My very first paying job ever was this sculpture I made for Jennifer 8
of a decompsing, severed hand. I worked under Michael Westmore
who also hired me to sculpt aliens for him on Star Trek: The Next
Generation and Star Trek: Deep Space Nine.

I got the opportunity to let my imagination go wild and ended up
sculpting lots of alien characters including Morn and Tosk as well as
some seldom seen beings shown here.

Severed hand in Jennifer 8.
Fire sculptor from ST: TNG
Background alien from DS9 and TNG
Morn from Star Trek: DS9
My original Tosk sculpture for "Captive Pursuit"
After that, I was hired to sculpt and paint all the Goomba characters for Super Mario Brothers.

I sculpted 4 different Goomba heads based on designs by Patrick Tatapolous.
I painted many of the same heads with different color schemes and was able to create many different looks to the same head. I tried to make them as realistic as possible, using transparent drawing inks sprayed through an airbrush.

I spent about 3 months in North Carolina during the shooting to maintain the Goomba skins. It was tedious but fun and well worth it.

A lizard Goomba.
A rarely seen snake Goomba.
After awhile, my Pasche just became an extension of my arm.
For Gone Fishin’, I sculpted a realistic alligator using
refernce photos from my local zoo. It had to have an
identifiable characteristic so I decided to use a bright
orange eye as the look of “Mad Maggie”. We cast the
skin in silicone and I painted it using silicone paints.
Painting "Mad Maggie" from Gone Fishin'
The unused 16 foot gator from Ace Ventura: When Nature Calls
For this scene in Ace Ventura: When Nature Calls (that ended up on
the cutting room floor), I foam sculpted hundreds of scales and also painted this 16 foot alligator that was constructed mainly out of couch foam material.
It was designed to have Jim Carrey spill out of it’s belly at the right
moment in the scene. Unfortunately, it was never filmed.
This tortoise had head movemment via remote control
My original maquette for Dark Skies
A W.E.D. clay sculpture of the Roswell alien
For a South American Pepsi com-
mercial, I sculpted a giant tortoise from a live model in about a day to meet the extreme deadline. The pieces were molded and cast from latex and polyfoam and added to a
fibreglass shell which concealed
the animatronics underneath.
Following that I did some design
work for Dark Skies. I sculpted
a maquette of my design for the
Roswell aliens. Ultimately, a
different design was chosen. I
did however, have the pleasure
of sculpting the alien that was
found dead in that famous Ros-
well crash. Pictured at right.
On Star Trek: First Contact, I had several responsibilities including painting Borg suit, sculpting Borg arms and co-sculpting these Federation helmets.
For Deep Rising, I spent months developing an aquatic paint
scheme for the underwater sea creature that was ultimately
scanned into a computer and used for their CGI models.
I also painted models for the large head at the finale and some of
the victims from the sea creature.

My favorite of the victims was this body that rolls in on the waves.
In the film, you cannot see it very well, but in person up close,
the victim looks really cool, almost zombie-like.

The body was made out of translucent silicone. I painted it using
silicones mixed with dry powders and thinned out with Naptha.
When we finally saw the completed body, hair punched and eyes in,
in the crate ready for shipping, it was quite a sight. He looked really
creepy. Too bad you never saw it in the movie.

For Fear & Loathing in Las Vegas, I painted nearly all of the
lounge lizards. Due to tight scheduling, I was given 1 day
to paint each of them, including head, hands, and tails.
I used acrylic paints on the foam rubber skins and sealed
them with a polyurethane sealer.

Twelve or thirteen different paint schemes came out of the
3 different sculptures that were shot to look like many more.
I based their colorations from real exotic lizards I referenced
in a thick reptile book.

I also got the opportunity to paint their sickly, gross tongues
which were only briefly glimpsed in the film. In addition to
painting the heads skins, I was also responsible for sculpting
all their hands and tails, including the one that Johnny Depp
wears in the film.

I did go to set on this one to maintain & help puppeteer the
lizards. I did not get to meet Johnny Depp but I did meet Terry
Gilliam.

In Charlie’s Angels, I met L.L. Cool J which was great. He sat for me as I matched his skin tone
to a bust we cast of him previously. I used that as reference for painting 3 seperate skins made
from a very soft silicone. We took pictures of him side by side and it was a perfect match.
In Magnolia, I led a team of 4 airbrushers in
painting nearly 500 frogs to be used in practical
and fx shots, and medium closeup shots.

The frogs were made mostly of thermal gel.
They were base coated in a tinted, sprayable
white sealant as a foundation, then detailed and
colored with acrylic paints and finally sealed
with a clearcoat. This was repeated in layers to
retain the elasticity of the thermal gel.

In addition, the frogs were scanned into the
computer and replicated hundreds of times
for CG chots as well as some very detailed
close up shots of a falling frog seen at left.

For Blade 2, I was hired to design a Reaper paintjob that could be
consistently re-created for multiple days of shooting. Using pre-
determined colors from a paint test of the original Reaper and
a stencil created off several different models that I painted, I was able to
guide my team into satisfactory results while getting a great look.

The makeups the actors wore were mostly foam latex pre-painted with
either rubber cement paints or acrylic paints. I was also responsible
for painting prop heads and fx heads that were made of silicone.
The silicone paints were mixed to match the foam latex paints
so that the foam latex makeups were indistinguishable from the silicone
heads.

In Dreamcatcher, I painted several of the weasels appearing in the movie.
They were also made of silicone and I used the same acrylic colors sealed
over with a sealant technique that I had been using before.

I also painted the models of the aliens in their true and alien forms that
were scanned and used in the CG shots. Director Lawrence Kasdan was
very specific about his ideas for the look of the aliens which are represented
here.

In Star Trek: Nemesis, I painted several heads for the disintegrating Romulan
sequence. They were made to look like ash. Several colors were actually
used to achieve this effect which appeared merely grey.

In addition, I also painted many of the Android skin & metallic parts for B4
that Data, Picard and Worf find on the planet. For the metallic parts, we cast
the parts in a resin that was sanded smooth. A metal based color was applied
and buffed to a metallic finish that fooled even the naked eye.

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