A short video about the special visual effect matte painting that was created for the final shot of Tremors 2, the sequel in which Earl, Grady and Burt Gummer battled graboids in Mexico — and first met the deadly shriekers.
Video from the Tremors shoot at Burt and Heather’s house, our most remote location! See the graboid hump in action again, along with a look at our camera car and even some exploding air hoses.
Behind the scenes video of the graboid dirt humps in the movie Tremors. Humps pt 1 shows the hump under the boardwalk at Chang’s market, and the hump racing toward Val at the edge of the cliff in the climax.
Even more behind-the-scenes video of the graboid tentacles from Tremors. How to work with Ultraslime! A graboid crosses the street! The all-important hand-puppet tentacle!
Behind the scenes video about about shooting the Tremors graboid tentacles (in reverse!) plus the many uses for floppy stunt tentacles.
Probably more about the Graboid tentacles than most people want to know! I have so much old video footage I’m posting it in three episodes. Part 1 covers the creation of the tentacles and details on their mechanical controls.
A collection of quirky behind-the-scenes details caught on video during production of Tremors, including the set up for the beautiful cliff matte painting special effect.
Moving the camera on Tremors.
Possibly more than you want to know about how we moved Nestor’s trailer for the graboid attack sequence.
More on the air powered Graboid moving system. The hump that almost wasn’t.
The crew tests the system for doing the first full scale graboid burst-up.
The first day of 2nd unit photography on Tremors. Deleted scene at Edgar’s barn. Dirt slides down embankment. The unseen Graboid pursues Rhonda. We do the first Graboid dirt hump shot.
More behind the scenes video on the building of Perfection and on the first day of Production.
The first in a series of videos created by S.S. Wilson which uses personal camcorder footage to document the making of the original Tremors film.
Breaking into the rec room: An Interview with S.S. Wilson by Kent Hill
S.S. Wilson Just finished Jonathan Melville’s epic book on Tremors and reports that It is all he hoped it would be. In addition to the usual Tremors suspects, Jonathan interviewed dozens of crew members from all the movies and the series. As a result he was able to include many wonderful personal recollections, all new and never before published. He even reported learned many things about the series he never knew!
You can meet Jonathan and get a signed copy at a special Tremors event, Oct 25, at Creature Features, Brent Maddock, Ron Underwood and S.S. Wilson will be there, too — and maybe other Tremors alums.
A rare and exciting Film Fest you don’t want to miss! The first of it’s kind…a Celebration of the “unheard voice…”
Saturday, September 26th
11:00am: DESPICABLE ME
featuring Cinco Paul & Ken Daurio
Saturday, September 26th
featuring Brent Maddock & S.S. Wilson
Saturday, September 26th
6:00pm: EDWARD SCISSORHANDS featuring Caroline Thompson
Please visit www.91301.org/events/celebratescreenwriters for more information!
As part of a new cultural program, the Agoura Hills Cultural Arts Council’s “Celebration of the Arts” is presenting a 2-day festival, Cinco and Ken’s “The Greatest Movies Ever Written!”. Led by the blockbuster screenwriting team of Cinco Paul and Ken Daurio, who co-wrote Despicable Me, the festival is placing the spotlight on screenwriters.
Paul and Daurio have selected some of their favorite films worthy of being watched multiple times because they started with a great screenplay. The movies’ screenwriters will join them for Q&A panels accompanying each screening to discuss the process of writing the movie, the choices made, and how different first drafts can be from the filmed version.
For tickets, please visit http://www.regencymovies.com
29045 Agoura Road
Agoura Hills, CA 91301
Writer, producer and director S.S. Wilson was interviewed on AZTV Morning Scramble 8/17/2015. Topics covered included his films Short Circuit, Tremors, Batteries Not Included, Heart and Souls and his books Tucker’s Monster and Fraidy Cats.
One of the foremost practitioners of the art of motion picture special effects, Academy Award-winner, Phil Tippett achieved new heights with his work as “Dinosaur Supervisor” on Steven Spielberg’s groundbreaking JURASSIC PARK. Long recognized for his extraordinary design and execution of some of the most memorable creatures in film history, Tippett collaborated on JURASSIC PARK for two years; primarily responsible for two of the film’s more noteworthy creations — the awe-inspiring Tyrannosaurus Rex and the terrifying Velociraptors — Tippett’s work on this film caps nearly two decades of outstanding accomplishments in special visual effects. It also represents the culmination of his lifelong fascination with dinosaurs and paleontology.First inspired by such legendary fantasies as KING KONG and such Ray Harryhausen spectacles as THE SEVENTH VOYAGE OF SINBAD, Tippett determined at an early age to follow in Harryhausen’s footsteps. A self taught filmmaker by the age of 13, he became a professional animator of television commercials by the time he was 17. Setting aside his career to attend the University of California at Irvine, Tippett became acquainted with a group of nascent visual effects artists such as Jon Berg and Dennis Muren (who most recently collaborated with Tippett on JURASSIC PARK). It was Muren, in fact, who recommended Tippett to the production team on George Lucas’ STAR WARS, the 1978 film that arguably launched a whole new generation of state-of-the-art, effects- oriented movies.
