**The Art of Creating Believable Creatures**

Tryna make these particular renditions exactly as there was in the movie, the only thing is I try and blur that line between real and fake. You know with the makeup, I don't really show the obvious seems too much. You know I don't really try to meet this would look obviously if this was on the film set. This would be a pastel and spongy grey right, right so sometimes if I'm not gonna behind the scenes and I try to make it with the real creature may have a lot in it's kind of amalgamating all those the soul is personality the actor the makeup I try and make it all into one. You really appreciate also the filmmaking aspect of absolutely, yeah you know what a wonderful film is.

Well speaking of filmmaking, you had some direct hand in recent films you or one of the character artists designing redesigning the creature for The Shape of Water that's right. Yeah, yeah Guillermo we talked about that well you know gamo came to me it already had legacy effects to do the creature so I got to work with legacy effects and he might want me to come in and put my spin on it. He says "my question soul into things" so you wanted me to do that aspect so I came in and just kind of put my little to spin on things. You know, but it was there was a group of actors involved, it wasn't just myself but I felt like in terms of designing an underwater creature or something pay homage to the creature well.

Well, well we know we had a massive guideline in the sense that you know like you see myself we had to make some real it was it was attractive somewhat yeah you know and that was my first little maquettes that were previously done and Dave grass of David Ming did the original maquettes which are beautiful and then legacy took them amalgamated to one creature that it was a wonderful fantastic design but when I read the script I get to certain things that I personally would have changed. But that's my personal taste which I did so I made him more sleeker, you know unless plates just to game on. I discussed and she may have discussed it we all knew that we should make it more life in fact we said more like a lot very vascular and we use Calif as a reference, Colossus that our physique yells that picture is a handsome physique and also the paint job too.

Yeah well the director was the Dima one in an attractive because you know we watch the movie and the lady has to find it a meteor affected yeah so it's not an easy task when you're putting the features of a man and a fish together and there's a bleed over two other creatures have been dormant could you can't help I mean you got these you put them all together so I just went Lizzy went in and sculpted attractive lips. Figure if she's gonna kiss him let's make his lips attractive so then you look and then you start to come out from there. So then it gave him a nice square jaw and a question all the things that had super made her ear West pencil with a fish, it worked off they worked for the film.

And congratulations on making such a huge success they weren't yeah it was it was a fun I would be proud of the project completely awesome well we can't wait to see what you come up with next. Well on that note yeah I mentioned my shot film I'm doing oh yeah absolutely so I'm doing a short film and and it features a very classic Universal monster but they get new reawakens today so I'm very excited. It's it's a no-nonsense film, it's not it's not tongue-in-cheek there's no there's no jokes it doesn't take full of the monsters and it doesn't defend the monster at the end of the day for the likes of Calif is a walking dead man he's been sold together there's not a lot of fun in that really so I think for the past 70 years you know so whatever sixty years old the public have been desensitized there what he really is so I just want to show again in my way if this guy really woke up, what would that situation and where can people find out more about that fulfillment.

We just send out a website right now and it's one of the some of the title the creation project that's not the film title but for right now from Productions called the creation project and I'm doing it in the association with Wolfpack studios, it's awesome so it's gonna be cool yeah awesome. We will do some more on them yeah love to check it out and cut us out and we'll share some info below were you out there can check out the amazing Michael's work Mike it's great to see you thank you buddy next time

