WWDITS Monster Maker Paul Jones

Episode Transcript
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James Jay Edwards (00:25):
Welcome to eye on horror, the official
podcast of ihorror com. This isepisode 128 otherwise known as
season seven. Episode Nine. I amyour host, James Jay Edwards,
and with me, as always, is yourother host, Jacob Davison, how
you doing? Jacob?

Jacob Davidson (00:40):
Doing? Well. Had a fun. Father's Day yesterday.
Father's

Day. Yeah, we'll hear more about what you
did. But before we get intothat, here's your other, other
host, Jon Correia, how youdoing? Correia, doing pretty

Jonathan Correia (00:51):
good. I got, I got invited to a live recording
of a an episode of CriticalRole, part of their Bells Hells
campaign. And my partner,Lindsey, they're very into
Critical Role. I'm not. I can'tsit and watch people play
tabletop games, but CriticalRole is, you know, it's, of

(01:13):
course, their voice actors, andit was at the Greek theater, so
they really put on like a showwith the and it was, it was a
lot of fun. I don't think Icould sit and watch episodes,
but to experience it live was,was really, really great if you
don't so, yeah, I highlyrecommend it. You.

It sounds like watching the episodes of
The Big Bang Theory, wherethey're playing. DND,

Way more entertaining.

What's been going on? You guys see anything
new? I saw a couple new things.
Yeah, have you heard of thismovie called Humanist Vampire
Seeking Consenting SuicidalPerson? That's what the movie

is. Right? No, but the title is incredible, and
pretty much tells us everythingwe need to know.

It pretty much does. Yeah, it's about,
it's it's about a reluctantvampire. She looks teenage, but
it turns out she's 68 years old,but you know, vampires, and she
doesn't her parents and herfamily are all on her they're
like, Oh, you have to make yourfirst kill. We're tired of, you
know, killing for you andfeeding you. And she thinks that
she solved her problem becauseshe meets this suicidal guy

(02:13):
who's willing to die for her tokeep her alive. But it gets a
little messy, because she makesfriends with him, and then
there's other things thathappen. But it's a, you know,
what it does? It does forvampire movies, what WARM BODIES
did for zombies, you know, itkind of, it doesn't really turn
it into like a rom com kind of athing, because it's not really

(02:34):
romantic. It's more like theyare. They just become like best
friends. They don't, you know,but it is. It kind of humanizes
the monsters, you know, if thatmakes any sense, because clearly
her name's Sasha, the girlreluctant vampire, is clearly
the hero of this even though,you know, she's one of the most

(02:55):
age old monsters in moviehistory. But yeah, it's it's
fun, it's a it's a really darkmovie, both esthetically and
humor wise, and got some coollittle surprises in it. So yeah,
sounds

like a nice double feature with Let The
Right One In.

Unknown (03:10):
It could be Yeah. It could be Yeah. As

for me, yesterday was Father's Day, and
the Cinematheque had a fantasticdouble feature that I felt
exemplified the spirit offatherhood more than anything,
and by that they had a doublefeature of the 1990s action
movie classics, Con Air and AirForce One, because nothing says
fathers did a more than action.
Dads on airplanes fightingcriminals and terrorists and

(03:37):
stuff.

Get off my plane!

put the bony in the box. Um, Con Air, dude,
Nicolas Cage is Cameron Poe isthe father that we all want in
Conair.

He waited eight years to see his daughter
because he didn't want her tosee him in prison. That is
dedication and like, it is justcrazy how stacked those casts
were because, like, yeah, like,you got Nicholas Cage and John
Cusack leading Con Air. Thenyou've got Harrison Ford and
William H Macy leading Air ForceOne. And then you got classic

(04:13):
bad guys with John Malkovich asCyrus the virus in Con Air, and
Gary Oldman, as I forget hisname, but you know, the terror,
Russian terrorist in Air ForceOne, and, yeah, just they both
really exemplify cinema of theirtimes. And that's when,

(04:35):
actually, when cinema was veryfun, because, like, it was a
very rowdy show, because, like,people were applauding and
laughing and yelling at a bunchof the scenes between both
movies. Yeah, they get off myplane got a lot of applause. And
also just kind of, also Con Airso weird to me, because there's
that whole subplot with SteveBuscemi being the notorious
serial killer. What was it?
Grissom green, yeah, he's

Hannibal Lecter. Basically

exactly. Really, Steve Hashem. He's Hannibal
Lecter, and he doesn't evenreally do anything in the movie.
He's just sitting theremenacingly,

except escape. He's the guy who gets
away. But I think it's

like he reformed, like, because there's
kind of a through lines, like,Can criminals reform? And he has
that Tea Party little girl, buthe leaves her alone. And he's,
he seems kind of chill, chillabout murder. Now, I guess, even
though he wore a person's headas a hat while driving across
state lines,

I don't think he's reformed. The last thing
you see of him isn't he yet likea roulette table or a black
Exactly.

Yeah, gambling.
He's got a he's got a martini.
It's

a Hannibal Lecter moment. I'm having a
friend for dinner. I mean, he's,I don't think he's reformed. I
think we they should make amovie about him, his own movie.
That whole

scene with the little girl in Steve Buscemi
came off like Frankenstein'smonster and the little girl in,
oh yeah, comparison the pondside scene like that whole time
you're just saying they'regoing, the fuck is he gonna do
to that little girl? Oh, dearGod, but way more menace,
because, like Frankenstein, atleast, it's like, oh, there
it's, this is fun, whereas ConAir, it's like something

(06:07):
horrible is going to happen tothis very adorable, very
innocent child. And I'mterrified,

thankfully not, but it definitely kept you on
edge. But yeah, no, both moviestruly exemplified the spirit of
fatherhood in that a real fatherwould be willing to fight his
way through terrorists airborneto see their child again and say
and save their families.

That is an awesome Father's Day double
feature.

Speaking of children dying in movies, I king
of segways, welcome to Correia'sbook corner, I just got this
amazing book from VinegarSyndrome, the The Sweetest

Taboo (06:45):
An Unapologetic Guide to Child Kills in Film, written by
Erica Schultz with anintroduction by Zach Carlson.
And it is a the Go To step bystep, or film by film, guide on
children dying in movies. Andit's, it's a lot, it's very

(07:05):
similar to, if you, if you evergot the the punk punks in movie
book as well, where theybasically go film by film. They
give you a little bit of asetup. They talk about the kill
and its relations to it. So justflipping through it, they have
it set up in sections andchapters such as, like, you
know, whoopsie is chapter one.
There's when animals and insectsattack vehicle Vehi-kills like

(07:29):
vehicles, but v hick hills, thehand that kills, so on and so
forth. But it's a veryinteresting book. I highly
recommend it. They only made1000 copies of it. So go to
Vinegar Syndrome and get it,because these type of books,
they're super limited run. Andthen they,

well, it's sold out, like the website sold out
right now.

