Many members of the The Halloween Mask Association recall picking their respective jaws off of the keyboard when Daniel Horne first posted pictures of his creations on the HMA. Fortunately for those interested in knowing a little something about the artist behind the latex, the HMA had the opportunity ask Daniel a few questions about his mask creations.

Here is a small glimpse into the creative mind behind “The Monster Show”, and the growing collection of masks, dolls, figures, and illustrations offered by Daniel R. Horne.

HMA: You have been an illustrator, sculptor, and doll maker, why did you get in to mask-masking?

DH: I made masks when I was a kid back in the 60’sand 70’s, but it wasn’t until Elliot Brodsky asked me to attend the Maskapalooza here in Cherry Hill last year that I started making them again.

HMA: You have been a mentor over the years to many illustrators that admire your work, and have written on the subject of illustration for aspiring artists, are there any mask-makers/sculptors that have influenced or assisted you?

DH: There are MANY, I guess the first mask maker I met was Jordu Schell and that was a real pleasure. After the Maskapalooza show Jordu asked if we could sculpt in my studio and we did for the next two days, which was a real treat and learning experience for me.

Justin Mabry and Chris Russell have really schooled me in the art of mask making and have kindly answered my thousands of questions on mold-making and paint masks.

Doug Goins, who I met at the HMA Mask Fest last march, has not only become my teacher in all things related to silicone bust making, but has also become a wonderful friend as well.

Dark side Paul, another kind soul and wonderful human being has given me my very first sculpting job for his mask company and we have really hit it off.

Mike Shumsky has given me the confidence to make silicone busts by ordering one from me. And then there is our fearless leader, Eric Austin who has been nothing less than kind and encouraging by giving me an outlet for my art.

But really every one that I have met in the past year has been so kind and constructive and has helped me continue my mask making journey.

HMA: You seem to have a fondness towards the classic Universal monster characters, do you recall when you first became interested in monsters?

DH: It was in 1966, when I saw Frankenstein meets the Wolfman on our TV set; you know the kind, very small screen and that white French stain cabinet that was all the rage back then!

HMA: What is your favorite monster-related character?

DH: Hands down, the Frankenstein monster as portrayed by Boris Karloff

HMA: Are there any classic characters that you have not done that you want to do?

DH: Oh yes! I intend to do all the actors who have
portrayed the Monster and I’m actually working on
the Bride as we speak! I’m also
spreading out from classic horror to do some classic Hollywood stars as well,
like Hattie McDaniels from gone with the wind, the Wizard of Oz characters and
laurel and hardy. I also love Hammer
films so look for some masks to be made of them in the near future.

HMA: Do you have any pet peeves about mask making?

HMA: How does your background as an illustrator influence your sculpting / mask making?

DH: I think my years as a painter has taught me to see subtle forms and values. I never studied sculpture in art school and I actually sculpted my first mask, just last year!

HMA: I understand that it was the Creature of the Black Lagoon that was your first mask sculpture. Over the years you’ve also produced some much acclaimed cover art of the Creature. Why did you choose the creature to be your first mask?

DH: Well I wanted to try sculpting a character that everyone knows and would judge me on. Creech was the last of the classic monsters and just about everyone’s favorite rubber suit monster. He is misunderstood like the Frankenstein Monster. I love feedback and critiques; it is how we as artists learn. I remember at Maskapalooza last year, a fellow artist who I admire came up to me and said, “I hope you don’t get offended but you seem to always have one eye deeper in the face than the other.” That was a great critique! And ever since that I pay more attention to what I am doing.

HMA: If you could have anyone sit for you, for a sculpture or illustration, who would it be?

DH: BORIS KARLOFF hands down! What a wonderful face he had.

HMA: What has been your greatest achievement as an artist to date?

DH: That after 27 years as a freelance artist, I am still able to support my family by making my art.

To learn more about the artistry of Daniel Horne, please visit his website at www.danielhorne.com

1. When I first met you years back, you owned a Haunt prop, company called “Ex Mortis”. How did Ex Mortis begin?

I started Ex Mortis after visiting a trade show for Halloween and party stores. After seeing the demand for some quality props I developed a couple of ideas based on a few film props and costumes I had previously made.

2. With all of the films you’ve been working on in recent years, do you still run Ex Mortis?

Ex Mortis is still operating, but due to all of the other stuff I usually have going I haven’t had time to develop any new products for a couple of seasons now.

3. Obviously you’re a fan of all things Halloween and Horror related. Would you say you have a Halloween obsession?

I wouldn’t call it an obsession, but due to Ex Mortis and the year round horror and Halloween store my wife and I operate, I would say its actually taken over my life to a large extent!

4. Here’s a question I’m sure all of our readers would like the answer to. Do you collect masks?

When I was a youngster I was an avid collector and mask fan. I would write letters to mask makers and collect catalogs as well as masks. I was lucky enough to live in the same state as Ed Edmunds of Distortions, who was and is a super nice man that took the time to help me develop my primitive mask making skills – he even sold a mask I had made at his workshop one year in his catalog, which was an amazing thing for me. After becoming a business owner, I appreciate the time he took to help out a geeky kid even more. I have tapered off collecting much of anything these days due to the space and upkeep any type of collection requires, but since rubber masks were such a big deal to me I still have a love for them.

5. I’m not sure a lot of folks know this or not, but you actually own a year round Halloween store in Burbank, called Halloween Town. Tell us a little about Halloween Town and how it began.

My wife and I started Halloween Town after the company she had worked at for years closed it’s doors, which happened to coincide with the creation of Ex Mortis and becoming involved with the Halloween market in general. We thought we could offer something special to it and just decided to give it a try. Ten years later it has continued to grow and thanks to the Internet is visited by people from literally all over the world.

6. Halloween 2 will be the third Rob Zombie feature you’ve worked on. When and how did you become associated with Rob Zombie?

I met Rob through a mutual friend and wound up being his Monster guy for ten years now. He’s a great guy and it’s a pleasure to have a positive working relationship and call him a good friend after all of these years.

7. When you started working on Halloween, did you feel any pressure from fans to get the mask just right?

Most of the pressure I felt was from myself to create something that captured the classic image of the mask yet inject a little of my own style. Aside from Rob’s keen eye, I knew that there was a small army of hardcore mask guys out there that would put it under major scrutiny!

