Who Did Makeup For The Twilight Zone

William Tuttle, Dick Smith, and John Chambers
by Hashemite kingdom of jordan Prejean

William Tuttle with his makeup creations

Much has been fabricated recently about the fact that tv set has caught upwards to Hollywood non only in terms of acting and storytelling merely also in terms of technical product. Product design, costuming, music, visual effects, photography, and the myriad other technical aspects of a boob tube production now rival in quality the finest the big screen has to offering. 1 need just wait to the piece of work of artists such as Greg Nicotero on The Walking Expressionless, Nick Dudman on Penny Dreadful, or Eryn Krueger Mekash on American Horror Story to realize that special makeup effects work in tv set is equal to, and in many cases superior to, annihilation independent in a recent Hollywood production. Many of the finest makeup artists in the industry are returning to work on the small screen due to rising production values, a cooperative creative environment, and an opportunity to craft something singular using techniques that many feature motion-picture show productions have begun to supercede with digital means.

            The suggestion, however, that such splendid achievements in special makeup effects on tv set are a recent development is wholly mistaken. Telly has been a showcase for innovative makeup designs from its earliest days and the medium has often displayed infrequent work from the most revered names in the industry.

If yous were to only take three television album serial from the early on years 1959-1963 and examine the iii makeup artists who made each of these shows memorable for unusual, inventive, and highly influential makeup designs, yous would accept three of the most pregnant makeup artists in the history of the moving-picture show and television set industries. Betwixt them, these men would merits iv Academy Awards and a slew of Emmy, Saturn, and BAFTA Award nominations and wins over the grade of long and fruitful careers. In fact, one could likely trace the entire lineage of special makeup furnishings artists of the late twentieth and early xx-offset centuries to the three men responsible for this early telly work: William Tuttle on The Twilight Zone (1959-1964), Dick Smith on 'Way Out (1961), and John Chambers on The Outer Limits (1963-1965).

I. William Tuttle

In early 1959, Emmy Award winning writer Rod Serling, fed up with his confrontational scripts existence censored past fearful corporate sponsors, developed a scientific discipline fiction and fantasy television program with the CBS network, intending the science fiction genre to mask the controversial style of drama he was adamant upon writing. Serling chosen his series The Twilight Zone and the West Coast production utilized the vast resources at Metro Goldwyn Mayer Studios.

A publicity photo of Tuttle'due south work on "The Masks"

William Tuttle had been the head of the MGM Makeup Department since 1950. When Serling and company arrived at the studio to produce their unique anthology serial, Tuttle sensed an opportunity to contribute makeup designs that would set the series autonomously from television's relatively crowded science fiction and fantasy landscape. After the show's fifth and terminal flavor, when the series began its eternal existence in syndication, the aesthetic of Tuttle'south inimitable makeup designs would run into reproduction and reinterpretation in a diverseness of marketing material, from comic books to board games to lunchboxes to toys to posters and art prints, not to mention the memories of whatsoever viewer who happened upon the show.

Tuttle was born in Jacksonville, Florida in 1912 and was forced to go out school early in order to back up his mother and younger brother subsequently his male parent abandoned the family. He gravitated early to art and music, trying his hand as both a comic performer and as a violin player in Vaudeville before completing the required schooling to gain archway into the University of Southern California in the leap of 1930. Tuttle focused on fine art and developed a talent for molding and sculpture, skills he later on utilized as an innovator in creating life masks to fine-melody the application of prosthetic appliances. Tuttle's time at USC would direct the entire course of his professional life. He returned to the university to teach from 1970-1995, showtime a year after he vacated his position as head of the MGM Makeup Section due to a change in ownership of the studio. A permanent drove of more than than 100 of Tuttle's creations for film and television reside at the university.

Pioneering makeup artist Jack Dawn arrived at USC in early 1934 seeking a recommendation for a sculptor and a painter to assist in his increasing workload at nearby MGM. Dawn was directed to Tuttle and Tuttle'due south colleague, a highly talented sculptor named Charles Schram. Dawn took both immature artists under his tutelage and put them to piece of work as assistants on pic productions. Information technology was at MGM and the 1935 product of Tod Browning's Mark of the Vampire that a simple yet convincing bullet hole effect in the forehead of Bela Lugosi persuaded Dawn that Tuttle was capable of work across ordinary assistant procedures.