Ah, well, maybe, maybe I'll post some
sections later. I don't know. Idid also get some Satanic Panic
books that I will be reviewingon our on our social medias at
some point, because they areridiculous

and real quick.
Uh, any, any movies that poppedup from the book that feature
child murder? That's the wholebook. But, yeah, I know. But can
you name a few examples? Oh, fewexamples. Let's

open a random page so we have, uh, Where the
Red Fern Grows is

one. I read that in elementary school, and they
and they

rate it to the movie by stars and the child
death. They rate it. It's one. Ithink it's one out of four for
both. But see, I

see there's a big poster of When A Stranger
Calls,

oh, yeah, I saw that. Uh,

Jungle Holocaust, Killer Crocodile 2.
That's the one. One section Iread was The crocodile or Killer
Crocodile 2. And they talkedabout how there was a lack of
child kills in the first one.
And so they made it up. Made upfor it in, like, the opening of
the second one. It's, it'sreally tongue in cheek in a fun
book. Uh, highly, yeah. Sosorry. You're gonna have to get
a second hand market unless theydo a repress. Speaking

of dying kids king I said with segways, I saw
this movie. It's one of theweirdest movies of the year, and
it's actually inspired me tomake a top 10 weird movies list
this year. It's called Tuesday.
You

guys hear about Tuesday? Yeah? With Julie
Louise Dreyfus, right?

Julie Louise Dreyfus, yeah, love her. It is.
It's basically, it's an A24,movie. So that kind of tells you
how weird it is. But it'sbasically death. It takes the
form of a bird, like this Macaw,parakeet, kind of a thing. But
it's also kind of a shapeshifting bird, because it like,
grows to the size of a person,or it can get, like, super tiny.
And it comes Julie LouisDreyfus's Daughter is terminally

(09:42):
ill with something, and thisbird comes for her, and she ends
up making friends with the bird.
So the bird doesn't want to takeher, but he knows he's like all
I have to this is my job asdeath to take you. And you know
stuff happens, and you know itgets kind of horrific, because.
As the kid is trying to buy timeso that she can see her mom over

(10:02):
time, because it happens whenher mom's not home. So the bird
is neglecting its duties asdeath, so people who should be
dying are not dying. So you'vegot, like, telephone pole repair
guys cut in half crawling aroundwho aren't dying, because death
isn't there to take them. It's,it's, it's a crazy movie, but
what I've been telling people isI did not have terminally ill

(10:24):
teenager get stoned with deathin the form of a bird on my 2024
cinematic bingo card. But thathappens in Tuesday. So yeah,
it's if you like weird movies,and more importantly, if you
like weird A24 movies. Becausethis movie screams A24 you know
what you're getting into withit, but yeah, it's a it's a
crazy one. That's

awesome.

And speaking of weird movies, I had a good
repertory run at the new Beverlylast Friday, like they were
doing kind of all car movies,because they were doing a
midnight of Deaf Proof over theweekend. But what I did was I
went to the Friday matinee ofRepo Man, and followed that up
with their double feature ofVanishing Point and Dirty Mary

(11:08):
Crazy Larry, uh, latter, two ofwhich I had never seen before.

That's such a great triple feature. Exactly,

Vanishing Point?
yeah, they really play well intoeach other, and they're all
great commercials for the DodgeChallenger.

Those were also the two movies that one of
the characters mentioned inDeath Proof when they were
exactly

why they get the Dodge Challenger. So it all ties
together. And Repo Man, it's adifferent car, but it's still
one of my all time favoritemovies. And it was perfect
timing, too, because they justannounced from the Criterion
Collection that they're going tobe putting out a 4k version of
Repo Man coming this September,which I

am pre ordering. I don't pre order
Criterion anymore. I wait forthe sales, but I need Repo Man
in 4K. That and the Greg ArakiDoom Trilogy

gonna say they're doing the Araki trilogy
as well. Which,

yeah, no, they're really lining them up.
And, yeah, no, I was really inthe mood too, because I also got
the Repo Man vinyl soundtrackwhile I was at MonsterPalooza a
few weeks back, and is still oneof my all time favorite scores,
especially, or soundtracks,especially with just the sheer
amount of punk music on therefrom Iggy Pop, Black Flag, the

(12:21):
circle jerks. You know, it'sjust great listening music,

let me tell you, in college, the rotation on
my record player was Repo Man,soundtrack and Return of the
Living Dead just non stop, thosetwo. And occasionally would put
on Top Gun for danger zone,okay, yeah. I

mean, not mighty wings, yeah.

It was, it was all, it was all Logins. It
depended on how much I had todrink that night. If I came back
drunk, it was Danger Zoneblasting, yeah, what

was the other login song on that plane with
the boys Volleyball, volleyballscene.

I don't, I'll be, I don't know Top Gun that
well, which is weird, becausethat was what my senior thesis
in college was about, was the RErelease of Top Gun in 3d

you know, you were blasting. Take My Breath
Away. Every chance I wasprobably

out cold by the time that song record
skipping, you know, um,

have you guys ever seen that that? It was an
HBO series called Big LittleLies

that. No, I never really got into that one,
the Reese

Witherspoon one. Yeah,

it's Reese Witherspoon, Nicole Kidman,
Laura Dern. It's got a stackcast. Zoe Kravitz and Shaleen
Woodley are the, basically theleads, so to speak. But, I mean,
there are, there are men in thecast. Adam Scott is in there,
and one of your Skarsgard, notBill Alexander, Skarsgard maybe,
oh, one of the Skarsgard. Andit's basically, there's two

(13:48):
seasons of it. And I got itbecause it was one of those
sales on Vudu, where you get,like, the whole series for eight
bucks. And I'm like, okay, cool.
And it's a pretty quick watch.
There are 14 episodes total forthe season for that series. And
the first season basically dealswith, you know from the
beginning that there's a murder,and it basically deals with
leading up to and then the endof the last episode of that

(14:11):
season is the murder. And thenthe second season is them
dealing with the murder. And Idon't really want to spoil
anything and tell you who getsmurdered, or, you know, anything
like that. But let me tell you,I have never wanted to punch
someone through the TV screenmore than Meryl Streep in season
two, because she pops up, yeah,as Nicole kidman's character's