8. How did it feel to be working on such an iconic character, such as Michael Myers? Were you a fan of the franchise before you got the job?

I was of course a fan of the original film, it’s one of the classics in horror cinema that created a new sub genre, but I’ll admit that I kind of lost track after the digits after the title increased. I had also worked on Halloween 4 for John Carl Buechler in one of the earliest years of my makeup career.

9. So tell us about your work on Halloween 2. Is Michael Myers look the same in this film or should we expect to see some changes?

Since we are currently in production, I cant really discuss what is going on with the mask exactly, but there is a new mask specifically for it. Rob released a photo of the sculpture, but it won’t be exactly what people expect based even on that.

10. When you have time, do you ever drop by the HMA to see what’s going on?

I regularly drop by HMA to check out what the latest news in the mask world is!!

(Thanks so much for taking time to talk with The HMA, Wayne!)

To learn more about Wayne Toth’s film credits, check out:  IMDB Profile

To learn more about Wayne’s Halloween Town store in Burbank, check out: Halloween Town

To learn more about EX MORTIS, check out: EX MORTIS

ANDREW SANTAGATO:
What INITIALLY sparked your interest in ‘Make-Up’?

DICK SMITH:
Movies: 1939-1942 “Hunchback Of Notre Dame” – 1939. Laughton in great ‘make-up’ by Percy Westmore, and “Dr. Jekyl And Mr. Hyde”, with Spencer Tracey. In 1941, second year at Yale, I tried to make myself up as ‘Mr. Hyde’ and scare my classmates.

AS:
I know you have done MANY, MANY ‘Make-Up’s’, but can you think of at least 2 that were extremely challenging?
DS:
The 121 year-old make-up on Dustin Hoffman in “Little Big Man” in 1969. It was my first real BIG challenge. I spent 1 1/2 months sculpting. Another would be my last ‘aging’ job in 1982, when I created the ‘make-up’ for ‘Old Salieri’ in “Amadeus”. It was my most enjoyable ‘make-up’. It was my only one in the film. I had ‘carte blanche’, and a fine actor. Finally, I got an Academy Award and the English Award for the same job.

AS: Did you ever work with any Actor/Actress that you looked up to, and found that they exceeded your expectations as a person?
DS:
Lawerence Olivier was an extraordinary human being, who was too great for me to describe. I first did “Moon And Sixpence” with him in 1959, when I was 27. He said that the ‘leprosy make-up’ in the last scene did the acting for him! He was a Prince in every way.

AS:
How do you feel when you see how far the art of ‘Make-Up’ and ‘Make-Up Effects’ has come, knowing that you have been a major contributor to this field?
DS:
Of course, I’m happy and proud of the advancements I’ve made in the ‘make-up’ field. Of course, I was lucky to work during a period of great productivity and challenge brought about by television.

AS:
What is one film in particular that you have watched, and after seeing a ‘Make-Up Effect’, have asked yourself: “How the heck did they do that?”
DS:
I can’t answer this one, partly because for the last few years, I have seen very few films or tv dramas.

AS:
Looking at the technology of today, do you think that one day, Make-Up Artists will be replaced COMPLETELY by CGI?
DS:
I suppose the future will be full of surprises, and the use of ‘make-up’ as we know it will be greatly changed, but I think that if entertainment continues to revolve around human activities, using ‘make-up’ will sometimes be more advantageous than CGI. I HOPE!!

AS:
What advice would you give to someone who is seriously interested in getting into the art of ‘Make-Up’ and ‘Make-Up Effects’?
DS:
Be your own toughest critic. Even your best work will not be perfect. So study your finished work, to see what wasn’t perfect, and figure out how you could make it better in the future.

AS:
Thanks so much Dick, for taking the time to answer these questions. You are a true ‘role-model’ for all of us ‘aspiring artists’. Take care.
DS:
All the best.

THIS INTERVIEW WAS ORIGINALLY WRITTEN FOR THE MONSTERS AND MADMEN WEBSITE. THE HMA WANTS TO THANK MONSTERS AND MADMEN, AND NIGHTOWL PRODUCTIONS FOR THEIR CONTRIBUTION.

H.M.A. – At what age did you become interested in monsters and horror in general?

Bill Malone: I think the first time I really was hit by horror films full-force was in 1954. My mom took me to see “Creature from the Black Lagoon” in 3D at the Lucan Theater (now called the Campus Theater, I believe) in East Lansing Michigan. It was pouring rain and we stood in a long line waiting to get in. (Why she took me to see that, I haven’t a clue). In any case, it scared the living daylights out of me. It seemed so mysterious and cool, the world created in that theater. I just wanted more. Then I remember seeing a magazine on the newstand called World Famous Creatures (A Famous Monsters knock-off) It had a spread on the “Creature”. Then I got Famous Monsters and I was off and running, I would go see every monster movie that came out. Then I just started collecting more and more things on horror films.

H.M.A. – When did you begin making your own monster makeups and masks?

Bill Malone: It was really about the same time. I wanted to play with toys of these monsters, but at that time there just weren’t any. Today you can get everything. Back then, the only cool toys out were the tin Robby the Robots from Japan. Instead of baseballs or football helmets for my birthday or Christmas, I’d always ask my parents for modeling clay. I would spend hours making a Frankenstein lab or flying saucer from “Earth Vs the Flying Saucers” out of clay. I remember building a very detailed model of “The Fly” lab (1958 version). Then I would dress up willing neighborhood kids as the Mummy or such. But that just wasn’t enough so I read an article by Paul Blaisdell in “Fantastic Monsters of the Films” (a great monster mag of the era). He would tell all the “secrets” of how he made his monsters. He made it sound like anybody could do it. I wrote a letter to him and “WOW” he wrote me back. He was very encouraging. Eventually, he ran an article on a mask that I made. It was pretty heady stuff for a 13 year old from Lansing, Michigan. I still cherish those letters. Paul used to get slagged alot but I think people are beginning to appreciate his contributions to the genre. He was a great artist and a very kind man.

I eventually learned how to cast foam rubber monster masks by the time I was 14. I ordered a kit from Don Post Studios in California. Don, Sr. included a little note of tips on moldmaking . He was another guy who would just tell you everything. The foam kit had instructions on how to whip it up using your mom’s eggbeater. My mom wasn’t too happy. My art teachers in junior high didn’t know what to make of me. I don’t think they appreciated my efforts. I spent a lot of time terrorizing the neighborhood in various costumes that I’d made.

