- Jerry Constantine is a special effects artist and has worked on many movies, including "See How They Run." Anyone looking for more info on Jerry or his films, can visit him at his IMDB page.
Q: Mr. Constantine, can you explain how you first got into the movie business?
A: I first got the FX bug while watching a documentary on FX artist Tom Savini titled “Scream Greats: Volume 1”. By the time the credits rolled, my career choice had been decided. I immediately dug into my stash of monster magazines where I remembered seeing Special Make-Up FX tutorials and began practicing. Then I left New Jersey for Pittsburgh, PA with a crude portfolio to show Mr. Savini. Now that I think about it… that really was an awful portfolio! Fortunately, he still allowed me to stick around and learn a bit before assisting on some films.
Q: Would you please explain your role in "See How They Run."
A: My role was to create a variety of Demon Make-Ups and Blood blasting FX! There was brains smashed and heads severed. I’ll be sure to let everyone know when the film get closer to it’s release.
Q: Knowing how movie reviews may skew the perception of one's product, give us in your own words what you want people to know about the film.
A: “See How They Run” was made with a lot of fake blood and real tears! We got snowed out, rained out and kicked out due to wild fires. We also lost a lot cast and crew because of hurt appendages, feelings and wallets. Regardless, the Producers had stuck with it and the footage I saw looks pretty damned cool!
Q: If there were one part of the filming that was more difficult than you expected, what would that be? Getting a costume to work? Make-up? Something else?
A: This is the charm of Special Make-Up FX! It’s actually more of a surprise when something works correctly the first time. It seems like there’s always something messing up the works. Whether it be the set is too small when puppeteering, the weather is so hot that the actor is sweating off the prosthetics or being in a far away land where I can’t get proper supplies. However, necessity is the mother of invention.
Q: Was there any one day, one moment where you just knew the film would work the way you thought it could?
A: Recently I had to start building a creature suit before any performer was cast for the part. The first technical step in building a creature suit is to take a full body cast of the performer so you have an accurate form to sculpt on. Even after having taken every possible preventive measure, if the foam latex suit didn't fit, the film's dead in the water with no monster. Fortunately, we managed to get an amazing actor signed on (Daniel Bernhardt) and the creature suit fit perfectly!
Q: Looking back, I see that you’ve also worked on a lot of films. Can you tell me a little about each film and your experience with it? First, “Infestation”?
A: “Infestation” was definitely an interesting experience. I found myself in Bulgaria for months prepping giant bugs. It proved extremely difficult with an entire crew that didn’t speak English and getting proper supplies in a timely fashion. VFX Supervisor Efram Potelle and I had several conversations about how to create a happy marriage between CGI FX and Practical FX. Sometimes you see practical bug legs and CGI Bug body and another time you’ll see CGI Bug legs and Practical Bug body. I’m very proud of the final product.
Q: How about “Nuclear Family”?
A:
“Nuclear Family” was my second venture with “Infestation” director Kyle Rankin. Thankfully, he decided to shoot in Topanga Canyon, CA. This time he needed a more raw apocalyptic look to the film. We’re hoping “Nuclear Family” spins into a television series which will hopefully mean I get to kill a lot more people on screen.
Q: How about “C.L.A.S.S.”?
A:
“C.L.A.S.S.” was an exceptionally bloody film. I must’ve killed give or take 20 people in that flick. As a matter of fact, in 10 days we used 10 gallons of blood. We splattered that blood straight across Southern California! One day director Michael Edwards wanted to spice up a death so I got the idea to carve a fetus out of an apple. That was a fun shoot!
Q: Finally, “Poe”?
A:
For “Poe” I got a phone call one evening because their original Special Make-Up Effects artist had dropped out. They had a limited amount of money and list of FX. The director and producers were really accommodating and opened to creative ideas on designing the FX. Explaining how the SFX work was a dream because the director Francis Xavier had a background in Special Make-Up Effects.
Q: Is there any movie director or producer you’ve never worked for that you really want to work for one day?
A:
There isn’t any director or producer that I really aspire to work with. But if I could have my choice of who to work for anyone it’d be “Old blood and guts”… General Patton!
Q: What do you look for when picking projects?
A: I don’t think I’ve reached the point where I can object to too many projects for any reason other than budgetary conflicts.
Q: Anything you wish to add for my readers and visitors? Something special about you that they probably do not know?
A: I’m a reader and visitor too! I’m your basic fan that visits the horror sites, lurks in the horror aisle at the local movie depot and trolls around the conventions searching for more inspiration.
Q: Finally...this is an "Obscure Horror Movie" website. Can you name the last horror movie you watched either at the theatres or on dvd, etc? How about name a favorite horror film that you have seen that most people probably haven't seen?
A: While I’m writing this I’m watching “Zombie Nightmare”. But it’s the Mystery Science Theatre version. I hope that doesn’t make it a comedy though!
I keep finding myself watching “Messiah of Evil” and “God Told Me Too”. What great films! It’s inspiring to watch movies while I work. The plan is to project movies in my studio.
Q: Thank you very much for doing this.
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