(14:32):
mother in law, and she doesthings that I mean. It's a
testament to how great anactress the woman is, because
she literally, I wanted tostrangle her through the TV
screen because she's such a bword I was

gonna say, if you, if you, if you want to meet
up back, we could fight if youwant to punch Meryl Streep step
in front of that punch for

her. No, I do not want to punch Meryl Streep
in the face. I want to punchMary Louise in the face. Yeah, I
want to punch her. And actually,I. It. Someone actually does not
punch. It's a slap. But, yeah,somebody does what the audience
wants to do to her in this So,but yeah, it's, it's, it's not
really horror, but there is amurder involved, and there the

(15:12):
one thing that kind of took meout of it, we're gonna go back
to Big Bang Theory, kind ofShaleen woodley's kid in it is
the kid who plays Sheldon inYoung Sheldon. And I could,
whenever I'd see him, it wouldkind of take me out of it.
Because I'm like, oh, that'sfreaking Sheldon. That's about
Ziggy, that Sheldon. I couldn'tget it out of my head that this

(15:33):
was not Sheldon Cooper as a kid.
So that was kind of that kind oftook me out of it. It's that
role is going to follow thatpoor kid around for the rest of
his

life, probably, I mean, but here's the
thing, Meryl Streep is such anamazing actor, and I love it
when she plays villain orvillain esque roles, because, I
mean, come on, Death BecomesHer? Icon, but also Jonathan
Demme's Manchurian Candidate. Iknow I talked about the original
last episode, and I watchedJonathan Demi's version. Meryl

(16:03):
Streep in that is so good. Sheplays like Bush era politician
to a T like she could be, youcould have been a Senate. She
could go for Senate. I wouldhave believed it. I wouldn't
have voted for her because sheterrible person, that character.
But I would have believed it.

Doesn't she play the president in something.
I want to say Mars Attacks, butit's not Mars Attacks

my dreams. I

think it was, Don't Look Up. Yes, yes, it was.
It

was Don't Look Up. Okay, yeah. So it's not
that far fetched that she doesplay the president and

then she was vice president in in Air Force,
one, right? Jacob, or was no,that was Glenn Close. That was
going close. Oh, got it. Oh,that. How could I do that to
them? But no ManchurianCandidate. There's this, I got,
I have to talk about this.
There's this. There's this plotin the in the book, where the
mother is fucking the kid in thebrainwashed candidate, right,

(16:55):
played by Liev Schreiber the newone in the first movie they
there's no mention of it, exceptfor this one scene where she has
them hypnotized, and then theyjust basically make out, and
it's so left field, and themovie just goes on without
addressing it, and it's justlike, No, no, no, go back. What
the fuck was that kiss? And sowith Jonathan Demme would which
is also fantastic, JonathanDemme's take on it. I it was

(17:18):
advertised as like a normal,2000s big budget thriller, which
it's not. He does some reallyweird and uncomfortable things
with that movie that I can't sayI enjoyed, but I really
appreciate the staring down thebarrel of the camera with the
actors in a lot of scenes wasreally uncomfortable, and I love
that he put the viewer in thatstate. But Meryl Streep, when it

(17:39):
gets to that scene, I'm like,Oh, are they gonna make out? Is
Meryl Streep about to kiss LievSchreiber, are we about to get
uncomfortable? Worse. She like,has him sitting and has him sit
like she he's sitting, and she'slike, kneeling from him, and
she's like, telling him how muchshe loves him and how she did it
all for him. And Meryl Streepgives this look, and that look
just tells the whole incestualstory. And she just leans it

(18:00):
just leans in just a little bit,and then it cuts away, and it's
just like, like you like, MerylStreep is such an amazing actor
that she gave this entire storyof like that she's fucking her
son.

She didn't need the kiss.

She didn't need the kiss. She didn't need
to say shit. She just showed it.
And like I was I had to pause, Ididn't run out of the room. I
was like, no, no, the power ofthe power of the Streep. Man,
yeah, and oh, when is Mamma Miathree coming out? Seriously,

I feel like it's we're overdue. Every time

the trailer for Speak No Evil comes out. I
get pissed off about two things.
First thing I get pissed offabout is that I think it's Mamma
Mia three and it's not. And thesecond thing is, they show the
entire fucking movie in thattrailer. Anyways, another new
movie I watched recently was TheWatchers. Did you guys get a
chance to check that out yet?
No, the watchers is the firstfilm from Ishana Night

(18:59):
Shyamalan, M Night Shyamalan'sdaughter, and it's about this 28
year old American artist whofinds shelter after getting lost
in the woods in Ireland. Andit's, it's, it's solid. There's
some really interesting stuffthat happens with the with the
camera, some really interestinglighting work. She may have

(19:20):
inherited her father's inabilityto end a movie, but I did see
The Watchers with my partner,who read the book that it's
based on, and the director alsowrote the screenplay. Lindsey
said that they stuck too much tothe book, like almost too a
fault, and that's kind of how itplays out in the book as well.
There's not really an ending,and it just kind of keeps going

(19:40):
for some reason, but it's solid.
It was. There was a parts of itthat were a lot of fun. I really
liked how they got into some ofthe, I don't want to spoil out
too much, the folk horroraspects of certain Irish
folklore that are very differentthan other culture's
interpretations of these beingsand some but. Some of the dialog
was just like a bit rough.

(20:02):
There's a bit too muchexposition, too much characters
saying rather than showing. Butall in all, I still had a lot of
fun with it. I highly recommend,especially if it's on streaming
and you want to watch somethingto kill an afternoon. I'd
recommend The Watchers. It'sfun.

It's got my girl Dakota Fanning in it to go.
She's

great.

I love Dakota Fanning.

When is she not like, I

know, yeah, she's, she's awesome. But

it also has Owen, I'm going to mess butcher
her name, my apologies. Owenforay, who was in the last Texas
Chainsaw movie, she played thecharacter who came back from the
first some really good acting onthose, you know. But yeah, the
dialog did not help. I

caught up with a couple of things that
we've already talked about. So Italked too much about them, but

I finally saw G (20:48):
The New Empire.

Yeah, boys are back in town.

Bad Boy Kaiju

It's exactly what you guys were saying. It's
a WWF Smackdown there is asuplex, which I literally got
off the couch and cheered. Itwas so awesome. Oh, and between,
between that and The Fall Guykiss is getting paid for that
damn disco song that they allhate because it is I was

I made for loving you big Hey, that's a
great album. I love the kissdisco album.