Two years later, Tuttle was applying Dawn'due south innovative flexible appliances to transform white actors into Chinese farmers for the 1937 film The Good Earth. 1939 brought a career defining moment for Jack Dawn with The Wizard of Oz, likely the nearly intensive production in terms of makeup pattern and application in characteristic films to that point. Tuttle and Schram practical Dawn's improved prosthetic appliances likewise as their ain makeup designs to create the rigorous production's iconic characters. Among the other uncredited makeup artists toiling on the prepare of the picture was Fred Phillips, who cruel nether the guidance of Tuttle and who would later work extensively with makeup artist John Chambers on properties such as The Outer Limits (1963-1965) and Star Trek (1966-1969).

For Tuttle, The Wizard of Oz was the beginning of a long climb to the peak of MGM's Makeup Department, earning the position after information technology was vacated by Jack Dawn in the fall of 1950. Tuttle became every bit renowned in the 1940's and 1950's for beautifying MGM's contract stars (in part leading to a matrimony with Donna Reed from 1943-1945) as he would go for his strange creations of the 1960's and beyond. By the fourth dimension Rod Serling and The Twilight Zone came along in 1959, Tuttle had applied his skills to dozens of genre productions including Forbidden Planet (1956), North by Northwest (1959), and television'southward Alcoa Presents: One Step Across (1959-1961).

Tuttle'southward work aging Kevin McCarthy for "Long Live Walter Jameson"

Though Tuttle was initially expected to consult and occasionally supervise episodes of The Twilight Zone which required a unique or challenging makeup effect, he oft elected to work directly with the testify'southward production team past crafting and applying his ain makeup designs. Ably assisted by the sculpting talents of Charles Schram, Tuttle created some of the finest special makeup furnishings ever seen on tv to that signal, including a life-like facial bandage of Anne Francis for the offset season episode "The After Hours," in which Francis' grapheme reverts to a mannequin state. Before this, Tuttle transformed Kevin McCarthy into a withering pile of aboriginal dust for some other commencement season episode, "Long Live Walter Jameson," about an immortal man who is murdered later centuries of being. Tuttle accomplished the initial stages of the effect by a process of color makeup application with respective colour filters placed over the camera lens. As the color filters were removed, the makeup became visible, giving the impression of a transformation. This technique for blackness-and-white flick was most memorably used past Paramount Studios makeup artist Wally Westmore to transform Fredric March into Mr. Hyde for director Rouben Mamoulian's 1931 version of Dr. Jekyll and Mr. Hyde.

Tuttle's designs for "Middle of the Beholder"

Tuttle's method was to cast life masks of actors and actresses in order to arts and crafts fitting appliances without the necessity of having the histrion or actress present. Tuttle utilized this for the deep crumbling procedure on Kevin McCarthy, as well equally for the idiosyncratic makeup designs (exemplified by big, twisted lips, pig-like noses, and a pronounced shelf of bone in a higher place the optics) for Twilight Zone episodes ranging from "The Eye of the Beholder," in which Tuttle transformed a hospital staff into swine-like visages with forehead and olfactory organ appliances, to "The Dummy," in which Tuttle and Schram were tasked with sculpting a ventriloquist dummy to resemble role player Cliff Robertson as well equally apply a dummy-like makeup design to role player George Murdock. Tuttle and Schram subsequently crafted the face of the famous "affair on the wing of the plane" which terrorized William Shatner in the 5th season episode, "Nightmare at 20,000 Anxiety," equally well as the grotesque masquerade makeup for Rod Serling'south last great episode of the series, "The Masks."