"WEBVTTKind: captionsLanguage: eneverybody known from tested here with the legendary Mike Hill at Monster Palouse I'm like how you doing I'm good mom how are you mate I'm doing pretty good now that seeing you and see your new work yeah so you're sure enough we must lose though this new not just one portrait but two characters yeah it's Frankenstein's monster and Maria from 1931 Frankenstein is in the correct yeah it's the one scene that most people remember you know he's Frankie and a little girl yeah and her and sad sad demise you know well it's one of the few times you see him smile that's right you know she and also the flowers you see a lot of the portraits of him pulling the flowers yet but not with the little girl that's right well yeah I mean she accepted him for years you know she didn't see I guess she felt his soul and not his monstrous visage you know which he wasn't used to I mean if it was a real life I think she'd notice his green skin and bouncing his neck but it's a real tender moment yeah now you do four body portraits last year you had your bride Frankenstein that was a little behind the scenes type piece this one is more in the movie he talked to your process of of sculpting this from head to toe yeah I mean first of all I do a very loose sketch on I mean basically not not much more than a stickman to see how the pose would go together does it a very very tricky scene because the initial assumption is to do that when they're kneeling down yeah the problem is they're really facing each other so for the for the foyer or the office looking you have to be on one side of liver so I chose a scene you only see this scene from Reverse in the movie when he's leading she's leading him to the water you know and the only thing I really switched is the bull she's kind of looking ahead I just turned her to look at him that's the only difference really but I just thought was a nice moment the fact that she's leading him and you know and they have to kind of work with each other it's two characters I'm a diorama absolutely yeah their expressions have to be in the same moment that's right yeah you know it's it's his happiest time to put that big smile on his face yeah yeah so talk about the sculpture of the monster here how do you make it look like I'm trying to make it look like you know you kind of see Karloff behind it oh yeah yeah you're gonna start with our first I mean if you don't put it if you don't look like caliph and you've just got a monster right v monster and the think about that particular makeup is it doesn't really work me anybody else mmm only works with his face I mean that is pretty you know the people came after him you got no long Chaney jr. and then you have a little girl see I'm playing strange they just don't have the same face that he has you know in my opinion you know it was made for him and only he should really worry yeah a lot of what you do isn't just the character it's the performance I'm super happy of what what he brought to the character you got to get a soul coming out because what you're trying to do and I've probably said this on your show before but what you're trying to do is people who may have never seen them do that you know you want them to know what's going on without them having to explain to them so that certain moment you know it speaks and it's not just the head fortune of course it's the full body so again talk about the the reference material that you use because things are striking me not just the jacket or the shoes the shoes between that contrast is so striking yeah well that's what he wore he what a pair of boots I mean the legend is that there were ashphalt spreaders brutes but I know I'm gonna be able to find a pair ever so again it was just to give him a lift because bar Excalibur was only 510 but he needed to look 7 thought I guess so even with his lifts in his boots he's only it sounds about 662 he's not that once just really you know this is his height so so you're trying to get it as true to life as possible not how the viewer may have perceived it in the no no no no that's exactly right and we can come back to that in a second actually but yeah the I try to make these particular renditions exactly as there was in the movie the only thing is I try and blur that line between real and fake ie you know with the makeup I don't really show the obvious seems too much you know I don't really try to meet this would look obviously if this was on the film set this would be a pastel and spongy grey right right so sometimes if I'm not gonna behind the scenes and I try to make it with the real creature may have a lot it's kind of amalgamating all those the soul is personality the actor the makeup I try and make it all into one you really appreciating also the filmmaking aspect of absolutely yeah you know what a wonderful film is well speaking of filmmaking you had some direct hand in recent films you or one of the character artists designing redesigning the the creature for the shape of water that's right yeah yeah Guillermo we talked about that well you know gamo came to me it already had legacy effects to do the creature so I got to work with legacy effects and he might want me to come in and put my spin on it he he his quote is he says my question soul into things so you wanted me to do that aspect so I came in and it just kind of you know put my little to spin on things you know but it was there was a group of actors involved it wasn't just myself but I felt like in terms of designing a underwater creature or something pay homage to the creature well well the thing is is well we know we had a massive guideline in the sense that you know like you see myself we had to make some real it was it was attractive somewhat yeah you know and