But the other thing I saw that that I'm
catching up on is Immaculate.
And all I can say aboutImmaculate is that ending. Oh,
my god,

yeah,

it's one of those endings where you're like,
Oh, don't do that. Don't dothat. Don't do Oh, you did that.
Real

jaw dropper. Oh, my God,

this is, this is a good year for cinematic
guttural screams. Betweenimmaculate and I Saw the TV
Glow,

I would also say First Omen, yeah, and First

Omen, yeah.
We're getting some real goodguttural screams. Maybe that
should be another list, gutturalscreams of 2024,

best guttural screams. Yeah, you

just got to have your primal screaming.

Oh, man, it's great. And then just wait for
MaXXXine, because we all knowthat Mia Goth is, is an amazing
screamer as well.

I cannot wait for MaXXXine because I, yeah, I
just revisited Pearl and X forfor a piece I was writing. And,
yeah, I'm pumped for MaXXXine.

I just saw on Instagram. They're advertising a
lot, and there's that clip ofher just like, walking past the
audition line, and she's like,Y'all better go home, because I
just fucking showed up orsomething like that. And I was
just like, Yes, ICON let's go.
All right. Oh, she's

awesome.

I already pre ordered my tickets, and we did.
We're going to the AlamoDrafthouse, so I pre ordered the
they're having this thing whereit's like a VHS shell, and the
artwork is for a movie thatMaxine's in. In it, like
something like that, but there'sno tape inside. It's just like
stickers or whatever. But I needmore space in my apartment
filled up with garbage, so let'sdo it.

Why not? And just in terms of activities this
month, one other thing I've beendoing has been Junesploitation.
Are either of you familiar?

I'm used to getting exploited in June, if
that counts

aren't we all but yeah, no, June exploitation
is this thing that I was startedby F This Movie, and it's
basically just to have acalendar for June of a different
type of movie to watch each dayof the month. So, you know, like
the first of the month was theRoger Corman tribute, so I
watched The Haunted Palace, andthe other day was ozploitation.

(23:34):
So I watched Stone and see forthe free day. A couple days ago,
I revisited one of my favoriteJohn Waters movies, Cecil B.
Demented, because, turns outit's on Tubi, uh, Cecil

B. Demented.
You know, again, I the therealization recently on how much
of my personality was shaped bymid 2000s Comedy Central, just
showing the most unhingedmovies. Oh yeah, middle of the
afternoon. It was just likeconstant rotation of Cecil B.
Demented and Wet Hot AmericanSummer, and

that's how I saw Big Trouble in Little China. Big
trouble.

Little China.
Oh, man, I just can't that wasso irresponsible, and is so
responsible, like they'rethey're responsible for how
fucked I am. It's great, and

that's why cable TV is good, yes, yeah, no. But
doing this also makes me excitedfor Hooptober Because I never
managed to do it. But I reallydo want to join up with Jonathan
this year and give it a go

real quick.
If you guys were characters inCecil B. Demented, which
director would you get a tattooof, and how would it see, mine?
I would do Cronenberg in thecivic TV font from Videodrome.
You know, the rainbow lettersgoing down to be Cronenberg. Oh,

easy. I do John Carpenter in the John Carpenter
font on my on my wrist.

Oh, no doubt it's Penelope Spheeris as and
it's gonna be punk rock as shitwith, like, probably, like some
spray paint and, like, clothespins or something. You know,
there's,

there's no a in Penelope Spheeris for you to
put the. Anarchy around though?
Ah, yeah, that's true. You couldput an A in the O in Penelope.

Oh yeah, the O and then, like, the A on the
inside, yeah, for anarchy, yeah,dude, let's do this. Are we
doing? You know, I'm

in, you know, who

has a Cecil B.
Demented director tattoo likethat is friend of the podcast,
Benji. Benji Man, and he has aSam Peckinpah tattoo. Peckinpah,
yeah, he went with Peckinpah,which the one of the first times
I saw it. I went, Oh, you likeConvoy.

He's all, know, I like Straw Dogs, Yeah,

apparently Convoy isn't the one that gets
everyone into Peckinpah. Butwhatever, I fucking love Convoy.

My favorite Peckinpah is The Wild Bunch. I

mean, Convoy is not my favorite Peckinpah but
I will say that. But I do loveConvoy. How could you not catchy
song? Uh, but

yeah, while we're focusing on it, it is just
kind of funny with the wholepremise of Cecil B. Demented of
film terrors, getting sick ofthe studio system and literally
fighting against it in aguerrilla war while making a
gorilla film. And I feel like itcould be done again today.

Yeah, I rewatched it not too long ago,
and I was like, Man, this moviewas way too far ahead of its
time, but it was also veryrelevant of its time, but also,
like forever, just a lot of thatsentiment. And I just

think it's great. They took the Patty
Hearst story and made it. He'sactually in the movie.

Patty Hearst is in a lot of John Waters films
I

never understood. Serial Mom,

oh yeah, she she wore white after Labor Day.
Fashion has changed. No, ithasn't. Icon, and

now let's bring in our special guest for
the episode. This episode, we'vegot Paul Jones, who is the
effects creator for What We Doin the Shadows, among a lot of
other things, and we really wantto talk to him. But how you
doing, Paul?

Paul Jones (26:52):
I'm doing great.
Guys. Thanks for having me

on. Oh, thanks for being here. The
question I always like to startoff with is, how did you get
started doing what you do? I'm

Paul Jones (27:01):
still doing it the same way. It's basically been a
hobby since I was 14. The onlydifference now is I get paid to
do it, you know. So if as soonas I lose the as soon as I lose
that joy, then I need to go andmove on to something else. It
was literally that I just did iton my friends and family, you
know, Halloween, you know,usual. I live in northern
England. So it's not really abig not really one of those

(27:23):
hobbies that graduate toNorthern England is doing
prosthetic makeup. But, youknow, by by the age of, like,
16, I'd amassed enough picturesto kind of put together a nice
little portfolio, you know, justkind of all these goofy makeups
that I either done myself orcopied from other people.
Somebody, friend of a friendsent some pictures down to
London, to the guys that didHellraiser, which I hadn't seen

(27:46):
at the time. And I got a callfrom Bob Keene, and they said,
you want to come down for aninterview? And I was like, Yeah,
sure, whatever SheppartonStudios, and you could be down
next Thursday. It'll be great.
And I'm like, I'd never been toLondon, you know, and here I am
gonna in Shepparton studio. Sowalked in the door, and it was
like, yeah, yeah. I'm Bob keen.
I did Hellraiser, and I'm like,I hadn't seen it yet, and I seen

(28:07):
the posters. I just hadn't,hadn't seen it. And he goes
like, what kind of a horror fanare you? And I guess, sorry.
Anyway, like two weeks later, Iwas working on a commercial. I
was doing that for a couple ofweeks, and then the commercial
ended, and Bob said, so we gotanother show coming up in a
month. And I said, Honestly,Bob, I'm so like, homesick and

(28:27):
kind of like, you know, thisweird, kind of weird kind of,
like, London is such an intenseplace if you come from a small
town. And he said, Well, gohome, sort yourself out. If you
ever want to come back, there'llbe a job waiting for you. So I
took the train home, walked outthe train station and went, Wow,
what a dump. Can I, can I comeback to London? He goes, Well,

(28:49):
we don't start for two months.
Two months later, I moved toLondon, and that's that was the
beginning of my career.