H.M.A. – All fans of the H.M.A. know that you had a long stint at the famous Don Post Studios when you were younger. How did you go about getting your job at D.P.?

Bill Malone: I actually came out to L.A. when I was 19 to become a rock star (like that worked). About the time, I was becoming disillusioned with the music business, I was asked by a friend of mine to help him make a Halloween costume. He wanted to go to a party as Pickman’s Model from Night Gallery. Stupidly, I agreed. I wound up buying the foam once again from Don Post. I went over to his place in Burbank and spoke to Don. He remembered me from my letters and was very helpful. I wound up making a full cast foam rubber suit just like the studio used. Don asked to see it, so I brought it in, along with the Robby the Robot replica head I was building at the time. He saw what I was doing and offered me a job. I was dead broke so… I remember starting in the paint department, painting Frankenstein’s (300 series). Incidently, sitting next to me was Robert Short (of Beetlejuice FX fame). It was his first day too. Don later offered to let me do a resculpt of one of the characters. The Creature was looking pretty blobby and wasn’t selling well. The original master mold had worn out and they couldn’t get the original (from the film) from Universal. So, I resculpted it and it suddenly started selling really well. Then Don asked me to do some others. I think I did the Mutant (This Island Earth”) next. Again the sales took off, so (Don and his son Don Jr). asked me to head up the lab. (At that time, I don’t really think they had a lab). I thought it would be great so I became the “head designer” (no pun intended) and later Vice President of Don Posts Studios.

H.M.A. – I bet you have more than a few great stories from the Golden days at D.P.. Would you mind sharing any of those with us?

Bill Malone: It was a great time. DPS had no competition and we were making all the masks right there in Burbank and later at 811 Milford in Glendale. In any case, any hair-brained idea that Bob (Robert Short) or I would come up with we’d just make it and put it out. One of our hair-brained ideas was getting the first merchandising license on Star Wars (we weren’t always so bright.). Bob had become the #2 guy in the lab and was responsible for some of the sculpting and laying out the catalogs. I was in charge of sculpting, which characters were produced and the photography for the catalog. Don Post Jr. ran the day to day operation (no small job for a company that was nearly doubling in sales every year). Sorry about that lengthy uncalled for explanation.

It was a tremendous learning experience. Everybody came in there John Chambers, Dick Smith, Bob Dawn who worked on “Black Lagoon” even Edgar Bergan. I was always trying to get him to hook me up with Candace. He wasn’t going for it. One of the stranger people who came in was a woman who called herself Medi Magnifico. She came in to get a life-mask made because she believed she was going to be famous. She wore a full military General’s uniform. I noticed that her pant legs were stapled to her boots. She was probably in her late fifties and wore so much make-up that when she had any facial expressions, chunks of it would fall off. She was handing out flyers that she was secretly married to J. Edgar Hoover and SECRETLY running for President of the United States (I love that concept). To this day Robert Short and I still laugh about that.

H.M.A. – How many years did you work at D.P., and what would you say was your favorite mask creation while you were there?

Bill Malone: I’ll try for a shorter answer this time. I started in late 1973 and left in mid 1980. I think my favorites
were The Old Vampire and Frankenstein 2000 (later renamed 2001) I also like the Death Cyborg. You know when we did a new character that was original, we tried to create a story for it (in our heads at least), We also tried to make the picture of it in the catalog covey a little of that story. I came up with the Death Cyborg in 1975 (I don’t think it actually came out ’til 76 or 77. In any case I had concocted a story for it being a futuristic robot assasin that just wouldn’t stop ’til you were dead. (Hummm sounds familiar somehow).

H.M.A. – Ok, here it comes, the inevitable string of Captain Kirk mask questions. You sculpted the Captain Kirk mask for Don Post Studios back in 1975. In your wildest dreams, would you have ever thought that your simple William Shatner mask sculpture would go down in horror history?

Bill Malone: I had no idea!!!! (LOL) Who could guess? At the time we were just trying to get as many licenses as we could because we thought Universal was going to pull our license on the classic monsters. I really thought making a Captain Kirk mask was stretching it. It never sold well. I do think they (the filmmakers) missed a bet. They should have had the Shape pull the mask off in the end of the film and actually have be Bill Shatner. That would have been great.

H.M.A. – Was this a difficult sculpt for you at the time? How long did it take you to complete the sculpture and what references did you use?

Bill Malone: I actually remember that as being one of my easier sculpts. We got a life cast from Paramount of Shatner, I made a mold, then did a clay press. I used that as the basis and then just enlarged it so it would fit. You can’t use a head casting straight up because it would shrink when it is made of rubber and it would be too small to wear. The trick is enlarging it and still keeping it recognizable as the person.

H.M.A. – Was the Kirk a popular mask for D.P., and do you recall how many years it was produced, as well as how many?

Bill Malone: As I said, it really wasn’t a big seller. I think we produced maybe 350 a year, for a couple of years. Then it dwindled off ’til we discontinued it.

H.M.A. – So in 1977, a young film director named John Carpenter decided to use your Captain Kirk mask for the baby sitter killer Michael Myers in his first horror movie Halloween. There are so many stories revolving around how the famous Myers mask came to be. The most popular story is that the film’s production designer Tommy Wallace, purchased a Kirk mask at a Hollywood costume shop, widened the eyes, stripped the side burns, messed up the hair, and painted it white. Thus, Michael Myers was born! So, with that story fans are led to believe that only one mask was used in the filming of Halloween, and Don Post didn’t have much involvement with it. How do you recall the events surrounding the Captain Kirk mask used in Halloween? Did you or anyone else at D.P. have any direct involvement with the mask?

Bill Malone: I can’t really say if Tommy Wallace bought one in Hollywood or not. However, I do remember very vividly that John Carpenter did come in with a girl and another guy and ask us to make a very different Captain Kirk mask. What he actually asked for, was us to paint one white (with Rubber Cement paint) and spray paint the hair black. If you look at the first film (in the early scenes you’ll see this is actually how it is. Later, during filming, it gets quite thrashed looking and more of the brown hair shows through. At the time, I knew who Jon Carpenter was from Dark Star and I thought whatever he’s up to I want one for my own collection. I had the paint department make two. One for the film and one for myself. I had the sister mask for years until Don Jr. asked to borrow it. It apparently disappeared after that. I never got it back.

