about reaction from studios and FX pros who view the magazine?
mentioned so far everyone really likes it. When we first did an
interview with Kevin Yagher, I could see he was a little
pessimistic, but after he saw that segment, he invited us back for
another issue. We still have trouble getting into some of the
bigger FX shops, like Rick Baker or Stan Winston, mostly due to
scheduling, but we prefer to focus on the smaller unknown artists
anyway…and they love to have us. The Studios are touch and go. The
problem is the huge turnover in staff. You can have a good
relationship with one PR person, and the next time you call them,
they’re not at the company anymore, or the movie is being handle
through another PR person, and you have to develop that relationship
all over again. The biggest issue is that they can’t get past the
fact that we’re a DVD videomagazine. They don’t understand that
we’re sold on magazine shelves and we’re only there for 3 months.
They hear DVD and think DVD movie.
you determine the articles?
Whatever is available, and whatever we think is cool enough to
pursue. We don’t always cover big blockbuster movies because Movie
FX is more about techinique…and even smaller films have cool
techniques. Besides, I’m not going to be able to compete on a movie
like MiB II or Attack of the Clones. They’ll already have a
Showtime special, and “Behind the scenes” book, etc. Why cover all
Do you find studios and individuals give you a warm welcome and are
yes, some no. It depends on the studio and who you’re dealing
with. I’ve heard PR departments are great and Legal departments
suck. I heard that Paramount was great to work with and Disney was
a pain. Then a lawyer in the Disney Legal Department gave me a free
license to use Bicentennial Man footage long after the movie was
released. You just never know.
LMC: What has been the most difficult aspect
of running the show?
Balancing the amount of travel and work I have to do for my regular
job, my home life and Movie FX. For Movie FX, you need to realize I
do the research, write the questions, hire the cameraman, do the
interviews, pull the time code, write the scripts, work with the
editors, do the VO, write the content for the website, fulfill
orders, do the bookkeeping, answer the phones, answer emails…it’s
all me. Thank God, I have a guy that helps me obtain footage and
movie trailers who’s got a better working relationship with the
studios than I do. That saves a lot of time and begging.
creating a magazine on DVD different from print?
I’ve done both, and videomags are a pain. When you read a lot of
interviews and articles in similar genre mags, they’ve got it easy
for the most part. They can do phone interviews or send a list of
questions like the ones I’m answering for you. Then you get a press
kit with some pics (which is why you tend to see the same pics in
all the mags) and presto! You can write your article. For issue 5,
I got invited to New York to do a segment on Saturday Night Live. I
had to take time off from Sony, hire a cameraman, and fly him with
me to New York. I had to pay for all his expenses. We had to rent
an Arri light kit and mics in Manhatten. We had to do the interview
while the show was going on , which was hectic to say the least.
Now, I’m not bitching, because I got to experience SNL behind the
scenes. But as you can see, it can be a different ball game. Also,
editing is a lot harder. I have to obtain all the materials needed
to complete the segment. If the interviewee talks about his
childhood, I need pics of him as a kid. If the interviewee sucks on
camera, I need a lot of B-roll and pics to cover the jump cuts while
I piece his interview together. The four pics they have in a print
article ain’t cuttin’ it! And sometimes…like in the Buffy the
Vampire Slayer piece we did a few issues back, we couldn’t even get
show footage. I can’t tell you what a nightmare that was to cut.
Thank God I have the best editors who still manage to make those
segments look great!
did the Jordu Schell segments come about?
friend had introduced us a little over a year ago and I approached
him at the 2000 Makeup Artist Tradeshow about doing the first issue
lesson and although he was bit hesitant, he agreed. Afterwards, the
number of students he had signing up for his class increased and
apparently, someone over Tippett Studio saw Issue 1 and how fast he
could sculpt and he got a gig on “Evolution” because of it. After
that, he offered to do as many lessons as we wanted.
kind of reaction did you get about his segments?
an excellent teacher with a great sense of humor. Our customers
think he’s one of best segments on Movie FX. We don’t use him all
the time because we want to vary the types of lessons we offer, but
he’ll pop up from time to time
Do you have more planned?
Absolutely! In issue 5, he gives a lesson on how to sculpt, mold,
cat and airbrush a half mask in our longest segment yet…45 minutes.
LMC: Any plans to release more issues per
I don’t think we’ve even made the four issue in a year yet. With my
travel schedule, it’s difficult to keep on schedule but I’m doing my
best. Never say never though…we’ll see where we are in a year.
do you have planned for upcoming issues?
sorts of cool stuff. KNB FX, Almost Human, Amalgamated Dynamics and
of course more lessons and movie trailers. I don’t like to plan too
far in advance, you never know when you have to switch out one story
I'd like to thank Gary
for taking some time from his very busy schedule to give us some
information on his unique and exciting video magazine.