I love it.
That was a Hellraiser three thatthey that, you

Paul Jones (28:58):
know, no, no, that.
That was the early days. Thatwas the first movie I worked on.
Was Waxwork one, and the moviecalled The Unholy with Ben
Cross. That was 1986-87 I'vebeen told Neil Gordon, who does,
who was one of the early imageanimation guys, told me that I
actually started in 87 I thoughtit's 86 I thought he was 87 I

(29:21):
have a terrible memory. Soanyway, I was really, I was like

70 IDB, it lists those movies as 1988

Paul Jones (29:29):
88 so we did them in 87 There you go. Yeah. Looking
for your

IMDB, it looks like a lot of your early work
was a lot under the VestronVideo banner with, yeah, like
Waxwork, The Unholy, Lair of theWhite Worm, Waxwork 2, Warlock
The Armageddon,

Paul Jones (29:46):
yeah, they seem, they seem to be a bit of a
pattern there.

Well, that led to one I, I speak for me
only, but I'm pretty sure thatthe other guys are also in
agreement. You worked onNightbreed, yes, we love night
breed and night breed, even forthe time 1990 the the effects
and the prosthetics were wayahead of their time. So what was

(30:12):
that like working on somethinglike Nightbreed? That was just
so amazing.

Paul Jones (30:17):
Well, I mean, I was lucky to, you know, get in with
image animation when I did,because it was they, they'd had
some success with, you know,Duran, Duran video, that was one
of their first original,original shows. And then they
got the Hellraiser movie, andthen a couple of other bits and
pieces. But really, you know,you know, they got, like,
Waxwork, Waxwork 2. But really,Lair of the White Worm moved us

(30:39):
to Pinewood, and that kind ofset us up in a bigger space. So
when Nightbreed came along, wewere kind of set up for it. And
yeah, it was, if I was runningthat show, I would have been
incredibly intimidated, becauseit's not like today. I mean,
we'll get into this later, butnow you have the reliance of
having another department tohelp you, like digital effects

(31:01):
back then, you didn't. So it waslike, Okay, we're gonna do this
movie that's entirely filledwith a like an army of
creatures, and you're doing allof it. So we're all looking at
Bob, like, Bob and Jeff, whowere the two owners at the time,
like, how are we gonna do this?
And they're like, ah, we'llfigure it out. And that's
exactly what it was. It was justwe threw everything at the wall
to see what would stick. I mean,some things were straightforward

(31:23):
prosthetics. Some things werescratch build. Some things we
would do out of the kit. Wewould just come up with
different materials and slapthem on the skin see what they
look like. I mean, it really waskind of like balls to the wall,
because we got to a point wherewe realized that Midian is a
much bigger place than we'drealized, and everything we'd
envisioned just didn't fill it.

(31:45):
I mean, that was what happenedwith the original shooting,
because we shot the movie andthen who was the production
company behind it? You guysshould know, I should know. I
can't remember.

That's a Jacob question. I

think that was Morgan Creek. Morgan Creek,

Paul Jones (32:02):
that's the one.
Yeah, there

he goes. New week account on Jacob.

Paul Jones (32:07):
Yeah, he's the brains of the organization.

Thank you. Thank you.

Paul Jones (32:12):
They came back and said, Clive, we need, we need
better understanding of thestory, and we need a lot more
creatures. So after we wrappedthe movie, we had, I think,
three months of prep, and cameback and shot for a whole nother
month. And that's when webrought in Lylesburg. He wasn't
in the original cut, theBerserkers, the close up stuff
with the berserkers. Theyweren't the original cut. Shuna,

(32:34):
sassy Leroy gone. These werenever in the original shoot for
Nightbreed. We had no concept ofthem at all. They came
afterwards. Three months afterwe wrapped the entire movie, we
came back and just shot allthese little sequences and just
kind of peppered them in. Soreally, I was on Nightbreed for
almost 11 months total. Wow,even though we shot it, prepped

(32:55):
it, shot it, prepped it, shotit. So yeah, it was, it was a
big part of my life. And it's Ibump into people now. I bump
into Oscar winners. I bump intoEmmy winners and BAFTA winners,
who watch Nightbreed as whenthey were, like, 11 years old
and it started their career. Andthey're like, this was my
touchstone. Like, mytouchstones, like, you know, 7
Voyages of Sinbad or, you know,a little bit later would be like

(33:17):
Star Wars, and then, like,American Werewolf in London, or
The Thing for them, it was like,Nightbreed. And I was like,
really that had such animpression on you? Because I
look back at the stuff now, andthere's a few things I
personally would have donedifferently with my work, and I
know a couple of the other guyswould have said the same thing,
but as a as a movie fan, itwould have done the same thing
with my career. It would havejust kick started me into into

(33:40):
the next realm to say, this iswhat I want to do for a living.
You know, in

college, I had an effects makeup course,
and there was a whole unit onNightbreed. So would you say,
you know how influential it is,it really is. And that's why,
when I saw it on your IMDB thatwe were interviewing you, I'm
like, oh yes, Nightbreed, yes.
It really is amazing work. Itreally is. It was, yeah,

Paul Jones (34:03):
it was, it's fun and it's nice because, because I'm
still friends with a lot of theguys that I worked with. In
fact, I just spent two summersago, I spent about 10 months
working with Mark Coulier on acouple of things back in the UK,
and he was one of the originalNightbreed guys. So it was nice
to kind of keep in touch withthose guys. And we still have
the same stories, and, you know,the same kind of love, hate

(34:23):
relationship with Nightbreed,because we did some of our best
and worst work. That's how wedescribe it. I

mean, still proud it comes out effectively.
And with the new transfers andthe new multiple cuts that are
out now, of it, the effectsshines. So, yeah, such a special
place.

Paul Jones (34:43):
Excellent. I'm glad to hear it.

Yeah, and I, and as I was saying before, a lot of
your early work was with AnthonyHickox, and I wanted to ask,
what was it like working withhim across several movies?