Prosthetic piece for male nurse in
"Eye of the Beholder," which went to sale
late in 2018. Request toll: $10,000-$15,000

Tuttle too displayed his ability for traditional stage makeup with the 3rd flavour episode "5 Characters in Search of an Exit," which required makeups for a traditional clown and hobo amidst others archetypal characters. Even when Tuttle'southward makeup design was not particularly effective, such as in the second season'south "Will the Real Martian Please Stand up?," he is capable of producing an iconic image, in this case a man with a 3rd heart in the center of his forehead. This effect was initially to exist achieved by optical means, projecting the eye onto the head of the actor, simply to exist abandoned every bit unfeasible at the concluding minute, forcing Tuttle to scramble to create a workable awarding.

Tuttle's design for the Morlocks in George Pal's "The Time Machine"

After the end of the series, Tuttle produced memorable makeup effects for managing director/producer George Pal at MGM in the 1960's, start with The Time Machine (1960) on to The Wonderful World of the Brothers Grimm (1962) and 7 Faces of Dr. Lao (1964), the latter for which he became the beginning makeup artist to win an Academy Award, given to Tuttle equally a Special Achievement Award 17 years earlier Achievement in Makeup became a regularly given honour in 1981.

After vacating his position every bit head of makeup at MGM in 1969, Tuttle concentrated on instruction and occasional, but memorable, freelance film and boob tube piece of work. He created the makeup furnishings for the Mel Brooks film Young Frankenstein in 1974 besides as contributing makeup to the futuristic design of Logan's Run in 1976. Tuttle'southward final dandy work was as supervisor of special makeup effects for director Brian de Palma on The Fury in 1978, for which he shared a Saturn Honor with Rick Baker. Tuttle's terminal motion picture work was for Zorro: The Gay Bract in 1981 for Twentieth Century Trick and managing director Peter Medak.

In 1989, Tuttle established his ain makeup company, Custom Color Cosmetics, and was the bailiwick of a 1968 MGM documentary short titled King of the Duplicators, in which he discusses his techniques aslope frequent collaborator Charles Schram. Tuttle died at his home in Pacific Palisades on July 27, 2007, age 95.

II. Dick Smith

Dick Smith with his creations

In the bound of 1961, as William Tuttle was creating memorable makeups for The Twilight Zone, celebrated film and boob tube producer and talk show host David Susskind was tasked with developing a summer replacement series for CBS. Jackie Gleason's triumphant return to television on January xx^thursday of that year resulted in the debacle that was You're in the Film, a ludicrous game show so poorly received it lasted only a single episode before Gleason returned the following week to publicly apologize for insulting the intelligence of the television receiver audience.

David Susskind, like Rod Serling, was committed to producing intellectually engaging material for the immature medium. Ii years before, in the formative twelvemonth 1959, which marked the beginning of both Alcoa Presents: One Step Beyond and The Twilight Zone, NBC passed on Susskind's thought for a series of macabre one-half-hour plays, partially due to the unreliability of a genre anthology series to garner a dedicated viewership. The idea stayed with Susskind, however, and he pitched the idea to CBS as a possible replacement for the Gleason show. CBS, in a more receptive position, gave Susskind the green light and a hurried production began in New York on the series Susskind titled 'Manner Out.

Susskind hired British author Roald Dahl to host the program as well as provide the script for the premier episode, "William and Mary," about a disembodied encephalon. At the time, Dahl was best known for his macabre and darkly humorous short stories published in the pages of The New Yorker, a half-dozen of which had been adapted for Alfred Hitchcock Presents during the three years prior. Dahl's 1953 brusk story, "Lamb to the Slaughter," with its combination of sense of humour and horror, was, in fact, the initial inspiration for the Hitchcock's serial, and Susskind desired much of the same quality for 'Way Out. It apace became apparent to Susskind and his production team that the nature of the show required a talented makeup creative person to achieve the bizarre effects indicated past several of the scripts for the serial. Susskind recruited a makeup artist he'd previously worked with at NBC named Dick Smith.