H.M.A. – Even though your very busy these days with writing and directing in Hollywood, is there anything inside of you that would make you ever get your hands back in the clay to create any more Malone monsters? Would you ever consider recreating your classic Captain Kirk piece?

Bill Malone: Actually, I do still sculpt. Now it’s just for my film projects. I sculpted the Sherri Rose character in the “Tales from the Crypt” episode ONLY SKIN DEEP. I also sculpted the face for the ghost in FeAr DoT COm. I would like to sculpt more but my film projects consume most of my time these days. As far as recreating Captain Kirk: When I used to work at DPS, Bob Short and I would often have the conversation that the guys who made the originals of masks or props, were usually terrible at recreating them. I think we were thinking of Marcel Delgado, who did the original Kong and the guy who sculpted the Metropolis robot. The recreations they did later never looked anything like the original. When you make something for the first time there is no “wrong”. There’s nothing to compare it to. See, I bet I could do a much better recreation of Robby the Robot than the guys who made it originally. Likewise, a good sculptor who’s really into “Halloween” could probably do a much better Michael Myers than me.

H.M.A. – Now that we’ve mentioned Hollywood, we can dive into your film career. You’ve directed and written many horror flicks that our fans will be familiar with, including Scared to Death, episodes of Freddy’s Nightmares and Tales From the Crypt, as well as big budget Hollywood flicks like ’99s House on Haunted Hill and Fear Dot Com. At what point in your life did you decide you wanted to be a film director and writer? How did you get your start in the business?

Bill Malone: I was always playing with filmmaking even as a kid. I made an 8mm version of Dr.Jekyll & Mr. Hyde. It was really when I was working DPS that I started to consider being a director as a profession. Working there, a lot of movie directors would come in and invariably they would want us to make something really stupid for their films. It became clear to me that, at that time, the directors who were making horror and Sci-Fi films didn’t know anything about them or probably didn’t like them. I thought “Hey, I can do a better job than that guy” (famous last words). Carpenter and Hooper, and a couple others were about the only ones taking the genre seriously.

In any case, I was beginning to feel that I needed to move on from DPS. It was starting to become a big business and “experts” were being brought in to make decisions that Bob and I had done, so it was time to leave. So late in 1979, I wrote a script for the “Amberdine Experiment” which would be later be retitled Scared to Death. From the dealings I had in the film business, I knew no one was going to give me a break. I had no connections, hadn’t been to film school (yet). I thought I just have to buy my way in by making my first feature. I gave notice at DPS, sold the cat and dog and mortgaged the house and set about to make my film. I remember telling my friends that I was going to make a movie for $74,000.00. (all the money I was able to raise). My friends all laughed at me. They were probably right. Anyway, I made Scared to Death. It was a silly movie but made number 16 on the national charts. I made my money back and it eventually lead to making Creature in 1984.

H.M.A. – Is Hollywood as rough and tumble as the rest of us are led to believe?

Bill Malone: Tougher!!! It’s very hard to get films made and even harder to get them distributed. Even when you do, there are people waiting to slag you for even trying. When you do TV you seldom get reviews but when you make features people come out of the woodwork to try to bash you. It’s just difficult all the way around. All I would say is if you like someone like Tobe Hooper, or Mick Garris, or Guillerimo Del Toro or Eli Roth or any of these guys… Let them know. They are lovely, kind people just trying to make movies that you’ll like. Sorry about the soap box… you can kick it out from under me anytime now.

H.M.A. – What would you say has been your best achievement in film, as well as what you perceive to be your not so best?

Bill Malone: Actually, that’s pretty easy. I think the best thing I’ve done is “Only Skin Deep” for Tales from the Crypt. I had the perfect cast, a good script, enough time to make it and I was left alone to do my job. The stars came together on that one.

The worst was W.E.I.R.D. WORLD which was a pilot for a TV series. The script was a mess, the story was dull as can be. And I messed up as well.
The only good things about it were the cast and the film stock. I hope the negative gets lost.

H.M.A. – How do you feel about the current state of the horror genre in film?

Bill Malone: I think this is a great time for Horror. The best in decades. Halloween was a great film but inadvertently did a lot of damage to the genre (oddly, I had a hand in that). The studios back in the 70s, thought that that was all the horror was, and so you had have a guy in a ski mask to be a horror film. Now I think a horror pictures can be anything, as long as it’s scary. It’s terrific time to be making films.

H.M.A. – Are you currently working on any new scripts? They wouldn’t happen to be horror related would they?

Bill Malone: I’m currently finishing three scripts. One is all out HORROR, one is a Film Noir horror and then there’s big budget sweeping SCi-Fi picture.

H.M.A. – Any tips for budding writers and directors out there?

Bill Malone: Yeah, don’t listen to anyone tell you that you can’t do something. You can!!! If you want to do it bad enough, you will. And when you get your chance, be prepared. Know your caca. Know everyone’s job on the crew. Learn by doing. If you’re a writer, learn by, not only watching old movies, but reading great books. If you’re idea of film history begins with Star Wars give up now. Learn from everyone from Del Toro to F.W. Murnau. Also watch bad movies – strangely, you can learn more by learning what NOT to do. Good films seem effortless and are harder to learn from.

H.M.A. – Do you collect any masks for yourself, and would you consider yourself a mask collector?

Bill Malone: I have a collection of stuff mostly from the 1950’s, Ricou Browning’s and Ben Chapman’s Gillman heads, the Mutant (This Island Earth) from the original mold. Also, I wound up with the actual “It Came from Outer Space” prototype head which showed up in the Colliers Magazine article (1955). That and and an original Mole People hand are my oldest rubber pieces. I have a number of casting from the original Outer Limits. The bulk of my collection is on Forbidden Planet including the original Robby the Robot and his car, plus a lot of the Krell lab.

I think masks are hard to collect because they rot after about 20 years. I usually make molds of important pieces so I guess I’m really a mold collector. Hummm that sounded funny. It’s odd, I don’t have anything from the DPS days except a very rare Micky Mouse mask (only 30 made) and a couple of the really early Star Wars masks I sculpted (Vader and Stormtrooper).

H.M.A. – Is there any mask or piece which you would love own?

Bill Malone: Yeah, the original Metropolis robot. I never realized how beautiful it was ’til I made the replica for Forry Ackerman.