Paul Jones (34:55):
Oh, he's, I mean, he's, he's, like, the world's
biggest nerd. But also. The sametime, the coolest guy, I would
say, alive. And fortunately, hepassed, passed away. He was,
like, every kind of schoolboysinspiration, because he was this
kind of just amazingly kind ofsophisticated guy with tons of
talent, always surroundedhimself with, like, amazingly

(35:18):
attractive people. And he lovedmonster movies. He loved horror.
So that was my first timeactually going to LA. Was flying
to Los Angeles to shoot Waxwork2, there was me, a guy named
Steve, guy named Mark, guy namedMartin and Bob Keane. And we
basically all kind of crashed ina place in Burbank and got to

(35:38):
work on Waxwork 2. And if youwatch the courtroom scene when
Zach Galligan sits down, I'm satright behind him, a very, very
young looking Paul Jones. Also Ialso I'm the bookend to the
movie. Whenever you see asevered hand come running in and
then kill Buck Flowers, that'sme. I'm actually in the credits

(36:00):
as the hand, I still have a scarhere from the carpet burn of me
running along the thing likethis, being dragged through
carpet. Oh, the good old dayswhere you could just go, I want
to be in a movie. You know?
Yeah, sure. There's no sag.
There's no no union rules. Wedidn't have any 706, and you
know, it was just like fly bythe seat. In fact, I didn't
think we had work permits. Itwas basically just, get off the

(36:23):
plane, say you're here to dropsome stuff off, and the next
thing you know, you're workingat a studio in the valley. It
was like, okay, whatever it's1980 88 or whatever it was, who
cares? You know, that was, itwas it was, it was amazing
experience. So Anthony was just,he just really knew his stuff.
He just knew his stuff, likeinside and out. So working with
him, there was, like, thisshorthand right away. He'd

(36:44):
always reference other shows,but he had his own style. Yeah,
it was, it was, it was like,again, it was the beginning of
my career, and it's been kind ofan inspiration ever since.
Really,

really enjoy his movies, Full Eclipse,
especially that, that for me, issuch a cool movie. I remember
seeing scenes from

Paul Jones (37:00):
no one's seen it. No one's seen Yeah, they will put
it on a chase scene, on the carswhen the cops running roof to
roof. It's like, this was done,like, 40 years ago, or something
stupid. It was crazy. Yeah,

I have a VHS of it. Like, the DVD is so hard
to find these days. I don't knowwhy. Oh yeah,

Paul Jones (37:19):
no, but yeah, you can't, you can't find Jill
Ripper. Just occasionally.

Oh, who did Jill? Jill rip, or

Paul Jones (37:27):
Joe Rips? Okay, was the show that he that was a show
that was a show Tony shot inToronto that I couldn't work on.
He actually, he actually didthat old director buddy thing,
and says, Hey, man, it's Tony.
I'm in town, so I'm doing thismovie, and you got to work on
it, and I'm like, what? I'mright in the middle of a show,
and he's like, no, no, no, justtake some time off and come and
do this little movie for me. Icouldn't do it. It was like, I

(37:49):
was gutted, but it was like, I'dalready established myself in
Toronto at that point, and I wasright in the middle of a series.
I couldn't Earth final conflictor something. And, and he was
just like, and he was, he was alittle miffed I couldn't do it.
But, you know, when I wasn'tworking for Bob keen, so I
couldn't spread myself thatthin. Unfortunately, happens, it
happens. I hear you well, I

mean, we definitely love your older
stuff, but your works. You neverstop working. Just go, you know,
seeing your name pop up in somany different things. And most
recently, you know, Poor Things,which looked amazing.

Paul Jones (38:27):
That was the 10 months I spent in the UK working
with Mark Julia. We did thefirst trip out. We did Asteroid
City, Poor Things, and a thingcalled Blood Origin, which was
the Witcher prequel. Oh nice.
And then the second trip out forfive months. Was just the
Witcher with Cavell his lastseason. So it was, it was great.
It was great. It was like, I wasbetween. I was offered season
four of Shadows. I did SeasonOne, two and three. What We Do

(38:49):
In The Shadows, And they said,We're doing season four, but
we're starting in like, like sixweeks. And I said, Guys, I'm
exhausted. I'm burnt out, andI've just been offered this
really excellent chance to goback to the UK and work for a
buddy of mine who has a coupleof Oscars, and work with people
I haven't, I've just beenadmiring for years, and I really
have to take the opportunity. Sothey said, Okay, fine, you can

(39:13):
go. You can go. So I went outthere, and it was, it was great.
It was like being surrounded bypeople that I been following on
Instagram, and I'd been kind offollowing their work for years.
And then Mark stair, who I'veknown since I was 18 years old,
he was one of the first guys Imet in the industry. And, yeah,
that was a great experience. Imean, you know, doing alien

(39:33):
suits on Jeff Goldblum, and, youknow, being on set with back,
you know, Henry Cavill. And itwas like, it was like a
whirlwind. It was like, great.
And I've done some stuff, it'snot like I was like, but it was
like, I was like a 15 year oldkid again, because I wasn't in
charge, so I didn't have to bethe grown up so I was able to
regress a little bit and be thiskind of fanboy on set while

(39:55):
doing this kind of, like grownup work. You know, it was, it
was actually a perfectsituation. Thing, it was like
all the glory, but none, butnone of the stress. It was
really, I was actually going

to ask that, what did you do for Asteroid
City? Because there's not, itdoesn't look like there's that
much makeup effects, but itwould be the alien on Jeff
Goldblum.

Paul Jones (40:13):
That was it. That was, that was for I came in at
month three on that, and it wasabout five months of work with
that bloody suit. It wasoriginally all the alien in the
movie. All the alien wassupposed to be Jeff in the suit.
But then with, with, with Jeffand the mobility of the suit and
the leg extensions and thecoming down a ladder and doing

(40:36):
all these kind of weird poses,they figured it would be best
suited to switch it to stopmotion. So then they limited
his, his live action to himwalking out, walking down the
aisle. Of all these a liststars, which, by itself, was
surreal, because I'm there withMark and like one other person
in Spain, and they built thislittle set, and I'm like, stood

(40:56):
on stood on set, holding Jeff'shead. And it's like, Jeff
Goldblum behind me is likeWillem de Poe, Willem Dafoe, God
like Scarlett Johansson wasthere. Matt Dillon was there,
Brian Cranston was there. Andthey're all just sat there. It's
like, everywhere you look was aperson's face who can greenlit a
movie. And they were all there.
And then, when they were waitingbetween takes, they were just

(41:18):
sitting in a tent chilling.
There's no entourage, nonothing. It was like, it was
like, it was like, kind ofguerrilla filmmaking, almost
even though it was like a properset and the proper producers in
LA and everything, I mean, BillMurray was there just hanging
out. He was just there to hangout. It was like, again, I've
done a lot of shows, but to bein that situation, I was able to

(41:39):
kind of like, stand back andjust enjoy it as a fanboy, as
well as be responsible for thework. Because I wasn't
responsible responsible. I wasjust responsible to my boss. It
was like one of the one of themost surreal experiences. You
know, it's amazing.

