OF MICE AND MONSTERS:
AN INTERVIEW WITH BRIAN WADE

Working in the film industry as a Special Effects Artist for 25 years, Brian Wade has been there...done that. Having worked alongside pioneers in the field, Rick Baker and Rob Bottin in the 1980s, Brian went on to develop quite an impressive CV. From John Carpenter's The Thing to The Terminator, A.I. to Hellboy, designing Stuart Little and just recently working on The Chronicles of Narnia: Prince Caspian - it's safe to say that Brian is quite happy doing what he does best.

EC: Welcome to Erth Chronicles Brian.

BW: Glad to be here.

EC: You have worked on some of the most ground breaking movies of the past 25 years – most notably being given one of your first big breaks on John Carpenter’s The Thing. How was this experience for you and what were the most important things you learned from Rob Bottin?

BW: That was a great show indeed. It was a real trial by fire. We worked seven days a week for months straight. Sometimes sleeping at the studio.

For me, working with Rob at such an early point in my carreer, had a huge impact on the way I learned to look at makeup effects. What the script says and what you can put into those moments are only limited by your imagination.

EC: Other than Bottin, artistically, who have been the main people to inspire you in your life?

BW: Well, if you’re looking for my creative mentors, I'd have to say first Rick Baker, and then Dick Smith and again Rob Bottin.

Rick and Rob are two different styles of creativity, and perspective. Both equal in their own unique style of creativity, but from different perspectives.
Dick Smilth gets my utmost respect for pioneering his creativity, his development of so many techniques, for sharing them so freely, and for his truly exceptional work throughout the years.

Over the past few years there have emerged a lot of new concept artists that are bringing a breath of fresh air to makeup effects and creature design. I am loving that.

I feel like a bit of an artistic chameleon of sorts. By that I mean, I have worked with so many artists of such varying styles that have had a huge impact on my way of looking at things. I remember everything I have ever been influenced by artistically, and creatively, but I like to bring something new to the table.

EC: Where were you brought up and how do you feel this may have imprinted on your visual style?

BW: I was brought up in the Studio City, North Hollywood area, which for a while was pretty much the makeup effects capitol of the world. So I'd have to say that was good fortune. There are so many artists in the business, and they were the cream of the crop. So that tends to raise your awareness of what you should be striving towards. That drove me to work hard to be better than I was.

EC: What’s the first film you remember seeing that had an influence on you?

BW: Well, Frankenstein, and Creature from The Black Lagoon were early favorites. I thought the Creature was amazing. Still do. But when makeup effects started to be like an obsession to me was around 1974 to 1976. I remember seeing a low budget movie called It's Alive. It had this really well done mutant killer baby in it and it was a nice design. This was Rick Bakers early work. Then later in 1976 I saw Squirm, about some worms that were eating people, a terrible premise. In one shot this guy falls down in a boat filled with these worms, and when he raises back up into the shot, you see the worms eating into his face, and moving under his skin. It was done on camera, their was no such thing as CG at the time, and I remember thinking, “How did they do that?”. It was makeup done by Rick Baker, and it drove me to push myself more intensely into makeup effects.

EC: Films such as The Thing and An American Werewolf in London have certainly had an influence on my life growing up in the 80s and I’m sure have crept into Erth Chronicles – what is it do you think that makes the 80s such an important decade in terms of nostalgia and visual effects?

BW: Well, probably because so many new techniques were being implemented and also because it was in the time before computer generated effects had taken hold. We were forced to use our imagination to solve these effects in a practical, real time fashion, and I think people loved that about it. It was like doing a magic trick. Everyone loves seeing something with their own eyes that fools them. I think audiences would love to see more of that. Now they just assume its all done in CG, and it takes some of the mystique away from it.

EC: Explain your process of working.

BW: Well, it can go many ways, but usually I start with a design phase which can involve studies in clay or in the computer to develop the concept and give production an idea of what they want or the possibilities. I usually try to keep the context of what the story requires, and try to push it in a visual way that can convey the character, creature, or makeup in the most effective way - particularly if the opportunity and production will allow for it. The rest is a variety of techniques to implement the design into a real world makeup or effect.

EC: You have had the chance to work on some very impressive films, from The Terminator to Hellboy – what is it you learn each time from working on a new project?

BW: Each film seems to have a life of its own. From the production side, and the people and personalities involved, all the way to the on-set crew. The people involved can have a huge influence on the experience for me. I always hope to be working with good people, but it doesn't always work out that way, and sometimes that's disappointing. But that's the business for you.

Guillermo del Toro was a real pleasure to work with. He approved my design right away and even made a nice suggestion that I liked. He remembered me by name every time he saw me and always had a positive attitude – he’s one of my favorite directors. Jim Cameron and I worked prior to Terminator back in the Roger Corman Studio days on Galaxy Of Terror, then again on Piranah 2, and he was a talented and extremely creative guy back then as well. He's as sharp as they come.

