This is a rare interview with one of our industries best. Darren is often in the shadows but his work takes center stage. A BIG thanks to Scott from
http://www.quietonthesetstudios.com for conducting this interview and to Darren for taking the time to chat with us. Lets go behind the mask with Darren Roberts....
Let’s get started with the time old standard questions. Who are you, and where do you hail from?I’m Darren Roberts, an artist from Orange County. Born and raised in California.
Growing up was there any spfx artists you looked up to? Is there any monster or make up effect that has just stuck with you to this day that you will never forget no matter how much time passes? Have you had the opportunity to meet or see the creaters of these special props?Growing up, the 2 artists I admired the most were Dick Smith and Rick Baker. Being a huge Star Wars nut, Rick was the first discovery when I found out he was responsible for the original Cantina creature masks (not the now replaced CG crap). Later on I saw the Exorcist and the Hunger. I then found out about Dick Smith. It seemed like every time I saw a movie that had a cool monster in it or a make-up that blew me away, it was either Dick Smith or Rick Baker that had created it. I was always impressed with the realism that both those artists achieved. One of my favorite movies is An American Werewolf In London. That film had it all...cool monsters, werewolves, dead people walking around and no CG! I have had the opportunity to meet both Dick Smith and Rick Baker several times.
At what moment in your life did you decide to start pushing around some clay and pick up an airbrush and throw some hair on a mask? How old were you when this all took place?I was in 5th Grade and I made a severed human head out of paper meche. (laugh) I used soft wax for the teeth and painted wood balls for the eyes. I had always drawn and played with clay growing up but that was my first “life size creation”. Then when I was in 7th Grade, I saw the Howling and decided to make a full size werewolf head based on Rob Bottin’s design. Let’s just say I was proud of it at the time. I guess for age 12 it was pretty good. I remember it well. (laughing) I fashioned a head out of paper meche, then using modeling clay I created the brows and eye lids. The eyes were plastic eyes that I bought at a magic shop and the teeth were a bunch of those cheap glow in the dark vampire fangs that you get at Halloween. I cut them up and glued them into the clay gums. Next was a lot of crepe hair and Elmers white glue! My first real creature sculpture though, was in High School. That was my first attempt using professional materials which at the time was Roma Plastalina Clay. I now much prefer working in W.E.D. Clay.
What is your least favorite step in the process of mask making?Mold making! I fucking hate it!
Have you been formally trained in spfx or did you acquire your skills by learning from your past mistakes and trying new innovative techniques to achieve the look you wanted.The first monster make-up book I ever owned when I was a kid, was called Movie Monsters. It was written by Alan Ormsby. Who later hired Tom Savini for Tom’s first 2 make-up jobs. The book had make-up recipes using grocery store and house hold items. Some of the best times of my life trying out those make-ups. When I started out trying real spfx make-up, there was no internet and the only book you could find at the public library was Richard Corson’s Stage Make-up. Which still, to this day is a great book. It wasn’t until I found Tom Savini’s Grande Illusions and Dick Smith’s Do It Yourself Monster Make-up books, that I learned about Foam Latex, making dental appliances, fake blood…etc. Years later I had enough experience to send Dick Smith photos of my work and apply to his Professional Make-up Course. He then accepted me as a student. It was a course taught through the mail, videos, slides and personal contact with Dick Smith. It was an amazing learning experience.
Is there someone out there that you would consider a mentor?A few years later, I met Henry Alvarez. I was fortunate enough to exchange phone numbers and eventually visit his studio. He saw potential in my work and soon I was learning sculpture from the master. Henry became my teacher and mentor. Not to mention a great friendship I developed with Him and his talented wife Andrea.
At what point did you start to realize you had a talent for spfx and decided to really go out and try to do this as a full time job?Probably after my first 2 paying make-up jobs. I had a friend whose father owned a store called Hollywood Magic. While I was in College one of my jobs was working during the October months at the store. I would help design peoples Halloween make-ups. That was before all the pre packaged crap out there today. We actually sold professional items like Ben Nye make-up, bald caps, rigid collodion, crepe hair. I would also make acrylic vampire fangs for people at $200 a pop. They would come in the store, I would mold their teeth and in a few days they would come back and pick up their fangs. I actually had to start a waiting list because I received so many requests. The first time I was paid to do a appliance make-up was during Christmas. Through the networking channels, My name was given to a guy who asked to be made up like an elf for a huge ritzy party he was handing presents out at. I found out some of the attendees were Hollywood big shots. One of them being famous producer Frank Marshall. So I made sure the make-up was kick ass!