H.M.A. – Are you a fan of The H.M.A. site, and would you consider yourself a board lurker?

Bill Malone: I LOVE your site. I think it’s great. I love to hear what fans think of the old stuff and the new.

H.M.A. – Anything you’d like to leave with our readers?

Bill Malone: Just thanks to all of you who have supported me in one fashion or another. You RULE!

HMA: When did you become interested in monsters?

SM: My earliest memory is seeing Frankenstein on TV…and it scared the hell out of me. Of course I was about 3 years old. My dad got me to watch it by telling me it was Herman Munsters brother. That was it…I watched all the Sci-Fi TV Shows from that point, Outer Limits, Night Gallery, Night Stalker, Creature Features and every Friday a local station showed all of the classic Frankenstein and Dracula movies, I was hooked.

HMA: What are some of your earliest memories of monster masks

SM:From Famous Monsters of course, but the prices were totally out of my reach. I remember buying a Topstone Frankenstein for about 1.99 that I wore everywhere until my dad stuck a cigarette hole in the Frankenstein mouth and ruined it for me. Then a Topstone Werewolf followed after that. When I was about 11, I entered a National Enquirer contest that had a huge full page ad of monster masks and toys for the main prize. All of the masks were Don Post and I freaked. I had to have them. I entered about 20 times, and of course I didn’t win. I wore my Topstone Frankenstein mask on Halloween day at school and my Frankenstein outfit consisted of the mask AND MY PARKA. Hey where was a 7 year old going to find a suit like his?

HMA: How did you learn to create your own masks?

SM: The Aurora Models were my first creative outlet. I always liked to play with clay and paint. When I was about 14 I started going to the library a lot looking for books on making masks. The only book out there was Richard Corson’s Stage Makeup. It gave me my first references on life casts and making appliances. But there was still very little on making a mask at all. I used to go to a Magic Shop in Colorado that sold masks and used to just stare at them, trying to figure out how to do that. So I kept reading Corson’s book and trying to find places to buy Plaster and clay…Latex was a major problem. Being in the middle of Wyoming there were some ceramic shops but no Hobby Stores. Then one day I got lucky in a model train store and they had a can of very thick casting latex. I WAS SET. I recruited my best friend Jerry to be my Life Cast subject. Little did he know the pain he was about to endure. For Christmas everyone gave me 5 lb boxes of Plaster of Paris. I had no where to get plaster bandages or alginate. So I made a bald cap on a Styrofoam head from the casting latex and made a big batch of plaster and slathered it directly on my buddies face. Everything seemed to go really well as the plaster set. Then came the moment of truth when we TRIED to remove the face cast. See, I didn’t think about putting Vaseline on any of the hair on his face. He lost the little peach fuzz on his chin first…..then came the screaming. It was totally stuck on his face and he was trying to pull it off and screaming at me in pain…I was kind of pulling on it while I yelled at him not to break it, all the while laughing hysterically. He lost most of his eyebrows and his eyelashes and had a very nice black eye covering most of his face…but it was the most beautiful thing I had ever seen. THE CAST ACTUALLY HAD EYEBROWS AND EYELASHES IN IT!! From that cast I started sculpting small appliances scars and noses. Of course that was in the book, but I still needed a full head cast to make a mask. I took Jerry’s life cast and built up plaster for the rest of the head and a neck. From there I went to the toy store and bought every chunk of clay I could find….you remember it I’m sure. It contained 6 different colors of oil clay in a package. My first full head sculpture was rainbow colored and was kind of hard to see to make any detail. My first mask was a green alien with no ears that had big yellow eyes and a mask & breathing tube running from his nose/mouth to his throat. It was crude, but I finally had a full head mask. I sewed a zipped into the back and tried to put it on. That was another fine point I didn’t know about….building up enough clay to allow for the thickness of the latex. This sucker was skin tight and my friend had to use pliers to pull the zipper closed. But I finally had my first mask. Around that time I was in the Magic Shop in Colorado one day and saw some new masks that were killer!!! A green alien with a big brainy head and a few other masks from the same company called Distortions Unlimited. They guy at the counter told me about Ed Edmunds and Distortions and told me that he lived right there in Greeley! He gave me his number and address. I went to Ed’s house and he showed me around his mask making studio. It was just a 2 car garage and most of his basement. Ed showed me around and opened my eyes to the materials I was lacking. He had 55 gal barrels of latex and gave me my first gallon. I still remember smelling it for the first time. He also gave me my first airbrush which I still have and still use. From that point on I visited Ed many times through those early years and he showed me how to airbrush. Gave me tips on sculpting, painting and hairing masks.

HMA: Tell us about your time at Distortions Unlimited. Any interesting stories to share?

SM: After about 3 years of visiting Ed and making my own masks I joined the Army and put my time in there. After I got back I visited Ed and he was talking about expanding his operation and said he wanted to hire me to help out there. So for the first year I drove back and forth to Greeley which was about 50 miles each way to work. I made molds, poured latex, trimmed masks, painted them and haired them. Ed and I were the whole operation at that time. I remember we had conflicting musical tastes and Ed had this huge mixing board and 6′ speakers in his office he used to blare as loud as he could. He listened to hard rock and I listened to top 40 then. So while he was there we rocked out and when he left I changed the station and he would get pissed when he got back and Hall & Oats was playing.

I remember when Ed came up with a new technique for painting his new Werebat called a rubout. He used what was essentially car lacquer and thinner. He only had one respirator so he would go into the paint room and spray 3 masks with the paint and I would run into the room with thinner soaked rags and we would wipe most of the paint off, then run out of the room and take a breath. Ed also had a really nutty sense of humor I recall. He would walk around with latex boogers hanging from his nose and I would try to ignore him, or lock us both into his office and turn the huge speakers up as loud as he could. I was deaf for the rest of the day. At some point he had taken Karate classes and I would have to walk around blocking and ducking all the time.