EC: What project are you currently working on?

BW: I am currently creating a 3D model for a computer game and prepping for a show that involves some heavily gruesome and graphic Makeup Effects scenes in it.

EC: How important do you feel conceptual art is to the role of an effects artist?

BW: I think a good design is paramount. So conceptual art, in all its forms is extremely important. You need to convey your ideas in a manner that everyone involved can clearly see what direction you are going in.

EC: Research is an integral part of the design process – do you feel that this helps inform us as individuals and therefore the work we produce? What would you use as an example of ill informed design?

BW: Yes, research and studying is also an important part of the process. The more knowledge you gain from all the vast resources available, the more well informed you are as an artist and the more this knowledge becomes part of your repertoire. I would rather not mention any designs I am not fond of.

EC: What do you feel is the common trait we all share as creatives?

BW: The desire to push ourselves creatively and technically. The passion for our craft that makes us work so hard and sometimes put our artistic needs before everything else. The respect for other creative artists that excel in their craft. It's all an obsession of sorts I suppose. Simply put, we can't help it. It's what we love, what we live for, our ‘Raison d'être’.

EC: In your experience so far, specifically the film industry - how important is art direction? How has it helped push your own vision further?

BW: I think it is important for everyone to be on the same page, so it is important. It can give you a sense of the visual style involved and help guide your thinking in the direction production is looking for. It can inspire.

EC: What is the process of creating artwork for such huge projects like? The concept, the fine-tuning, the development?

BW: Generally it starts off by discussing the scene or character with the Director to see what his take on it is. From there some sketches and Photoshop renderings, then a review of the concept art to show the director the possibilities. If there are revisions or a new direction, it is done and the final concept is locked down. Sometimes sculpted clay maquettes are done to help aid in the development of the process.

EC: Do you think digital art and the use of CGI has affected traditional techniques - if so, in what way?

BW: The availability and creative strength of so many programs ranging from Photoshop, Correll Painter, Zbrush, Maya, Softimage, etc, have opened a huge door creatively for artists and creatives. The sky is literally the limit, and the options are wide and varied. It is now so much easier and quicker for some artist to render their work with the aid of some digital means. It is a very useful adjunct to traditional techniques. They all serve to supplement the traditional artists repertoire of tools. In film, they have all definitely affected the way things are done, and digital programs are here to stay. But, they are only tools. They don't think up or make good ideas. The appeal of an effect, a design, or a character, all hinge on a good idea or concept. That will always be the case, and it should always be paramount, regardless of what medium or means is used to realise the idea.

EC: With films such as Slither, do you think we are about to see more of a resurgence in traditional effects over CGI?

BW: Well I haven't seen Slither, but I think I understand where your going with this. I would like to see more makeup effects being used as opposed to CG. It all depends on the shot, and the needs of each project. But I don't think that particular film will be the reason for a return to more makeup effects, regardless of the fine work done by the artists involved.

EC: Fantasy and Science Fiction has grown tremendously the past ten years, thanks to the likes of The Lord of the Rings Trilogy and The Chronicles of Narnia, continuing to inspire many fellow artists. How do you see this genre changing and developing over the next few years?

BW: I think it will continue to develop as long as audiences are interested. I think their has been a real lack of good stories and original ideas in films over the past several years. That has been a complaint of many moviegoers over the past few years. Look at how many movies are being remade for this generation. Many of them paling in comparison to the original versions. With films like The Lord of the Rings Trilogy and The Chronicles of Narnia, they are both top selling book series' both with built in fan bases and followings. So producers look to properties like these for a safe potential return on their investments. The Industry will always go in the direction that moviegoers are most interested in, and what translates into the most profit. New artists seeing these films may very well be inspired by them and continue to develop their craft with inspiration from films like these and many others.

EC: What’s the most important professional advice you would give a prospective artist?

BW: I would say to follow ones dreams and creative passions, no matter what, and to work hard to develop your craft, for yourself as well as others. If it is something you feel compelled to do, do it. Don't let anything discourage you or sway you. Hopefully, you are passionate about it, and then you can’t help but to do it.

EC: Are there any filmmakers that you’d still like to collaborate with?

BW: Jim Cameron and Guillermo del Toro were both great to work with, but other favorites I would like to work with would be Ridley Scott, and David Fincher.

EC: What advice would you give to artists at Erth Chronicles in continuing to effectively bring someone else’s vision to life?

BW: I would have to say try to make sure you communicate effectively with the client, and be ready to be open to compromises. It is always a good idea to bring a few of your own ideas to the table, so that they can see other possibilities that they might not be aware of, maybe a new possibility or direction on the general idea. Make sure you have all the resources to fulfil the vision, and try to exceed their expectations whenever possible.

You can check out more of Brian getting his hands bloody over at www.myspace.com/brianwademakeup.

Back