Smith was a native New Yorker, born in Larchmont in 1922, and initially set out on a path in dentistry. He was admittedly not a traditionally talented visual artist simply was inspired to attempt his hand at makeup from the discovery in his late teen years of Ivard Strauss' 1936 volume Pigment, Powder and Make-up: The Art of Theater Makeup from the Apprentice and Course Room Viewpoint. Afterwards his discharge from the Regular army in 1944, Smith repeatedly tried only failed to land a position at a Hollywood studio and so began submitting his piece of work to the emerging arena of television. Smith somewhen landed a position at NBC in 1945. The New York station began as a very small outfit which broadcast only two days a week. By 1950, still, the industry had grown to the point that Smith had 20 additional artists working for him in the art department crafting makeup for a variety of programs.

By 1961 and the beginning of production on 'Manner Out, Smith had mastered a technique for sectional prosthetic appliance to allow an actor greater freedom of facial expression. Despite the participation of Susskind, Dahl, and a host of talented stage and boob tube actors, 'Manner Out is all-time remembered today for Smith'due south shocking makeup effects.

'Way Out lasted a mere 14 episodes from belatedly March to the middle of July, 1961, where information technology directly preceded The Twilight Zone, ambulation at ix:00 P.Thou. EST on Friday nights. Despite such brevity, the serial provided plenty cloth to showcase Smith'southward biggy talent for makeup effects.

Dick Smith erases half of Barry Morse's confront

His most renowned accomplishment on the series was for the penultimate episode, "Soft Focus," which concerned a photographer who discovers a chemical which possesses the astonishing ability to alter the advent of the person in a photograph. The episode ends on a ghastly notation when the chemical spills across an paradigm of the photographer, erasing half of his face. Smith used a makeup base to blend a large, flexible apparatus over the left side of histrion Barry Morse'south face, producing a convincing illusion of erasure.

Smith's Quasimodo makeup on Martin Brooks

The seventh episode, "False Face up," written by cult film manager Larry Cohen, draws particular attention to the fine art of motion-picture show and stage makeup. It concerns an arrogant actor (Alfred Ryder) who uses a hideously deformed homo (Martin Brooks) as model for his stage makeup for the role of Quasimodo, the Hunchback of Notre Dame. After his operation, the role player is horrified to discover that he cannot remove the makeup, which has somehow fused with his own mankind. For the episode, Smith admirably recreated Lon Chaney'southward makeup design from Universal'due south 1923 historical epic The Hunchback of Notre Dame on both Ryder and Brooks, calculation more defined elements (exaggerated lips and nose) made possible past the advancement in prosthetic appliances, allowing for several hideous shut angle shots.

Smith's makeup on Alfred Ryder

For the claustrophobic and frightening eighth episode, "Dissolve to Black," Smith created a conceivable pallor of death across the faces of several actors using heavy blackness around the eyes and a withered, textured limerick on the skin. "Side Show" is the memorably chilling twelfth episode which required Smith to craft a horrifying quondam hag makeup using a fearfulness wig and appliances to exaggerate the olfactory organ and lower portion of the face while creating a wrinkled, aged advent which would get a trademark of his skill set. Smith completed the effect past adding stitching where the head had been sewn to a beautiful body.

Smith'southward aging makeup on Jonathan Frid for Night Shadows

Smith would win an Emmy Award in 1967 for transforming Hal Holbrook into Mark Twain for Marker Twain This night! on CBS and would continue to utilize his skills to television productions long after he established a successful career in feature films. He worked on Dan Curtis' Dark Shadows serial and characteristic films, House of Dark Shadows (1970) and Nighttime of Nighttime Shadows (1971), and too served as makeup furnishings consultant on the syndicated horror anthology series Monsters (1988-1991) and the telly miniseries Stephen Rex's Golden Years (1991).

Though Smith, working with Ben Nye, then head of the makeup section at 20^th Century Fox, created the makeup effects for 1959's The Alligator People, starring Beverly Garland and Lon, Chaney, Jr., his first significant motion-picture show work was again with producer David Susskind, for Columbia'due south production of Rod Serling's Emmy Award-winning Playhouse 90 drama Requiem for a Heavyweight in 1962, starring Anthony Quinn, Jackie Gleason, and Mickey Rooney.