I finally moved to Greeley after about a year or so and worked for him full time. We started getting licensed masks and that’s really when I got interested in expanding my skills toward more realistic painting techniques. We had the rights to Sixth Finger from Outer Limits for a short time and The Gargoyle from the TV movie. Dr Phibes and then a couple of masks that thrilled me completely and that was Nate and Fluffy from Creepshow. An interesting mask was Invasion of the Saucermen. I remember talking to Paul Blaisdel once for a few minutes about that mask when we were trying to get the molds from him. Since it was made so long ago we had no idea what he still had to send to us. I thought we would have to start from scratch and sculpt the whole thing and the mask was huge! Blaisdel told me that he still had mold on it and would ship them out. We both thought it would be a piece of cake at that point but when we received the molds we were shocked! The molds consisted of two huge halves of the brain section, a neck mold from the mouth down and that was it. Blaisdel constructed most of the creature from scratch. He also sent an original mask from the movie for reference. The eyes were Styrofoam balls with electrical tape for pupils. The brain had very few veins sculpted on it and only the very large ones. We had to pour casts of the brain and neck piece. Glue the pieces together and Ed found balls somewhere that were the right size for the eyes. We used a hot glue gun for all the veins which worked out pretty well. I don’t think Ed sold very many of those, as they were too expensive back then.

HMA: Can you tell us a little about the production process at DU back then?

SM: Just like most of us old timers, Ed’s process consisted of a sculpture which only Ed would do. He would make the master mold out of Ultracal 30 back then. Then we would pour a thick latex master out of that mold. Stuff it with paper and tape it down to a table and mold that master many times to make production molds. We then poured the latex, let it sit for an hour, empty the mold, and let it drain into a bucket for 20 min. Then sit the molds on a table with holes in it. This table had heating elements and a blower under it to dry the latex faster. Pull the blanks and hang them on lines until we were ready to paint them. Ed and I would each take a color and alternate painting about 25 – 50 masks at a time. Then I would get the task of hairing them. After hairing and drying the blood and 5 min epoxy would be applied and left to dry. It was all pretty basic.That was in 79 and 80…when I worked for Ed in 92 he was much more high tech. He has a huge mold room that he can pour as many masks as he wanted at one time. The paint line was incredible. Ed concocted an assembly line for painting that was amazing to see. A track with holes in it and rods sticking up that wound around his entire studio back and forth. We painted entire lines of masks from start to finish in amazing time. Each person had a different color and function and as the masks slowly went around you would shadow the mask…or highlight or ad shadows to cuts and so on. We did hundreds at a time. The Terminator masks that we did at that time were neat but I know that the breathing problems I have now were because of Ed’s process. The silver on the T-800 side was bumper chrome spray paint and we wore only dusk masks.

Ed’s mold making process now isn’t as high tech though. Ed’s consisted of taking a foam master and taping it to a table, strapping a metal box around the master and filling the box full of plaster. You could build a house out of these molds. They were enormous and extremely heavy. BUT, they didn’t take a lot of finessing.

HMA: Tell us how Horror Sanctum began.

SM: I had met Dante Renta, Guy Thorpe and Ron Magid while I was working for Distortions in the 80’s and started doing a lot of custom painting for them. I wanted to start doing my own sculptures and masks. They encouraged me to do it. Al Tayor of THS productions contacted me through Jim Lawrence and wanted someone to start a line of masks through THS. Al Taylor wrote a book in the 80’s called Making a Monster, he seemed to know Dick Smith and Rick Baker, all of the makeup artists that did all of the movies that I liked so I jumped at the opportunity. Dante Renta designed my logo and I think Ron came up with the Horror Sanctum name.

I told Al that if we were going to do this I wanted to do certain characters that I though would be really good sellers. I thought The Shape, from Halloween, Jason from Friday the 13th part 2, The Incredible Melting Man and a Rick Baker King Kong, would all do well. He said he would see would he could do. Within a week he called me back and told me that he had procured the rights to all 3 characters. I was thrilled. BUT he had a catch. He wanted me to make a few other characters that he had the rights to, which were Clark Gable, Humphrey Bogart, and a weird alien that John Chambers designed. I told Al that the Bogart and Gable would be a mistake but he said that was the deal. So, I made the Shape using a clay press taken from a Shatner Life cast that Ron or Dante gave me. Carl Fullerton sent me new appliances from his movie molds to make the Jason with. I used a foam latex stunt head from Rick Bakers mold to make the King Kong. But Baker wouldn’t let us use his Melting Man sculptures so I had to make my own. Originally I wanted to do a stage 2 or 3 with the muscle detail on it but Taylor told me he had the rights to the stage 4 makeup only.

HMA: What caused Horror Sanctum to close its doors?

SM: I borrowed a chunk of money from my parents to start Horror Sanctum and it was just enough to buy a barrel of latex and all the materials I needed to start and run it for a while. I started with the Shape and made about 50 of them and started sending them to Al Taylor. Then I made about 50 of the Jason, some of the Melting Man, and some Kongs. I know Tom Savini has one. I kept sending masks to Al Taylor waiting for orders to come in. But they didn’t come. He kept wanting more masks and wanting me to give more and more but I was seeing NO sales. So I finally put my foot down and told him I wasn’t going to make anymore until I saw some money. I remember being threatened by him and I hung up the phone and never talked to him again. I was in a bad marriage at the time and it broke up at the same point. So I packed all the molds up, stored them at my folk’s house and retired Horror Sanctum.

HMA: Tell us about your time at Don Post Studios. Have any interesting stories to share?

SM:In 88 I started sculpting and painting a lot of limited run masks like Freddy and A big Ben from House. I was really into House back then and I wanted a real Ben more than anything. I contacted the artist that created him, James Cummins and asked to buy one from him and he SOLD ME ONE!!! I corresponded back and forth with him for a while, showing him my work. He told me that he was going to do a movie called Boneyard and wanted to hire me as a painted and mold maker. SO, I packed up my new family and moved to West Hollywood, right next door to David Lady and Guy Thorpe.

My wife got a job right away, but the Boneyard project was having trouble getting financial backing. After 2 months I had to get a job. Dante told me to just walk into Don Post’s studio and meet him. I called him and told him who I was and he told me to come in right away. That he wanted to talk to me. I was floored that Don had heard of me. I nervously went in and met him. Don was very nice, had me sit down and asked me what I needed for a salary. I told him what I wanted and he asked me if I spoke Spanish. He then told me that he was opening an operation in Tecate Mexico and wanted me to go down there and teach them how to make EVERYTHING. I swallowed and said I’d need more money to do that and he said fine. When can you start? Now I never even dreamed of worked at Post…and there I was walking through all the masks that I’d seen in magazines from my youth. I remember seeing The Mask (Myers) being haired, I was numb. I went to Mexico with Don 3 days later and taught Mexicans how to make lower end Freddy’s to start.