Having animated the miniature chess match and created miscellaneous space denizens for STAR WARS, Tippett next worked on its sequel, THE EMPIRE STRIKES BACK, employing his skills in stop-motion animation to create the sinister, dinosaur like machines knows as “Imperial Walkers” and the hybrid animals know as “Tauntauns.” By 1983, Tippett was head of the Lucasfilm “creature shop,” designing, developing and constructing a wide variety of aliens for RETURN OF THE JEDI, including the monstrous “Jabba the Hut.” For his work on this final chapter of the STAR WARS trilogy, Tippett was awarded the Oscar for Best Visual Effects, having been nominated the previous year for his creation of “Vermathrax Perjorative,” the mythological winged serpent in the highly acclaimed medieval adventure DRAGONSLAYER.
In 1984, Tippett originated his own project, an experimental short film entitled “Prehistoric Beast.” Shot entirely in his garage, the 10-minute action drama creates life in the late Cretaceous Epoch, some 65 – 70 million years ago. Nearly two years in the making, “Prehistoric Beast,” is entirely populated by prehistoric creatures and represented Tippett’s first foray into the realm of cinematic dinosaurs.
After opening Tippett Studio in Berkeley, California, which employs as many as 75 artists and technicians, Tippett further developed his stop-motion animation techniques with the CBS documentary “Dinosaur!” (1985), which won him an Emmy for Special Effects. He won another Emmy in 1984 for his work on “Ewoks: The Battle for Endor,” a project that reunited him with Lucasfilm and also worked on its successful sequel, “Ewoks: Caravan of Courage,” which was made the following year. Other Lucasfilm projects to which he contributed include HOWARD THE DUCK (1986) and WILLOW (1988), which earned him his third Academy Award nomination.
Tippett Studio worked on animated sequences for GOLDEN CHILD (1987) and GHOSTBUSTERS II (1989). A key contributor to the effects in Paul Verhoeven’s futuristic drama ROBOCOP (1987). Tippett also supervised the special effects on its two sequels ROBOCOP 2 (1990) and for ROBOCOP 3 (1991). In (1992-93), Tippett developed and created a character, “The Garthok,” for the comedy CONEHEADS. The studio also worked developing the main character and creating CG animatics for several key sequences on the Universal picture, DRAGONHEART.
Currently Tippett Studio is collaborating on a Martha Coolidge picture entitled THREE WISHES. The studio is involved in special effects sequences of digitally generated fireworks and creature character development working in both stop-motion and computer animation. In 1995-96 a future project to be embarked upon reunites Tippett with Paul Verhoeven on a to be announced project.
Alec Gillis was born in 1959 in Phoenix, Arizona, and a short time later moved to Orange County, California. By age ten, he was an avid fan of fantasy and science fiction movies. Influenced by films such as PLANET OF THE APES, KING KONG, and JASON AND THE ARGONAUTS, Alec began making his own amateur movies, and by age thirteen had decided that creating creatures for Hollywood was to be his career.Having spent much of his teen years experimenting and tinkering in his mother’s garage, Alec’s first professional job was on Roger Corman’s low budget space-epic, BATTLE BEYOND THE STARS (1980). There he worked with many other talented industry newcomers, most notably director James Cameron (ALIENS, THE ABYSS), and producer Gale Anne Hurd (ALIENS, THE ABYSS, TREMORS). The next eight years were spent first attending U.C.L.A.’s film school, then working for some of the industry’s top names in make-up effects, most notably Stan Winston (ALIENS, LEVIATHAN, ALIEN NATION).
As one of Winston’s closest associates, Alec has the opportunity to hone his skills as a creature designer, sculptor, and supervisor. It was during his years with Winston that Alec met his future business partner, Tom Woodruff, Jr. In 1988, with their mentor’s blessings, Alec and Tom left Stan Winston Studio and formed Amalgamated Dynamics, Incorporated. Dedicated to the high standards of quality they helped set on films like ALIENS, ALIEN NATION, and TERMINATOR, Alec and Tom have most recently shown their expertise on Gale Anne Hurd’s TREMORS (Universal 1990), and the upcoming ALIEN 3 (20th Century Fox).
In addition to managing a successful Make-up and Creature effects studio, Gillis and Woodruff actively develop original scripts, both individually and as a team. The duo strive to incorporate their story and directing skills into their creature effects work, whether it is by contributing script ideas (as in TREMORS and ALIEN 3), or by second unit directing (LEVIATHAN).
To date, the culmination of Gillis and Woodruff’s talents as writers-directors is the screenplay and teaser reel of THE DEMON WITH THREE TALES co-produced, co-written and co-directed by Alec and Tom, the short film was shot on a shoestring budget and demonstrates not only the freshness and originality of the script, but also the team’s ability to design and direct visually stylish projects on a modest budget.