Where did you land your first gig doing spfx and what exactly did you do for the project?My first gig where I had to create a budget and design the make-ups was for a short film directed by a USC film school graduate Greg Yaitanes. He later went on to become a well known television director eventually winning an Emmy.
Is there any spfx house or studio you liked working for the best and why did this spfx house stand out from all the rest?Working for Alvarex Wax Models was the best time I’ve had as a sculptor. It was real art that flowed out of that place. Other jobs to me, a lot of the time, were just a paycheck. Sometimes cooperate deadlines and competitive artists can take the fun out of creating.
Working for Henry Alvarez what was your favorite film or project you took part in? Do you have any cool memories that come to mind while working on that film or project?Honestly every project, mask, wax figure or bronze that we worked on was not only was a learning experience but a rewarding challenge.
I undertsand while working at Alvarez's studios you met some other behind the mask guest such as Dennis Beckstrom and his wife.What is it like to work around some great and talented people?It was great. When you get in a room with other artists like that, it not only makes it more enjoyable but everyone gets inspired by one another. Especially when each artist is working on something completely different.
How did you come to meet Sean Clark and what drove you guys to start up silver shampain novelties?I met Sean right out of High School when my band at the time was looking for a drummer. He not only joined our band, we also became instant friends through our love of the Horror genre. Sean and I started up SSN as a way to put out quality masks and movie props many from the actual molds. We both had developed friendships with quite a few fx artists over the years and had a chance to do just that. Sean and I both have a love for the Halloween film series and I think that’s what kicked it all in to gear.
Many horror movie prop collectors are very familiar with SSN and typically the first name that comes to mind is Sean Clark. Being such a driving force behind SSN why don't people see more of you in the spotlight? Do you and Sean separate the duties of the company and focus on other aspects of the overall picture that at the end of the day is SSN and makes everything work and operate smoothly?(laughing) Like in The Wizard Of OZ “Never mind that man behind the red curtain!” Sean is very involved in the horror community. Through conventions and his film work, etc. I’m not a big contributor to the message boards and such. That has a lot to do with my name being new to some people. I also stepped out of the mask world for a few years when a band I was playing in got signed to a major label. The artist thing was put on hold for a while. That had a lot to do with it as well. As far as SSN goes, it’s definitely a team effort. Sean handles more of the business and networking and I handle more of the artist end of things.
Do you have a favorite mask or sculpt you have worked on over the years for SSN? Can you think back and remember which Myers mask was the hardest to acquire the molds to do a limited run for collectors.My favorite sculpts that I have worked on were some of the high end pieces that I have done for collectors. Wax figures and bronze work. As far as projects with SSN? Probably the new Captain Kirk we are releasing. It has always been fun to recreate a paint job or mask from a particular movie but sculpting a piece from scratch and building it from a ball of clay really excites me. The hardest molds for SSN to acquire were the H-5 nose and lip appliances. The molds didn’t exist anymore and I had to recreate the mask using Don Shank’s screen used mask with the appliances attached. That was quite a process.
Given the opportunity of total creative control on a project is there a movie that you would love to do some characters from and offer a line like the signature Myers masks? Why would you choose this movie and it's characters? Having seen you tackle a ton of horror character sculpts in the past have you done any characters out of the horror genre that you are proud of that we dont know about.I have a line of limited edition busts of several different horror film characters that I will be offering soon through a company I am launching next month. They will be very high end pieces. Glass eyes, punched in hair, acrylic teeth, etc… They will be on display at MonsterPalooza in May. I would have to say that one of my sculptures that I am most proud of is my Lon Chaney London After Midnight bust.
Lets talk about your new Cpt. Kirk mask that you just finished up. How long have you been working on this sculpt and how many times have you sculpted this character? When can we expect to have one of these bad boys sitting on a shelf next to us?I have been working on the Kirk on and off in my spare time for a few months now. It’s funny because sculpting a Captain Kirk mask was the last thing I had been planning on doing this year. I mean, how many versions are out there now? Some good…some bad. I often felt that there was still something a little off about some of those better versions being sold out there. Being a huge fan of the original Halloween, I thought about giving one a shot myself. But, too many other projects seemed to take priority over that. Then one day Sean asked me if I would be interested in doing a Signature Edition H-1. When he pitched me the idea and told me who was involved, I got very interested. SSN will be making an announcement in the upcoming weeks.
I would like to take the time to thank you for sharing a glimpse into your minds eye and sharing this info with the HorrorBid community.
Thank you! I enjoyed it!
a few pics of Darren and past projects...
.jpg "HorrorBid's Behind the Mask")