Once given the product values of a characteristic film, Smith would create some of the most enduring special makeup effects in the history of the medium. In 1970, he aged a thirty-two year old Dustin Hoffman into a 121 year quondam human in Arthur Penn'south Piddling Big Man. With a custom dental insert, he gave Marlon Brando the sagging jowls of an aged Mafia don in Francis Coppola's The Godfather in 1972. A career watershed arrived in 1973 with The Exorcist, from manager William Fiedkin and author William Peter Blatty. Smith, assisted by a immature Rick Bakery, turned cherubic Linda Blair into the gaunt, lacerated figure of a demon-possessed girl and should have been given an Academy Award for the amazing results.

The film brought Smith an bevy of offers to create makeup effects for technically challenging productions in the horror and scientific discipline fiction genres. In 1980, he crafted the most effective total-body prosthetic suit since 1954's The Brute from the Black Lagoon to affect William Hurt's physiological changes in Altered States, creating a unique state of affairs a yr afterward when two of Smith's films fostered a necktie for the Saturn Award for makeup effects as voters could not make up one's mind between application his work on Altered States or his work on David Cronenberg'southward Scanners, the latter for which he served as makeup effects consultant, working with future University Honor winners Chris Walas and Stephan Dupuis. Iv years earlier, Smith was recruited by Martin Scorsese to fit Robert De Niro with a menacing Mohawk hairstyle and etch the claret-splattered decision to Taxi Commuter.

Smith'south highly achieved makeup furnishings appeared in The Scout (1977), Ghost Story (1981), and The Hunger (1983) before garnering an Academy Award, with Paul LeBlanc, for his work aging F. Murray Abraham'southward Salieri in Milos Forman'southward 1984 Best Picture winner Amadeus. Smith would exist honored with a special ceremony, "A Tribute to Dick Smith: The Godfather of Special Makeup Effects," hosted by Rick Baker, from the Academy of Motion Motion-picture show Arts and Sciences in 2009 before being awarded a 2d University Award in 2012 in recognition of his amazing career and his remarkable influence on the makeup effects industry.

Smith was always willing to teach artists interested in the industry and freely divulged the many secrets of his methods, something which was highly unusual at the time. Smith's concluding film piece of work was designing the makeup effects for House on Haunted Loma in 1999, afterwards which he concentrated on Dick Smith Special FX Makeup Training, a series of courses for developing up-and-coming special effects artists. He was the subject of Scott Essman'south 1998 documentary short A Tribute to Dick Smith and died in Los Angeles on July 30, 2014, age 92.

Iii. John Chambers

John Chambers with his ape creations

On Monday, October 14, 1963, at seven:30 PM, EST, idiot box audiences with an interest in science fiction could accept tuned in to the ABC Network and viewed one of the finest special makeup furnishings created for a television series to that signal. The series was The Outer Limits and the episode, "The Sixth Finger," sees an aroused young man (David McCallum) rapidly change, physically and mentally, into a highly evolved, and highly dangerous, homo through the experimentation of a well-meaning scientist (Edward Mulhare). The makeup was designed and applied by special makeup furnishings artist John Chambers and included a serial of appliances laid in increment stages over the face up of David McCallum, culminating in a total-caput appliance to complete the transformation.

       The Outer Limits was the abstraction of precocious playwright Leslie Stevens (he sold a play to Orson Welles and the Mercury Theatre while still a teenager) who aimed to create a science fiction program which would elicit awe in the view audition.  This, of grade, precluded the thought of a series light on special furnishings. Stevens placed Joseph Stefano, the screenwriter of Alfred Hitchcock'due south Psycho , in accuse of product and positioned himself as Executive Producer and frequent contributor.

Bedroom'due south makeup for "The 6th Finger"

The show was a demanding production for a special effects artist due to a number of reasons, non the least of which was the quick production schedule (one episode every vii days), the relatively low budgets, or the fact that the evidence featured an intricate animal design in nearly every episode of the first season.

The heavy lifting in the special furnishings section was accomplished past Project Unlimited, a freelance company established in 1957 by technicians Gene Warren, Wah Chang, and Tim Baar, designed to handle a multitude of special effects procedures for picture show and tv set productions.

