LMC: Do you have any interesting stories from your career to share?  Things like last minute effects, things you pulled off thinking they didn’t have a prayer to succeed, behind the scenes drama… that sort of thing

SW:  Back on Godzilla, I got to work with Craig Reardon who’s claim to fame was probably the Gremlin creature from the Twilight Zone movie and Poltergeist. He wrote an article on how to make a latex appliance for Cinemagic when I was a kid. That article changed my life and taught me a lot. I got to tell Craig in person and to thank him for doing that article. He gave me a mint condition copy of it and was too humble to sign it upon my request so he signed it on a separate piece of paper. I will always treasure that moment.

LMC: Do you think Hollywood is putting out their best?  If you were running the show, how would you change big-budget movies?   Did you apply some of that in your own movies?

SW:  I have not and probably will not think about that one. I don’t see myself making a big-budget film anytime in the near future, so I usually don’t expend my energy hypothesizing about possible scenarios like that. Hey, at least I’m honest!

LMC: Which direction is Hollywood going when it comes to horror/effects movies?  Is it good or bad?

SW: I think it’s bad. Horror films have, for the most part, always been gimmicky and cheesy. Because films are made by audience test screenings these days, Somehow, they seem to have become more formulaic and mechanical. Dimension films is notorious for changing a film’s content based on test results, many times, to the detriment of the film. I don’t see that changing anytime soon.

LMC: What’s your favorite mask?

SW: Hmmm… That one is as tough as asking me what my favorite movie is.  I like so many of them, I can’t say. I still collect masks to this day. So I would have to say, any mask in my collection is my favorite mask.

LMC: Are there any particular style of masks you go for?                         

SW: I usually look for the unusual designs. I am not a big fan of Michael Myers, Jason or typical horror designs. I am more interested in cool designs that are innovative and different over what is popular at the moment.

LMC: You did sculpt a Myers mask?  Was it for the money? Any other motivation?

SW: No. just money. I have to admit, it was a very difficult mask to sculpt. It’s deceiving at first glance. Most people think it’s just a simple white face, hence a lot of really bad replicas out on the market and in the sequels.  I  re-did the sculpt 4 times before I felt I had captured him.

LMC: Are there any particular mask artists/companies you have a lot of masks from?

SW: I have Don Post, Old Distortions, House of Horror, Be Something studios, Disguise…

LMC: So with all your success, you are still putting out an awesome lineup of masks each  year.  What brings you back to the mask making business?

SW: It’s my first love. I wanted to be a mask maker since I was a kid and I’ve ran out of excuses now.  Also, The quality of Halloween masks has become so bad! It’s become so much a bottom line business that the American public has forgotten how magical it can be. At the risk of sounding like an idealist, I just wanted to bring some of that magic back that I cherished so much as a kid and raise the bar, if you will. Mind you, I am still very new at this business, and I have been learning some really tough lessons about the bottom line. I am optimistic though, I know it can be done; it’s just going to be a long tough road.

LMC: Right, the public views masks as disposable once a year items, do you see any way for high quality masks to break from that stereotype?

SW: Well, so far I have found just the opposite. And the bad news is that it’s getting worse. Most of the masks are sold by companies like Spencer’s gift and Party city-like chain stores and they are not interested in my masks because once they apply their outrageous markups, my masks would be too expensive to sell to the average consumer. They said that nobody wants to spend more than $50 for a mask, most only spend about $15-$25 for masks.

LMC: Talk about some of the masks you did in the past through Death Studios?

SW: I did 2. razor and hunter. Razor was a design I did for Guyver 2 that I did not use and hunter was just a predator knockoff that Jeff wanted. Oh, Jeff also put out the trophy head that I sculpted for the first predator film that was not used.

LMC: How would you break down the mask collecting population?  What do you think they look for in a mask?  Any chance of bringing more of the fairer sex into collecting?

SW: Honestly, I think the mask collecting population virtually does not exist, at least not enough to support the mask makers. If I catered my masks only to collectors I wouldn’t last one season. As for what they look for? It’s my experience that they are usually into recognizable licensed characters. Then there’s the occasional “really cool mask” that challenges you to put it back on the shelf. Fairer sex collecting masks? Sounds like a geek’s fantasy! LOL!!! Where can I meet her?! Too good to be true!

LMC: Do you see any new trends in the future of mask collecting?  What about moving beyond latex?

SW: I think mask collecting have been about the same as before. The only real trend I’ve seen has been collectors commissioning custom masks from established makeup artists like myself.  These collectors want high end, museum-quality works. But it’s too expensive for most people. Beyond latex? Absolutely! If I could afford it, I would make all my masks out of thick vinyl. All of the vinyl masks I have in my collection looks like they were made yesterday, and they are over 20 years old. It’s too heart breaking to see a favorite latex mask deteriorate to dust!

Page 4