that was my first the little maquettes that were previously done and Dave grass of David Ming did the original maquettes which are beautiful and then legacy took them amalgamated to one creature that it was a wonderful fantastic design but when I read the script I get to certain things that I personally would have changed but that's my personal taste which I did so I made him more sleeker you know unless plates just to game on I discussed and she may have discussed it we all you know that we should make it more life in fact we said more like a lot very vascular and we use Calif as a reference a colossus that our physique yells that picture is a handsome physique and also the paint job too yeah well the director was the Dima one in an attractive because you know we watch the movie and the lady has to find it a meteor affected yeah so it's not an easy task when you're putting the features of a man and a fish together and there's a bleed over two other creatures have been dormant could you can't help I mean you got these you put them all together so I just went Lizzy went in and sculpted attractive lips I figure if she's gonna kiss him let's make his lips attractive so then you look and then you start to come out from there so then it gave him a nice square jaw and a question all the things that had super made her ear West pencil with a fish it worked off they worked for the film and congratulations on making such a huge success they wasn't yeah it was it was a fun I would be proud of the project completely awesome well we can't wait to see what you come up with next well on that note yeah I mentioned my shot film I'm doing oh yeah absolutely so I'm doing a short film and and it features a very classic Universal monster but they get new reawakens today so I'm very excited it's it's a no-nonsense film it's not it's not tongue-in-cheek there's no there's no you know there's no jokes it doesn't take full of the monsters and it doesn't defend the monster at the end of the day for the likes of Calif is a walking dead man he's been sold together there's not a lot of fun in that really so I think for the past 70 years you know so whatever sixty years old the public have been desensitized there what he really is so I just want to show again in my way if this guy really woke up what would what would that situation and where can people find out more about that fulfillment well we just send out a website right now and it's one of the some of the title the creation project that's not the film title but for right now from Productions called the creation project and I'm doing it in the association with Wolfpack studios it's awesome so it's gonna be cool yeah awesome we will do some more on them yeah love to check it out and cut us out and we'll share some info below were you out there can check out the amazing Michael's work Mike it's great to see you thank you buddy next timeeverybody known from tested here with the legendary Mike Hill at Monster Palouse I'm like how you doing I'm good mom how are you mate I'm doing pretty good now that seeing you and see your new work yeah so you're sure enough we must lose though this new not just one portrait but two characters yeah it's Frankenstein's monster and Maria from 1931 Frankenstein is in the correct yeah it's the one scene that most people remember you know he's Frankie and a little girl yeah and her and sad sad demise you know well it's one of the few times you see him smile that's right you know she and also the flowers you see a lot of the portraits of him pulling the flowers yet but not with the little girl that's right well yeah I mean she accepted him for years you know she didn't see I guess she felt his soul and not his monstrous visage you know which he wasn't used to I mean if it was a real life I think she'd notice his green skin and bouncing his neck but it's a real tender moment yeah now you do four body portraits last year you had your bride Frankenstein that was a little behind the scenes type piece this one is more in the movie he talked to your process of of sculpting this from head to toe yeah I mean first of all I do a very loose sketch on I mean basically not not much more than a stickman to see how the pose would go together does it a very very tricky scene because the initial assumption is to do that when they're kneeling down yeah the problem is they're really facing each other so for the for the foyer or the office looking you have to be on one side of liver so I chose a scene you only see this scene from Reverse in the movie when he's leading she's leading him to the water you know and the only thing I really switched is the bull she's kind of looking ahead I just turned her to look at him that's the only difference really but I just thought was a nice moment the fact that she's leading him and you know and they have to kind of work with each other it's two characters I'm a diorama absolutely yeah their expressions have to be in the same moment that's right yeah you know it's it's his happiest time to put that big smile on his face yeah yeah so talk about the sculpture of the monster here how do you make it look like I'm trying to make it look like you know you kind of see Karloff behind it oh yeah yeah you're gonna start with our first I mean if you don't put it if you don't look like caliph and you've just got a monster right v monster and the think about that particular makeup is it doesn't really work me anybody else mmm only works with his face I mean that is pretty you know the people came after him you got no long Chaney jr. and then you have a little girl see I'm playing strange they just don't have the same face that he has you know in my opinion you know it was made for him and only he should really worry yeah a lot of