Jeff Goldblum is the punchline to that whole
alien thing, because when theygo through the behind the
scenes, and he's talking abouthis character, that just killed
me, like, the knowing that it'sJeff Goldblum at that point just
killed me. I'm

Paul Jones (42:08):
doing as a metaphor.
Yeah, exactly ridiculous. Well,it's funny because you don't see
until the very end of the movie.
So I'm watching the movie, andI'm loving it, and I'm like,
we're gonna see the suit. And itwas like, 12 minutes before the
end, and I was like, Oh, my God,they cut the suit out. And then
it was like, boom, there he is.
And I was, oh, thank heavens.
You know, I was really worriedall that work was going to be

(42:29):
gone. But no, it was, it wasreally fun. It was, it was
amazing experience. It reallywas

another one of your more recent ones that I
wanted to ask about, is Bo isAfraid, right? Tell me you did
the penis monster. In Bo isAfraid Well,

Paul Jones (42:43):
I can't, I can't claim fame. I can't claim
ownership of anything in thatmovie, because it was actually I
was working for a buddy of minenamed Steve Newburn, AA Effects
company. You should look up hiswebsite. He does amazing work
where Steve was originally an LAguy and his wife's Canadian. He
moved to Toronto, and I was oneof the first people who hired

(43:03):
him, and then over the years, hekind of evolved and set up his
own shop. And I'm actuallyworking for him right now on his
new movie, which I can't tellyou about, because I just signed
an NDA, but it's going to bereally cool. So Steve, Steve got
Bo is Afraid he's kind of AriAster's guy, and it was kind of
funny, because I bid onHereditary way back when, and

(43:23):
then it left Toronto and it wentsomewhere else, and Steve ended
up doing it, because Steve's aUS citizen, so he was able to
kind of do that and bridge thegap between Canada and US. And
ever since then, he's been kindof Ari's guy. So he got Bo is
Afraid, and right when Shadowsended and before I went off to
do Poor Things that I had, like,I had, like, a three week

(43:45):
window. So he's like, we'resculpting this giant penis. Can
you please come and give us ahand? So I came in and me and
like six other people basicallygot to sculpt. I sculpted the
shaft and some of the balls. Inever touched the head, and I
never did anything else afterthat. I walked out right when
they were getting too ready tomold it, but literally, this

(44:06):
thing was massive, like I couldhave lived inside one of the
testicles, no problem.

I'll bet that's a phrase you didn't think
you're going to be saying inthis interview. I sculpted the
shaft and the balls,

Paul Jones (44:18):
some of the balls, not all of them, because they
were too bloody big. Yeah, itwas, it was crazy. I just I
started seeing the movie. Mykids have seen it. I have a 17
year old and a 21 year olddaughters, and they've seen it
and I haven't, and they werelike, Oh, it was so crazy. And I
saw your name at the end. But ifyou watch one of the Resident
Evils, you'll see their name atthe end, because I snuck their

(44:38):
names into credits over theyears. So they actually have, I
should actually set them up asan IMDB, because they both have
about five credits each. It'sreally funny. They've never been
on set in their lives.

Man, I What an awesome life you live in. I wish
I could get a call that goes,Hey, you doing anything for the
next few weeks? Because we needhelp working on this monster
cock. You know? Yeah, thanks,

Paul Jones (45:04):
thanks. Thanks, guys. I mean, I mean, I'm, I'm,
I'm a monster kid. You know, Igrew up reading Fangoria and
gore zone, reading cinephex, youknow, I watched every making of
you could get your hands on. Youknow, I fooled around with latex
and plaster in my bedroom when Iwas 11 years old. So, so,
really, I'm still that kid andthat I think that's why I've had
such a nice run of it over theyears, because I haven't lost

(45:26):
that kind of kind of childhoodenthusiasm for this job. Because
at the end of the day, how manypeople get to say they make
monsters for a living likenobody gets to say that apart
from a very small, very smalldemographic of people. So why
shouldn't I just be enthusiasticabout it every single day? Plus
you look at like Rick Baker, ifyou look at him now, he's still

(45:49):
making monsters. He's retired,but he just makes like,
creatures and masks, and they'reall amazing. And he just does it
at home for fun. He's basicallydoing the same thing he did when
he was 15 years old, except nowhe has like, seven Oscars and
millions of dollars in the bank,but he still gets Joy making
little figures and making masksand everything. That's like the
dream for me. It's like, as longas I'm able to do it, I'm always

(46:12):
going to do it. So when I getout for a job, that enthusiasm
comes through. And I thinkthat's why I've been able to
secure as many of many projectsas I have. Plus, Toronto has
been been a pretty good town forme. You know that there's, it's
a service town, so a lot ofproducts come through. So I've
been able to do films and TV,which, if I'd stayed back in the
UK, I probably wouldn't have hadthe opportunities

on back on the subject for What We Do in the
Shadows, I wanted to ask how yougot involved in the TV show.

Paul Jones (46:42):
It was, it was really simple. I worked with a
producer named HartleyGornstein. We had done Silent
Hill 2 we'd done a couple ofResident Evils, and he was the
line producer on those movies,and we've done a couple of TV
things. And he gave me a callone day, and he goes doing this
TV series. We're starting in acouple of weeks. It's about
vampires living in a housetogether. It's a comedy. It's

(47:04):
like, it's like, Spinal Tap.
It's based on a movie. Do youknow what I'm talking about? And
I'm like, yeah, it's called WhatWe Do In The Shadows, and shot
in 2011 it's Jermaine Clementand and Taika Waititi. And it
was shot in Wellington. He'sokay, okay, okay, you know what
I'm talking about? Well, we'redoing the series of that. Do you
want to work on it? And I'mlike, I had to stop myself from
saying, I'll do it for free. Andtwo weeks later, I was in a

(47:26):
meeting with Jermaine, like, andTaika came in the week after,
and I had to, like, make thanksfor them, and I had to, like,
sit in meetings with them. AndI'm like, Oh my God, thank you.
Whatever I done in life to getme to this position, because it
really I mean, obviously mycareer is not over, and
obviously I'm not done yet,because I'm still relatively
young man 56 but I really feellike everything has been kind of