Bedroom's makeup for "The Man Who Was Never Born"

The members of Project Unlimited were skilled designers and sculptors who created the numerous creatures for the serial, beginning with the airplane pilot episode's irradiated alien, "The Galaxy Being," and continuing on to such classic designs every bit Robert Culp'south full-trunk transformation into the Thetan alien in "The Architects of Fear" and the ghastly alien ants with humanoid faces in "The Zanti Misfits."

John Chambers was brought on lath for episodes which required more intricate makeup furnishings as well as for simpler applications, such as the manipulation of the eyes, olfactory organ, or chin of an actor. Once he began to find steady work in feature films in the 1960's, Chambers became particularly well-known for his ability to change or exaggerate a characteristic of an role player'south face or hands, undoubtedly resulting from before fourth dimension spent in government service crafting dental and torso prosthetic appliances.

Like William Tuttle, Chambers used life masks to create molds in order to insure makeup appliances not just fit the unique contours of an player's confront but too immune the actor to exist recognized beneath the makeup. Chambers worked on The Outer Limits with frequent collaborator Fred Phillips, who served as makeup supervisor for the series, and had a hand in a number of commencement season episodes, most notably "The Hundred Days of the Dragon" in which the confront of an Asian spy is physically manipulated to resemble a murdered presidential candidate, and "The Man Who Was Never Built-in," which sees Martin Landau changed into a malformed man from a dour hereafter Earth.

John Chambers was built-in in Chicago in 1922 and became interested in art at a young age, finding early work every bit a commercial artist and jewelry designer earlier serving in the Army commencement as a dental technician and later crafting prosthetic appliances to repair the faces and bodies of wounded veterans. Chambers decided to utilize his artistic skills in the entertainment manufacture, sensing an opportunity when his work with wounded veterans became a point of emotional stress.

In 1953, Chambers landed a position creating makeup for NBC'southward live television programs. By 1959, Chambers had moved into regular feature film work under Bud Westmore at NBC's parent visitor, Universal Studios.

Chambers presently became dissatisfied with the burdens inherent in being a contract artist for either a network or a studio and retrofitted a garage next to his Burbank, California home to function as a freelance makeup laboratory. He remained firmly entrenched in the television industry, yet, since by the early 1960's he had begun to receive positive recognition for his makeup effects on a number of programs. He created ghoulish makeups for Boris Karloff's horror album series Thriller (1960-1962), working alongside longtime NBC makeup artist Jack Barron, who himself handled makeup duties for Alfred Hitchcock on both the manager's television series and films (Psycho (1960), Marine (1964) and Torn Curtain (1966)) and would later assist Chambers with the makeup effects on the Planet of the Apes films. For Gene Roddenberry's Star Trek (1966-1969), once again working with makeup supervisor Fred Phillips, Chambers created numerous bizarre alien makeup furnishings also as famously designing Mr. Spock's pointed ears.

It was Chambers' work creating disguises for the espionage television series Mission: Incommunicable (1966-1973) and I Spy (1965-1968) that drew the attention of the Fundamental Intelligence Agency, who recruited Chambers in the early 1970's, along with makeup artists Tom Burman (who became a frequent collaborator) and Michael Westmore, a member of the Westmore dynasty of makeup artists, to create disguises for regime field agents. The declassification of CIA documents in 1997 revealed Chambers to exist a crucial role of a 1979 operation that successfully freed half-dozen American diplomats during the Iranian Hostage Crisis. Chambers was portrayed past actor John Goodman in Ben Affleck's Academy Award winning 2012 picture about the functioning, Argo.

Chambers continued to stay busy with television projects, working with Ben Nye on Irwin Allen's Lost in Space (1965-1968) for CBS, and with Bud Westmore on Rod Serling's Night Gallery (1969-1973) for NBC. It was Nye, and so head of makeup for 20^th Century Fox, who approached Chambers about working on a project adapting Pierre Boulle's 1963 novel Planet of the Apes.

