions of Ventura, Ca. Steve Axtell, founded the firm and began as most of us, first as a fan then as a hobbyist and finally becoming a professional. In Steve’s case Muppet creator Jim Henson inspired him. 

Pictured above: Steve Axtell at 16 years old with his stable of original characters inspired by Jim Henson. Left to Right (Dwight D. Duck, Woody, Fancy Flamingo, Rusty, Herbie the Mouse.)

Steve sold his first puppet when he was 15 years old, a bright orange fur Fox puppet. After that, it became all puppets, all the time. Steve became a master puppet maker and a sought after puppet performance artist as well.  As time passed, his creations became much in demand and Axtell Expressions was born. While Steve brought joy and wonder to hundreds of children as a performer, his fabulous creations, now in the hands of other artists continue to bring happiness to untold thousands all over the world, including celebrities such as Shaq and America's Got Talent winner, Terry Fator.

Pictured above: Terry Fator with his puppet Kani Kapila, fabricated by Steve Axtell. (Click for video of Terry & Kani:  http://www.youtube.com/watch?v=HbkMkU_SbBI)


Axtell holds 6 patents on a variety of performance tools and puppet gear such as The Magic Drawing Board. Steve gave me a hilarious demo of the device that I found brilliant in its simplicity and cleverness. As a performer Axtell focuses on the fundamentals of the entertainment arts. Techniques and materials have their place but the presentation and performance used to capture the imagination of an audience is what is most important. This is what makes an Axtell Expressions puppet very special indeed.  

Pictured above: Steve Axtell's "Magic Drawing Board," a magic trick designed and built by Steve Axtell. Click HERE to see the board in action.


I was taken on a tour of the shop and Steve introduced me to the entire crew with great warmth and respect.  Steve’s wife Suzi is vice president and hails from the fashion industry; Jose Cruz is the products manager; John Schmeling works the animatronics department; Greg Jackson is the studio manager (the company does their own voice recording for the characters); Theresa Camarillo handles customer service, and Kathy Fey keeps the books. These talented folks and a host of top-notch artists make up the company. 

A recent Brooks documentary shows Steve and the Axtell team at work. Check it out HERE!  

Pictured above: The Axtell Expressions crew, LEFT to RIGHT: FRONT ROW: Jessica Axtell-Mingo & Theresa Camarillo (customer service assistant & manager) Chella & Philis (Puppet Assembly) Greg Jackson (Studio Production, AxTrax, MagicTrax), Christina, Jose, Dora (Puppet Assembly & airbrushing) BACK ROW: Wesley Gonzalez & Eric Martyn (Animatronic Technicians) Suzi Axtell (Vice President), Mark Heurng (Tech Assistant), Steve Axtell (CEO & Creative Director), Kathy Fey (Bookkeeper), John Schmeling (Tech Dept Manager), Jose Cruz (Production Manager) 


Steve has become something of a YouTube sensation due to his video--several years old now, but just as addictive and impossible to get out of your head--which features Steve's exceptional ventriloquistic talents applied to an adorable Platypus of his own design. The Platypus takes the lead on the song, written by Steve, with interstitial commentary and puppeteering by Steve. The fuzzy little monotreme has been viewed to date over 2 MILLION times. Have a look for yourself HERE

Pictured Above: Steve Axtell's viral sensation, the P-P-Platypus with a Platypus puppet of its own!


The team proudly demonstrated a fabulous animatronic talking bird manipulated with a tiny controller that fits in the palm of your hand. I saw other characters such as a dragon that blows smoke and a talking tree. I sat down in front of the sleeping tree as it waited for its cue. The characters are never “dead” but stay in live mode in-between performances. In the tree’s case the eyelids would quiver slightly along with the lips as a snoring sound could be heard. It was very magical and mysterious and I found myself feeling like I was 5 years old again, jaw agape in anxious anticipation of what was going to happen next. And then…….the tree woke up, came to life and sang and shook, winked and blinked, and told the most wonderful stories of magical lands of far away. This marvelous tree character was made for a library exhibit to amuse and educate young children. While many of us make monsters, meant to thrill, scare and horrify, we must also remember that there is always a place for gentle talking trees as well. 

Pictured above: one of Steve Axtell's talking trees, featuring a companian Toucan!

Thanks to Steve and company the joy and happiness brought forth from their puppet creations help make the world a better place.  Be sure to check out their site at:  http://www.axtell.com/

- Mark Sawicki

Pictured above: The author, SWSCA instructor, Mark Sawicki (right) with Steve Axtell (left) and a very friendly, gentle, animatronic tree (middle).

CLICK THE IMAGE AT THE TOP OF THE PAGE to watch Ross Minkin's 2013 short documentary: "Steve Axtell behind the scenes at Axtell Expressions Inc.," (©Ross Minkin 2013)

Mark Sawicki is the author of  “Filming the Fantastic” and “Animating with Stop Motion Pro” published by Focal Press.  He is proud to be a lesson creator for the Stan Winston School of Character Arts.

CLICK here to see Mark's lesson on Stop-Motion Character Performance and Rear Projection.

CLICK here to see Mark's lesson on Mirror-Magic - Visual Effects Using Reflections.

