LMC: Do you get a lot of commission work for such masks?  Do you have to turn down a lot?

SW:  I get bombarded with requests and inquiries about custom work. Most of them can’t afford me, but I am not interested in doing them anymore. I have turned a lot of potential customers away because I am taking the rest of this year off.

LMC: Who is your favorite latex mask artist?

SW:  Anyone who makes cool masks.

LMC: Your designs are simply original masterpieces of art.  Where do you get your design inspiration?  How do you go about planning a sculpt for your masks?  Design as you go or do you spend a good amount of time sketching?

SW: I get them from the weirdest of places. An oil slick, a dent in the wall or sometimes from just my imagination. I do a lot of sketches as well. I almost never just start sculpting without at least an idea of what I am going to do.  My strongest works have had a plan behind them.

LMC: You were brought up on Ultraman and similar heros.  What do you see in the style of those character types that draws you in? 

SW: The costumes and martial arts.   What’s there not to like about guys in cool hero outfits beating the shit out of other guys in foam rubber monster suits?

LMC: On a personal note: Do you remember Space Giants (American Name… I believe it started in Japan as Ambassador Magma)?  I loved that show growing up.                      

SW: Yes. I love that show, as do many makeup effects artists. I used to watch it on channel 2 in the bay area when I was a kid. The last episode, where they had to go back home, put tears in my eyes.

LMC: Where do you see the effects industry going as CGI becomes more advanced?  How will this affect FX pros like yourself?

SW: Most makeup effects artist would agree that our art is dying, at least in terms of creatures. Gone are the days of Gremlins 2-like shows where we had to build an army of animatronic puppets. They would just use CGI for shows like that now. Even makeup is getting a little iffy. I hear that they have been testing digital makeups and it is phenomenal. And that the potential is definitely there for it to get better.  My only major gripe about CGI is that there have been way too many movies that have featured sub-standard CGI creatures and characters. The majority of the designs are already laughable but their animation is completely unacceptable! It’s like the guys who animate them have no clue what physics is? Sure, they can’t all be Phil Tippet, but at least try. I worked with a director recently who frowned when I mentioned Ray Harryhausen’s name. He made a comment about how bad Ray’s work was, and about how CGI is so much better. He had no clue what a great animator Ray was, but rather, was fooled by the newer technology. I wish more filmmakers and producers can see the difference between good CGI and bad CGI. But then that’s another fairy tale.

LMC: What do you see yourself doing if FX work all but dies out?

SW: Making masks. Halloween will never die out nor will the mask collectors.

LMC: What’s your favorite clay?

SW: I use everything from Roma, WED to different types of Chavants and Super Sculpy. I love them all. I try to be proficient with as many materials as I can.

LMC: What sculpting tool(s) can you not live without?

SW: Anything in my tool kit.

LMC: Can you offer some tips on design for the special effects artists that are coming up?

SW: Make it innovative, but make it real, even if it is total fantasy.

LMC: What about tips on sculpting?

SW: Sculpting takes a lot of time and dedication. Be patient but persistent. The best sculptors out there are totally obsessive about their art. In other words, no pain-no gain.

LMC: Do you sculpt much for fun (if you even have the time)?

SW: No. No time. Jordu Schell has been trying for some time to get me to do a Sunday sculpting fest with a bunch of FX friends. I spend time only with my 2 kids on the weekends and weekdays, I sculpt all day long and then I go to my shop at night and sculpt all night long. So I don’t really feel the need to spend my free time sculpting.

LMC: What type of  paint do you use for latex masks? 

SW: Rubber inks. I get it from union Process.

LMC: What about painting tips? 

SW: Yes, you’ll want to throw paint on it. LOL just kidding. Actually, try designing your paintjob in photoshop or on paper with markers ahead of time. It really helps you to focus and do a better paint job overall when you don’t have to do a lot of guess work.

LMC: Any skills or talents you wished you could do better?

SW: Yes. Everything. I am not kidding

LMC: How does someone break into the FX business?

SW: Have a portfolio with good pictures of your work and call to arrange job interviews. Remember 2 things: You have to live here in LA to get hired and you are competing against the best artists and technicians in the world. So if you are not willing to work hard and push the envelope, you may not get where you want to go.

LMC: What would you be doing today had you never gotten into the creature business?

SW: Something that involves martial arts.

LMC: Do you currently study martial arts?  If so, what form?

SW: No. I haven’t done martial arts actively in over 10 years. I still work out occasionally to stay somewhat limber. I used to take Wing Chun Kung Fu.

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