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The trick is to be creative, open minded and always do your best. Starting bids and estimates are prepared well in advance of the sale and can be subject to revision. Steve Wang is an award-winning Hollywood renaissance man: producer; director; screenwriter; and special effects make-up artist. Payment Details: Payment is expected in full within 7 calendar days of the sale, or within 5 calendar Steve wang latex masks of the invoice date, whichever is later. Jul 31pm. Online Collectibles Auctions. Welcome to the New Lot Closing Notification Feature Subscribing to the Lot Closing Notification for an item will trigger our system to notify you about minutes before the bidding closes. Auctioneer's Auctions Steve wang latex masks bidders shall be Steev with an invoice within 48 hours after the conclusion of the auction. He just wants to create and is very dedicated to doing Boat bottom glass sales best job he possibly can.
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Email address. In Taiwan, my family lived near a big movie theater. This kid could draw with an ink pen and never erase! Mexico Hong Kong Painting Mask Making Teeth Eyes nails. Check out Steve wang latex masks feature of Steve Wang's new lineup, and get thoughts from the master himself. It was so much Steve wang latex masks, I wondered why anyone would want to become involved in the movies, but when it was all done I got bit by the bug. See each listing for international shipping options and costs. Watch on your computer, phone or tablet. LMC: Do you attribute your great talent to a lot of hard work, or did a lot of it come naturally to you?
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- When I visited his workshop in the valley, I was filed with new hope the minute I walked in the door.
- In our exclusive, brief video interview with Steve, he talks about discovering latex masks at a toy store in his adopted country, the lessons he learned from his tenure with Stan Winston Studio and finally some advice for the too easily distracted youth coming up in the industry today.
When I visited his workshop in the valley, I was filed with new hope the minute I walked in the door. No one was hunched over a computer, it reeked of epoxy, and people were working together on a number of elements with their bare hands. Steve Wang is keeping the dream alive. VICE: You became interested in special effects makeup because as a kid you had a large collection of Halloween latex masks?
I was about nine and a half. Right as we arrived Halloween was coming up, so when I saw all of those full-headed latex Halloween masks in the store, it just blew my mind. I was already obsessed with monsters so to see them rendered out like that, my little kid mind said, Does not compute. What type of monsters were you into? I liked all the weird ones. I was so in love with latex masks I started to bug my Grandma to get me one. From then on I got one every year from my family.
After four years of saving up allowance and doing chores, I accumulated about 30 masks. By the time I was 14, I decided it was time for me to learn how to make them. Without the internet how were you able to learn about making latex monster masks? Back then makeup effects were still pretty new. I found some books about theatrical makeup and some famous monster magazines. I would flip through them and scour the photos for information.
Then I discovered Cinemagic magazine. Two issues changed my life--so much so that I still have them. You were making latex masks at home when you were a teenager? My mom thought I was crazy. The first year I started making them I was in my bedroom 18 hours a day just sculpting. I made a mess of the garage using plaster, making molds, and learning how to use latex. She was so worried about me. Do you think she was concerned about your psyche because you were making frightening monsters?
No, not at all. When you come from a Chinese family, the standards for success are high and there are expectations. I had no interest in becoming a doctor, lawyer, or engineer.
I just wanted to make monsters. He came in ready to change my life but when he saw all the masks in my room he was amazed. What drew you to the tokusatsu superhero? In Taiwan, my family lived near a big movie theater.
If anything changed my life it was the day I saw a three-story high billboard of Ultraman fighting a couple of monsters. Professionally, I had the great honor of going to Japan and visiting Tsuburaya Studios and meeting the family who created Ultraman, as well as a lot of the people who worked on the Godzilla movies--basically I met everyone I admired as a kid.
While working on the creature effects for Gillman from the Monster Squad , you developed a seamless rubber suit. The suit technology created for Monster Squad is now an industry standard. In the 90s I made further developments by placing compression springs, body armor, and boning inside the suits to get rid of all the buckling in the arms and the crotch.
You also brought Guyver and a modern version of Kamen Rider to the American audience. It was my lifelong dream to do Kamen Rider. Unfortunately creator Shotaro Ishinomori died before he could see my version.
That broke my heart. Not long after the Monster Squad you were working on Predator. How many versions did the Predator costume go through?
There were two versions. The original was done in by Boss Films and was this strange-looking horse skull. It proved to be really impractical so they shut down production to redesign it. At the time I was working over at Stan Winston and together we could bounce ideas back and forth. The final suit and design was made in two months.
Did you know at the time Predator would have a huge cult following with people who follow the design of the suit and spend years making replica costumes? I had no idea. I was 21 at the time. One of my favorite movies you've directed is Kung Fu Rascals, which is based on a movie you made originally made in 8mm. It was made on weekends over the course of six months. It was so much work, I wondered why anyone would want to become involved in the movies, but when it was all done I got bit by the bug.
Have you ever shown the 8mm version? No, aside from my friends back home no one else has seen the original Kung Fu Rascals. The only form that it exists in now is on VHS. Here you were, working one blockbuster after another. What made you decide to go back and revisit a labor of love? At that point of my life, I got sick of makeup effects and had worked so hard I overexerted myself. I wanted to do something fun with my friends and colleagues. Do you ever feel the pressure that makeup and practical effects will become obsolete with all the new advancements in CGI?
However, they call me to make practical elements of their creations for display in the real world—and they are so appreciative of it. People loved us. What was the first sign that practical effects were in danger?
It came on a lot faster than expected. When we all first saw Jurassic Park we knew it meant trouble. I always thought there was a conspiracy against us. All these new companies created a technology that they had to sell to people.
When someone hears "practical is limited" over and over again, our involvement in filmmaking became diminished. Our business is dying. Is there any new technology you are excited about? Previously - Off Hollywood - Sybil Danning. This story is over 5 years old.
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It was made on weekends over the course of six months. Do you think she was concerned about your psyche because you were making frightening monsters? VICE: You became interested in special effects makeup because as a kid you had a large collection of Halloween latex masks? Jul 31 , pm. Smiffys Start My Free Trial. You were making latex masks at home when you were a teenager?
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Biomorph Steve Wang Fear mask
In our exclusive, brief video interview with Steve, he talks about discovering latex masks at a toy store in his adopted country, the lessons he learned from his tenure with Stan Winston Studio and finally some advice for the too easily distracted youth coming up in the industry today. Steve art directed much of the paint scheme for the finished Predator for Stan Winston Studio. Award winning special effects character creation artist and respected monster maker, Steve Wang, was born in Taiwan and moved to the United States at the age of 9.
As a veteran special makeup effects artist and creature designer, Steve has worked with fellow veterans before him including Stan Winston, Rick Baker and Dick Smith. I had to know how they were made. According to Steve, he proposed a frog-like paint scheme that Stan vetoed. They write, produce, and direct as the "The Wang Brothers. Steve goes on to give some advice to those who might have aspirations in the effects field.
Work hard. Steve Wang personifies passionate dedication to his craft. Start My Free Trial. Related Posts. All rights reserved.