One funny story I remember is Don taking materials to Mexico. Now to take latex to Mexico in the amounts that was needed Don was supposed to export the barrels and that would have taken a lot of paper work and money that Don wasn’t prepared to spend. Now Tecate is a very small border town in the hills south of San Diego and there really isn’t anything around for 50 miles. So Don and I loaded 12 – 55 gal barrels of latex on a flatbed truck and drove it to a tiny town on the U.S. side of the border and parked it. Then we walked into Mexicoand saw the sites until dark. Then Don Post jr. and I drove the truck to a single strand barbwire fence on the outskirts of town and met another flatbed on the Mexican side and loaded the barrels on that truck. I thought it was funny and kept laughing. Don kept telling me to shut up and hurry. I’ll bet if the boarder patrol had caught us it wouldn’t have been so funny.

One project involved meeting one of my idols. Don was kind of hush-hush about a certain project on that day and hurried us into a meeting room. In that room were all of the Gremlins puppets from Gremlins 2. In walks Don with Rick Baker. I remember being in awe and shook his hand and didn’t say a freaking word. What do you say to one of the masters that he hasn’t heard 5000 times before?
We used to have 30 minutes for lunch and the sculptors and I used to walk to McDonalds about a block away from Don’s Studio. Now I had heard that Freddys boiler room had always been filmed close to that area but never knew where. 4 of us walked into McDs and there, standing in line was Robert England IN FULL FREDDY MAKEUP!!!! All of us freaked out and started pawing at him like groupies. One of the sculptors ran back to the studio to get a Freddy poster for him to sign….AND all he found was a poster of Elvira!!! Robert still signed it and we shook his hand and left.

When I finished in Mexico, Don brought me back to his studio to paint a batch of Universal Monsters for the new Universal Florida theme park. Then I designed the paint schemes for the Dick Tracy line and headed the Robocop line. I learned to make molds the Don Post way from a master mold maker there named John.

I guess my fondest memory of working there was meeting Don. He is the most generous man I had ever met up to that point. I remember being offered the Alligator 2 movie and went to Don to tell him. I remember him saying he was very happy for me and told me that’s how he wanted all his employees to go on to bigger and better things.

HMA: Can you tell us a little about the production process at DP back then?

SM:Don’s process was not as high tech in the paint department as Distortions. But every other part of the process has been done the same way since Don Post Sr. started the company. Pretty much every step is the same as Distortions except painting and washing the blanks. Don has a huge group of ladies that paint the masks 6 at a time. Don washes the blanks in a citrus solution.

HMA: You’ve worked on a few films as well. Can you tell us a little about those?

SM: While working at Post I had met Kelly Mann through Ron Magid and Dante Renta. He called me and asked if I would be interested in working on a sequel to Alligator, a movie made in the 70’s. I said HELL YEAH. I was hired to do all of the painting of the Alligator and assorted creatures and props, Bloody Alligator left over bits and such. From the beginning the movie was kind of doomed. They hired a team of airplane mechanics to make the mechanical Alligator which turned out so heavy that that frame bent from it’s own weight. At that point the only part of the mechanical Alligator that worked was the head movement and the eyes. Kelly and I made a tail section to swing at victims and a head and neck section on wheels to do close-ups and kill everyone. Kelly and I made all the skins and a 30 foot long foam gator that was blown up at the end of the movie. I made a set of little short legs for Tim Conway for a series of video tapes he sold called Dorf. I painted a couple of characters for the Star Tours ride at Disneyland. I also took the Dick Smith Makeup Course.

HMA: You’ve been away from the mask world for a number of years. Why did you leave us? What have you been up to?

SM: Shortly after Alligator 2 wrapped John Aggot the special effects team on the same movie and I made this huge haunted house in a mall in Huntington Beach, Ca. Made about $50,000 on that…I used all movie props for the whole thing and it was amazing. Shortly after that my second marriage ended and I was left living in my car in LA for about 4 months. That was a really crappy time in my life. My ex stole every dime I made on the films and disappeared. I finally got back on my feet and decided the movie industry would have to wait, Ed at Distortions wanted me to fly back to Greeley and show him some of the materials and techniques I had learned in the movies and at Don Post. So I went back and worked with him for about a year. I started feeling unhappy there and wanted more. So I quit and went back to college and got my degree in Electronics and Computer science.

After college I went back to California and was a partner in a video streaming and website hosting business. I made really good money there for about 6 years until the I.T crash in 99′. I then moved to the middle of nowhere and work for a heating and cooling business. All the while I’ve been working on small things, model dioramas, and things like that. Some of my past and present work can be seen at: http://s234photobucket.com/albums/ee110/RedDwarf81/

HMA: What does the future hold for Sam McCain and Horror Sanctum?

SM: Well, the future is looking very bright for Horror Sanctum. I decided to bring back a couple of the characters that I did back then. For instance, very limited runs of The Shape and Jason 2 were done. I’m also going to do other characters that I like and have always wanted to do as limited edition collectibles. I’m going to do some of my early designs as mass produced characters that Jeff Keim at Death Studios is going to carry for me.

As for myself…age is creeping up on me. I found myself feeling empty since I haven’t had much of an outlet for my creativity. I have this enormous amount of knowledge in my head and I need to get it out. I had a bad accident last year and ripped my right forearm to the bone…required close to 100 stitches to repair the damage. But I didn’t damage my hand at all. That got me thinking that I had better do what I do best, before time runs out.

I’d like to thank everyone for their encouragement and kind words since I’ve been back, especially Eric Austin. If it wasn’t for him selling my Shape on EBay for $2000.00 I would probably have not come out of retirement.

If you’d like to contact Sam, drop him an email at

HMA.: So Joe, tell me what originally got you into all of this?

JD: In 1966 my friend showed me his copy of Famous Monsters magazine and I loved it. I bought Dick Smith’s Monster Makeup Handbook and wanted to make my own monsters. In 1967, for Halloween, I did my very first makeup: a greasepaint ghoul with a Styrofoam wig black head with plastic tubes for veins. I was 10 years old. I learned about the Alcone Theatrical Supply Company in New York and bought some latex and started doing cotton and latex makeup.

HMA: As a kid were you a big fan of Halloween, trick or treating, costumes, masks, etc?

JD: I loved Halloween! Halloween then is not like it is today though. There were no haunted house displays or lots of decorations. It was fun. You didn’t need a gun for protection just to go trick or treating back then.

