The FilmMasons Interview - Todd Masters

The FilmMasons: First off The FilmMasons would like to think you for taking the time and effort out of your busy schedule to do this interview.

Todd Masters: Thanks for having me.


TFM: Let’s go way back to Night of the Creeps, you’re credited with dimensional animation effects, what exactly did that entail?

TM: I was one of few, on a small team creating the miniatures & miniature creeps for the the basement set, re-shoot...Diana Williams, Tony Rupprecht & Anthony Laudati...working for Ted Rae, out of Jim Danforth’s animation & FX studio. (I had just finished working with Mr. Danforth on a Twilight Zone episode...so I just rolled into this). We made a small animation set and a pile of these little critters, approx 4” long out of foam & wire...and this large mass of creeps, a pyramid of creeps, seen in the basement at the end of the movie. Ted did the animation, I animated the camera on a couple takes...and the flashlight...I think. But I who knows which take’s finally in the movie.


TFM: How much of your work do we see in A Nightmare on Elm St 5?

TM: Actually quite a bit from our team is sprinkled throughout..let’s see if I can remember : Greta’s Nightmare sequence was our sequence (the MUFX sequences for the whole show were divided between: David Miller, myself, Rick Lazzerini, & Chris Biggs...and these new guys, Kurtzman, Nicotero & Berger.) When the show was going long, into pick-ups and add-ons, we started contributing to nearly every sequence in the film, notably Chris’s Motorcycle Sequence (I even played Freddy for this sequence – but then got cut-out)... & the ending sequence...dang, need to watch this again to remember.


TFM: Going through the movies & TV shows you have worked on, you seem to have an attraction to bloodsuckers, is this just how the cards fell, or do you have a soft spot for the undead?

TM: Haha, no soft vein for the fang-bangers; however I find them very entertaining characters for film...As long as they don’t start sparkling.


TFM: There was a lot of talk of how horrible the shoot for Hellraiser : Bloodline was, so much so the director chose to remove his name from the picture, what was your experience?

TM: Yikes, you have done some research...well, I came on after Kevin had left the building. I was working for Miramax on some other shows as Visual FX Producer, and they asked me to step in for some Hellraising help. I review what was shot, which was epic, but in a complete jumble; it needed a reboot...as the Weinsteins didn’t want to loose the franchise. We were unfortunately stuck with many FX that were already shot and poorly designed...and jumped in as best we could. We ended up dumping a few of the FX shots that they had started...added a few more MUFX for the new edit, and I stayed around to keep a pulse on the VFX in Post as long as I could.


TFM: Your work has a huge range from awesome work in Demon Knight, or subtle work on shows like Six Feet Under, which do you find harder and which do you prefer?

TM: Honestly, it’s all good...and having the creative range of opportunities is what we like best. Subtle and real can be as challenging as creating a unique and original creature. Ultimately preference comes from the teams and productions we work with. Demon Knight & 6’ were both amazing experiences, creatively and otherwise. Great Producers & crew.


DA: A member from our group, Kellie, would like to ask you what the cast of Vampire Diaries is like to work with especially Ian Somerhalder and Paul Wesley?

TM: Well, I personally was onset for the Pilot, but not any of the following episodes...we support the show with FX, here and there, but since the Pilot, they relocated to Atlanta. Conor McCullagh leads the MUFX out in Atlanta for the series.


TFM: I have recently discovered Carnivàle on one of our cable networks here in Australia and it’s a fantastic show. What did you have to create for the show?

TM: We did the MUFX for the first season...Gecko, the twins, age makeup's, FX, etc... I can share pix if you’d like.


TFM: Looking back at all the movies and TV shows that have come and gone, what is the one project you wish you had been involved in and why?

TM: I wish I was part of Baywatch.


TFM: Another member from our group, Traci, is very interested in your work on Stargate & True Blood. How do you approach projects that are polar opposites such as these two?

TM: Pretty much the same approach in terms of script breakdown, understanding the tone of the show, what designs would be appropriate...and go for it. It helps to not have an evasive style that limits the work. Each show should have it’s own style and maybe even signature of deign that fits (or doesn’t fit.) Some of this comes from Production (as in Stargate has a great Art Dept) and some of it comes form us – I ilke to draw out everything possible to communicate. Much like designing sets or many other aspects of filmmaking, the piece that we are contributing has to marry into the other pieces. It’s often an invisible puzzle that only reveals itself in the final edit.


TFM: Now moving to something a little less serious, can you elaborate on your work with the Robot Chicken team?

TM: Dang, where do you get your info!!? I’m buds with one of the show’s creators, and they asked me over to watch some ‘weeklies’ once (since it’s animation, they don’t really show ‘dailies’, instead compile it all together for an end-of week social, group review: ‘Weeklies” I had so much fun at a few of these, I said...”hey if you guys ever need any help...I used to build animation puppets.” And before I knew it, I was their newest P/A...on the puppet assembly lines. I made some flying monkeys and a few other things for them, during only a couple visits to their shop. Lots of fun, but not really a large element to their team. I just eat their pizza.


TFM: King of Vampires is not only your latest effects project, but also I believe your first project as producer, how did this come about, and what can you tell us about it?

TM: Not much yet unfortunately. Hopefully soon.


TFM: You received a special thanks nod on the Puppet Master II credits, what was that for?

TM: I have no idea!!? That’s funny, I wonder...


TFM: What would the biggest no-no be for someone starting out in the make-up industry?

TM: Selfishness and a sense of entitlement kinda can suck away any good stuff of a starter-up. But confidence is a must. Individuals who go far in this biz, seem to know when one begins and the other ends...personality is often as important as skill & art abilities. Other big no-no is waiting for shit to stink...


TFM: Apart from King of Vampires, is there anything up and coming you tell us about?

TM: Uh, can’t really...


TFM: Todd Masters thank you so much for your time.

TM: Thank you!