what you do isn't just the character it's the performance I'm super happy of what what he brought to the character you got to get a soul coming out because what you're trying to do and I've probably said this on your show before but what you're trying to do is people who may have never seen them do that you know you want them to know what's going on without them having to explain to them so that certain moment you know it speaks and it's not just the head fortune of course it's the full body so again talk about the the reference material that you use because things are striking me not just the jacket or the shoes the shoes between that contrast is so striking yeah well that's what he wore he what a pair of boots I mean the legend is that there were ashphalt spreaders brutes but I know I'm gonna be able to find a pair ever so again it was just to give him a lift because bar Excalibur was only 510 but he needed to look 7 thought I guess so even with his lifts in his boots he's only it sounds about 662 he's not that once just really you know this is his height so so you're trying to get it as true to life as possible not how the viewer may have perceived it in the no no no no that's exactly right and we can come back to that in a second actually but yeah the I try to make these particular renditions exactly as there was in the movie the only thing is I try and blur that line between real and fake ie you know with the makeup I don't really show the obvious seems too much you know I don't really try to meet this would look obviously if this was on the film set this would be a pastel and spongy grey right right so sometimes if I'm not gonna behind the scenes and I try to make it with the real creature may have a lot it's kind of amalgamating all those the soul is personality the actor the makeup I try and make it all into one you really appreciating also the filmmaking aspect of absolutely yeah you know what a wonderful film is well speaking of filmmaking you had some direct hand in recent films you or one of the character artists designing redesigning the the creature for the shape of water that's right yeah yeah Guillermo we talked about that well you know gamo came to me it already had legacy effects to do the creature so I got to work with legacy effects and he might want me to come in and put my spin on it he he his quote is he says my question soul into things so you wanted me to do that aspect so I came in and it just kind of you know put my little to spin on things you know but it was there was a group of actors involved it wasn't just myself but I felt like in terms of designing a underwater creature or something pay homage to the creature well well the thing is is well we know we had a massive guideline in the sense that you know like you see myself we had to make some real it was it was attractive somewhat yeah you know and that was my first the little maquettes that were previously done and Dave grass of David Ming did the original maquettes which are beautiful and then legacy took them amalgamated to one creature that it was a wonderful fantastic design but when I read the script I get to certain things that I personally would have changed but that's my personal taste which I did so I made him more sleeker you know unless plates just to game on I discussed and she may have discussed it we all you know that we should make it more life in fact we said more like a lot very vascular and we use Calif as a reference a colossus that our physique yells that picture is a handsome physique and also the paint job too yeah well the director was the Dima one in an attractive because you know we watch the movie and the lady has to find it a meteor affected yeah so it's not an easy task when you're putting the features of a man and a fish together and there's a bleed over two other creatures have been dormant could you can't help I mean you got these you put them all together so I just went Lizzy went in and sculpted attractive lips I figure if she's gonna kiss him let's make his lips attractive so then you look and then you start to come out from there so then it gave him a nice square jaw and a question all the things that had super made her ear West pencil with a fish it worked off they worked for the film and congratulations on making such a huge success they wasn't yeah it was it was a fun I would be proud of the project completely awesome well we can't wait to see what you come up with next well on that note yeah I mentioned my shot film I'm doing oh yeah absolutely so I'm doing a short film and and it features a very classic Universal monster but they get new reawakens today so I'm very excited it's it's a no-nonsense film it's not it's not tongue-in-cheek there's no there's no you know there's no jokes it doesn't take full of the monsters and it doesn't defend the monster at the end of the day for the likes of Calif is a walking dead man he's been sold together there's not a lot of fun in that really so I think for the past 70 years you know so whatever sixty years old the public have been desensitized there what he really is so I just want to show again in my way if this guy really woke up what would what would that situation and where can people find out more about that fulfillment well we just send out a website right now and it's one of the some of the title the creation project that's not the film title but for right now from Productions called the creation project and I'm doing it in the association with Wolfpack studios it's awesome so it's gonna be cool yeah awesome we will do some more on them yeah love to check it out and cut us out and we'll share some info below were you out there can check out the amazing Michael's work Mike it's great to see you thank you buddy next time\n"