JURASSIC PARK TRICERATOPS - Puppeteering an Animatronic Dinosaur

JURASSIC PARK TRICERATOPS - Puppeteering an Animatronic Dinosaur

Featuring JURASSIC PARK Triceratops Team Members Al Souza and Shannon Shea


To bring to life JURASSIC PARK’s sick Triceratops, Stan Winston Studio designed and built a full-size puppet that performed alongside the actors on location in Hawaii. SWS Triceratops mechanical designer, Al Sousa, recalled the mech design process: “We built a small-scale version of the character before the full-scale so we could show Stan how everything was going to work. The breathing mechanism was basically a post underneath that pushed a lever up and down [to move] the skin up and down… the tail mechanism had movement from side to side and also up and down.
 There were no hydraulics in this character. It was all just mechanical.”

CLICK on the player above to watch the never-before-seen JP Triceratops video.

Pictured above: SWS Triceratops mechanic, Al Sousa, puppeteers the small-scale prototype.


Since the Triceratops was the first dinosaur on the shooting schedule and was the only one that would be shot on location in Hawaii, “We had to have it ready a month before they wanted to shoot it, to give it time [to be shipped via boat]," recalled Sousa.

Pictured above: SWS dino team members Paul Mejias, Al Sousa & Rob Ramsdell load the Triceratops for her journey to Hawaii.


When the SWS Triceratops team finally made it to Hawaii they immediately began setting up the dinosaur puppet for its big debut. “They dug [a big hole] in the ground with a platform over the top, so that all the puppeteers could be underneath… The only one that was outside was the guy doing the eyes with the remote control,” explained Sousa. “Everyone else was underground working the breathing mechanism, working the mouth, and the tongue. Working the forearms and the legs. Those were all cable controlled.”

Pictured above: SWS Triceratops team member Paul Mejias checks the RC eye movement on the giant puppet.


“We set up a camera and had a monitor underneath in our little pit down there. Stan was kind of conducting us like an orchestra… He was really, really about smooth movements in your performance. He didn’t want any of what he called 'herky jerky' movements,” said Sousa.

Shannon Shea elaborated on Winston's direction, “What Stan really wanted to do was to coordinate the movements to make this Triceratops look sick… He wanted to coordinate the mouth movement, the tongue movement, with the rising and falling of the chest. Really slow and deliberate. The dinosaur has been drugged, you know?”

Pictured above: The sick Triceratops rests in the shade before her JURASSIC PARK debut.


Shannon Shea recalled his fun if unglamourous task on the day of shooting, “While most of the guys were in the pit moving the dinosaur around, I was outside. The radio controls [for the eyes] were handed off to me because I was responsible for doing all of the cosmetics on the dinosaur for the shoot. I had to do all of the pus and the spit and the rheumy eyes and all that stuff. In fact when Laura Dern pops the microvesicle on the tongue, that was a little gag that I figured out. I was actually running in with a syringe and refilling the cavity.”

Pictured above: Stan Winston, Steven Spielberg and Shannon Shea discuss the scene before the (human) actors arrive on set.


“I remember when the actors first showed up,” recalled Sousa. “Laura Dern saw [the Triceratops] and saw it moving. I just remember the look on her face like, ‘Wow, this thing really looks like it’s alive.’ That was really something. I think that helped her performance. Like she was helping this…living thing.

Pictured above: Surrounded by set dressing, final artistic touches complete, the Triceratops gets into character for her unforgettable scene with the cast of JURASSIC PARK.


Al Sousa counts his time on JURASSIC PARK as a career highlight. “At the time, I think we all knew that this was going to be something really big and spectacular… I don’t think I realized HOW big,” said Sousa, adding, “I felt like I was really privileged to be a part of it.” 

And for Shannon Shea, working on JURASSIC PARK was a boyhood dream come true. “The really wonderful thing about working on JURASSIC PARK and being involved with a film like this, is that I was and still am a lifelong dinosaur fanatic,” said Shea. “I’ve been a fan of dinosaurs since I was three years old and saw the original KING KONG. While we were test puppeteering all these dinosaurs, the sculptor of the T-rex, Mike Trcic, turned to me - he also was a lifelong dinosaur fan - and he said, ‘We get to play with the greatest dinosaur toys ever made.’ Seriously, no truer words were ever spoken.”

Pictured above: (left to right) Joey Orosco, Paul Mejias, Shannon Shea, Steven Spielberg, Sam Neill, Stan Winston, Dave Grasso, Al Sousa, Joe Reader.

To Watch the Never-Before-Seen JURASSIC PARK Triceratops video, simply CLICK on the player at the top of the page.


More JURASSIC PARK behind-the-scenes from Stan Winston School:

JURASSIC PARK T-REX - Sculpting a Full-Size Dinosaur

JURASSIC PARK T-REX - Building an Animatronic Dinosaur

JURASSIC PARK - Animatronic T-Rex Rehearsal - On Set with Stan Winston

JURASSIC PARK - The Evolution of a Raptor Suit with John Rosengrant

JURASSIC PARK Spitter - Building the Animatronic Dilophosaurus Dinosaur Puppet

JURASSIC PARK Brachiosaurus - Animatronic Puppet Chewing Test

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