HMA: Do you remember the first mask you ever owned?

JD: I never had masks. I loved them, I just couldn’t afford them. Mom and Dad thought it was a waste of money to use once. Besides, Mom said it was better to make your own costume.

HMA: At what point did you begin to experiment with sculpting?

JD: The sculpting actually started with cotton and latex around 10 or 11 years old. Clay sculpts started around 13 years old. I actually still have the first head I ever sculpted and molded and later filled with foam.

HMA: I know you’ve worked on many films and television shows. What was the first break into the business?

JD: It depends on what you mean by first break. The first job in Los Angeles I got paid for was for being a sound boom man on a couple of adult pictures. “Lust in Space”and “Vixanna’s Revenge”. That was an eye opening experience! Hey, it paid the rent. The first makeup work was a J.C. Penny’s commercial creating an old prospector makeup.

HMA: What was it like to work with John Buechler and Magical Media Industries?

JD: First off, the name of John Buechler’s company back then was Mechanical and Makeup Imageries. I worked on nine movies and one album cover in fourteen months. We worked on two to three pictures at any one time. “From Beyond” was the first and I left in the beginning of “Garbage Pail Kids”. He was a head strong, strong-willed leader who surrounded himself with extremely talented people in their early careers.

HMA: Tell me your favorite and least favorite projects you worked on in film and TV.

JD: My favorite job in the movies has to be on the remake of “The Blob”; my last picture. I was making $1200 a week and self-employed. Which means no taxes was taken out! It was about 11:00 or 12:00 at night and I’m crawling all over this huge silk and gelatin bag with several other people. I was exhausted, hungry and sweaty and realizing how much I love this. The worst job was Garbage Pail Kids. I was sculpting pre-production concepts for the movie. I think it was the supervising producer John Strong, who hated Buechler and his work and voiced his opinion graphically to Buechler’s face in front of the whole crew every day! I was stuck in the middle, having to listen to the battles and trying to sculpt Buechler’s ideas, which I didn’t agree with. It was time to go.

HMA: Were you able to keep any cool props from back in the day?

JD: No. I still have a nifty crew coat from “The Blob”. I did have a few foam “Mac and Me” skins, but I gave them away along time ago.

HMA: I’m sorry, but I have to ask. Did you really work on Starship’s “We built this city” video? Were you aware that particular album ranks as the worst record ever, according to Blender’s ranking of reeking tunes?

JD: There’s a shot in the video where the group sings to the Lincoln Memorial. Lincoln stands up and sings back. That’s the part I did. Two and a half hours of makeup and eleven hours to shoot that one shot. The actor was bald and beardless which I didn’t know till the morning of the shoot! I wanted white contact lenses but the producer didn’t want to pay for the $250.00 for one days work! I do have the background effects reel from that video. P.S. they played that song for eleven hours straight!

HMA: You’ve sculpted many masks and monsters over the years, but in particular, I’d like to know more about the work you did for The Halloween Society back in the 80’s.

JD: I first met Ron Magid while working on “From Beyond”. He was interviewing Beuchler for an American Cinematographer article. Tom Floutz was having problems casting “The Hunchback” so I figured out a solution. Ron had asked if I would like to do “The Bride of Frankenstein”. I said I would if I could do it more life-like. He agreed. He was critical of its progress and so was I. I think it turned out pretty good, for it’s time.

HMA: Tell us a little about other mask and busts projects you worked on, outside of The H.S.

JD: I moved back to Jersey in 1988 and started a company called Character Collectables. One product line was character wall mounts. Such as Alfred E Newman, Laurel and Hardy, and side show performers cast in Ultracal. At this time I met a guy from New York named Bob Nardi. With him I did “Curse of the Demon”, “Colossus of New York”, and some very questionable side projects. A resin cast of an Imir was one. An original mold of “The Creature from the Black Lagoon” under water head was another. I needed the money so I did the projects without question. Our collaboration lasted only about two years until I found out he was over charging on the “demon” and cheating me on the money split; His loss.

HMA: I’ve heard a funny, little story about you and the infamous, Aztec Mummy. Would you care to elaborate on this?

JD: I met a man in California named Johnny Legend, who released wrestling videos. He wanted a mask of the “Aztec Mummy” from “Wrestling Women and the Aztec Mummy”. There was one condition; Secrecy! The Aztec Mummy was going to return to the wrestling ring. Okay! The deal was for cash and back issues of Famous Monster magazines for two Mummy masks and the mold. Two masks were made with twelve-inch zippers cast in the back of the heads. He was a great guy to do business with; a rarity in mask making! Jump forward about 10 years or so. Fangoria I think did an article on finding the original Aztec Mummy Mask! Wow! I’d finally get to see the original. Low and behold, guess whose mask this was? David Lady has a picture and article of the mask in his first Mask Collectors Guide done by “some unknown artist”. Hmmm!

HMA: What have you been up to since your hiatus from film, TV, and monsters?

JD: Not what I should have been doing! Besides that, I worked for 9 years at Capitol Ornamental Concrete in New Jersey designing, fabricating and restoring statues and fountains. Loved working for a great company who took good care of me. Even managed to create and restore some gargoyles! At this time I hired a very talented man by the name of Steve Varneke who needed his chance. We worked together building and restoring garden ornaments and fountains. A man from England who wanted “Indiana Jones” foam-filled busts to sell contacted us. This commission turned into a major nightmare. For six months we received several emails a day and ten or so new pictures every week for sculpting revisions and upgrades! He was using Harrison Ford’s entire acting career as reference for the “Indiana Jones” bust! No matter how we’d try to please him, it was never the way he wanted it. The problem was he didn’t know what he wanted! The outcome was he despised it so much he dumped the one finished piece on Ebay. Because of all this day to day crap the partnership between Steve and I ended and so did “Bullseye Reproductions”. I also haven’t sculpted a bust since then and that was in 2000.

HMA: Do you have any interest in coming back to mask making? What can The H.M.A. do to convince you to come back and bring us more, spectacular creations?

JD: I lost my job at a concrete ornament company in Arizona in April 2007. I have the time but don’t have a shop, materials, or money. Hell, I don’t even have a place to make a shop! Other than those tiny problems, I don’t see why not. LOL

HMA: Who wins in ’08?

JD: Does it matter? Really? LOL