The resultant 1968 film marked a meaning turning point not just in the career of John Chambers but in the surface area of special makeup effects as an manufacture. Chambers, who spent much of pre-production time on the motion picture studying primates at the Los Angeles Zoo, would apply life masks of the principle actors to craft pliable prosthetic appliances which would permit the actors an impressive range of facial movement beneath the heavy ape makeups. Chambers supervised nearly threescore makeup artists for the movie, many of whom were non-union workers, in an effort to boxing time and the required workload.

Many of the artists working nether Chambers on the flick were recruited from the Don Post Studios, a California-based producer of high quality masks and props for commercial consumption besides as for the entertainment manufacture. Chambers had previously assisted at the studio on mask designs pertaining to apes and primitive human. Noted mask designer Verne Langdon was hired to create the realistic ape masks worn by the many background performers. Langdon, who followed career paths ranging from professional wrestler to recording artist, became a legend among collectible masks hobbyists for his revolutionary piece of work with sculptors Pat Newman and Ellis Burman (father of makeup artists Ellis Burman, Jr. and Tom Burman) at the Don Post Studios in the 1960's, crafting highly detailed masks based on famous monsters from film and tv set, every bit well equally his ain unique designs, including "The Zombie," a image design never mass produced as a mask and likely the near sought after monster collectible from the 1960'south era. Langdon, Newman, and the Burman brothers all used the fourth dimension spent on Planet of the Apes every bit a springboard into regular work in the film and television industries.

For his work on Planet of the Apes, Chambers was given a Special Achievement Academy Award at the 41^st Ceremonies in 1969. Chambers and William Tuttle were the only two makeup artists to receive such an honor before 1981, when the honour became standard.

Though Planet of the Apes was unquestionably the superlative of his career, Chambers continued to create impressive makeup effects in the years following. He worked with director Brian De Palma on the 1974 cult film Phantom of the Paradise and once more worked with artist Tom Burman to create the beast-men in the 1977 flick version of The Island of Dr. Moreau.

His final television work was for the curt-lived series Across Westworld in 1980. He finished his film career on ii loftier notes, all the same, by creating makeup furnishings on John Carpenter'southward Halloween Ii (1981) and prosthetic appliances for Ridley Scott's time to come-noir Blade Runner a yr later, afterward which Chambers quietly retired.

He is the subject of Scott Essman'south 1998 documentary short A Tribute to John Chambers and died in hospital on August 25, 2001, historic period 78.

It stands to reason that without the early television work of Tuttle, Smith, and Chambers, besides as the motion picture work which followed, the special makeup effects industry would take evolved in a very unlike, and likely less interesting, fashion. To simply have an account of the young artists that each man took the fourth dimension to mentor and teach would alone define the successive progression of the manufacture and continues to stand as a defining monument to three pioneering titans of special makeup effects.

Grateful acknowledgement is given to the post-obit for providing information used in the text:

-Bergan, Ronald. "William Tuttle: Eminent Hollywood Makeup Artist Who Worked With the Glamorous and Great," The Guardian, 23 August 2007.

-Essman, Scott. "John Chambers: Maestro of Makeup," Cinefex, issue 71, September 1997.

-Pull a fast one on, Margalit. "William J. Tuttle, Primary Makeup Human, Dies at 95," New York Times, iv Baronial 2007.

-Gilbey, Ryan. "Dick Smith: Tv and Pic Makeup Creative person Who Transformed Hollywood Idols into Misshapen Grotesques," The Guardian, 5 Baronial 2014.

-Nelson, Valerie J. "William J. Tuttle, 95; Pioneering Film Makeup Artist Was First to Get an Oscar," Los Angeles Times, iii August 2007.

-Nelson, Valerie J. "Dick Smith Dies at 92; 'Exorcist' Makeup Man Won Oscar for 'Amadeus'," Los Angeles Times, 31 July 2014.

-Yardley, William. "Disc Smith, Oscar-Winning Makeup Artist, Dies at 92," New York Times, 1 Baronial 2014.

Visit the Hugh M. Hefner Moving Prototype Archive for William Tuttle'southward drovehere.

Watch William Tuttle in "King of the Duplicators"hither.

Source: http://twilightzonevortex.blogspot.com/2016/05/television-work-of-early-makeup-masters.html

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