(47:50):
moving towards this one series.
Because apart from having alittle break on season four,
because I went off to the UK towork on Poor Things, I came back
at the end of season four andhelped finish the season, and
then right away they said, Okay,you're back now you can take
over the show. So I ended updoing five and six. So it's I've
pretty much been there for thewhole time, if not physically,

(48:12):
but in spirit. And it truly hasbeen my entire portfolio in in
one series. Like I have done oldage makeups. I've done demon
makeups, I've done zombies, I'vedone dead bodies. I've done
werewolves, I've done vampires,I've done monster vampires, I've
done doll puppets. I've doneancient vampire animatronic
bodies. You know, it's like, youcan literally look at each

(48:35):
episode of that show, and it'slike a different page in my
portfolio. Yeah, and to do itwith the most talented bunch of
people in the world, thefunniest bunch of actors and
talent I've ever worked with inmy career, on a show that is
literally a famous effects guyin airline. Steve Johnson came
up with the best way to describeit. He said it's a modern Adams

(48:56):
Family, yeah, and just to beinvolved in something like that,
because how much likely AdamsFamily have. I think what What
We Do In The Shadows shows comeand go, but I think What We Do
In The Shadows is going to beone of those shows that people
are going to be watching 10, 15,20 years from now. I really do,
oh, absolutely.

Oh, no doubt.
And I do appreciate all thepractical effects work on the
show, because I feel like,especially for primetime shows
like that, it's harder to comeby. But yeah, it's just a
Monster Mash, like, there's justbeen so many monsters and
creatures and such varieties.

(49:34):
It's a joy to watch it everyweek and think, oh, what's going
to pop up next?

Paul Jones (49:39):
Yeah, thank you.
Yeah, it's definitely been anesthetic of the show that they
want to keep as much practicalin camera as possible. I mean,
obviously we have a great visualeffects team, and they're able
to produce some amazing stuff.
But the esthetic of the showwith the vampires in the house,
documentary style, you know,Jermaine and Taika were very
adamant right from thebeginning, as much as. We can do

(50:00):
in cameras possible. And thenPaul Sims, who took over the
show, and Kyle and Yana whodirect, they like having stuff.
They like having tangible stuffthey can grab hold of. They're
very tactile people. So, yeah,it's, it's, I've been very, very
lucky, but also very busy. Imean, each season they say,
well, we didn't kill you thisseason, just wait till next

(50:20):
season, and then this seasonjust finished. Yeah, they came
close to putting me in thegrave. They really did, but we
managed to put some stuff off.
But that's okay, because, youknow, vampires, they sleep in
their coffins. So I'll just beback for more later. You know,

you'll rise from the grave.

I especially talk about, because, like, the
original movie is so good, butit's very low budget. You know,
there wasn't that much so havingthat, but bringing that humor
over, which is brilliant. That'sone of my favorite movies was
done so well, and then to havethat added thing, of like, we
have a budget, and we're doingcreatures every week, but one of
the, one of the best episodes, Ithink, for practical effects was

(51:01):
the hybrid creatures from lastseason, season five, yeah, and
what a challenge, like, what achallenge idea of doing, like
Island of Dr. Moreau typehybrids, but they all have a bit
of Guillermo in them. Tell us.
Tell us about what was it liketaking on that challenge. That

Paul Jones (51:19):
was, it was, it was, yeah, it was, yeah, it was, it
was intense, because originallyin the script, like Paul Sims,
the showrunner would give me aheads up before we'd even
started prep. And he goes, Okay,scripts gonna be out soon, but I
want to give you a heads up. Ihave an Island of Dr. Moreau
episode, and I'm looking athaving about a dozen creatures
made just to give you a headsup. And I'm like, Oh my fucking
hell, okay, right, you know? Socame in, got the script, yeah,

(51:42):
there's about nine or 10creatures in there. I always,
each interview I give, I alwaysgive a different number. I think
it was about nine originally.
And I said, Okay, this, this isfine. I can do all of this, but
don't you think nine is toomany, especially if they're all
in the same room at the sametime, because the camera is
doing this, so you're gonna misssome stuff. So can we pare it
down a little bit? And he'slike, Okay, what do you think we
should do? And I said, Idefinitely want to do a dog. I

(52:04):
definitely want to do a pig,because they're kind of cute.
Let's do a lamb, because it'd befun to have a lamb. And then
let's scale it down and do somefrogs and some toads and and
maybe a kind of a rat creature,because there was a rat in the
script. And he was like, great.
Get designing. So, so that wasit. I started with, started
with, with Harvey's face, and wedid a cyber scan of him, and we

(52:25):
shrunk him down to differentsizes, and then everything was
based around Harvey. Becauseoriginally, like Wade, in the
early days of pre production,they were considering putting
Harvey in all the makeups andshooting them all separately,
then digitally put him in theframe. And we realized almost
within the same breath, well,that's a stupid idea, but
there's no way we can do that onour on our time frame. So we

(52:48):
just took, we took some verytalented actors from Toronto who
are of diminutive size, and theycould, they were super talented,
and they could alsoenthusiastically wear the
prosthetics. And we designed thelook of a prosthetics based on
based on Harvey's face. Sothat's why it's got guiltmo hair
and these fat the same kind ofbuild and kind of facial

(53:10):
features, but then really kindof turned up the kind of the
animalistic look of them, but atthe same time keeping them
grounded. Because one of thethings Paul Sims always says Is
he goes, always find the funny.
And what he means by that is,don't make them funny. Make what
they do in the situationsthey're in funny, but keep them
grounded, so that they stilllive within this world. Like the

(53:32):
werewolves are still dangerous.
You know, the demons are stilldangerous, like Carol from one
of the episodes of dangerous,whenever we see the Baron, he's
still lethal, but it's what theydo, the way you get the laugh
from so the animals still had tolook kind of sad and kind of
freaky and mutanty, but not somuch that you're laughing at
them. You're laughing with them.
And I think that's what reallycomes across in the episode. But

(53:55):
discipline wise, I mean, we didsilicon prosthetics, we did
foam, latex prosthetics. We weredoing hair punching. We didn't
flocking. Then we got to do somereally nice little rod puppets
as well. We got to do someanimatronic creatures. And then
we have this thing in the pondcalled Binky, which is actually
one of my favorite creations,because there's this great shot
of him swimming in the pool. Andall it was was a very simple rig

(54:17):
with, you know, you get thoseplastic snakes that kind of only
move. They're only on one axis.
So imagine a metal version ofthat inside a silicon body
rigged to a pole. So as you dragit through the water and wiggle
it, the actual fluid dynamicsmake the silicon tails swish
around. So we have this almostrealistic looking fish, like

(54:38):
amphibian, swimming in a pond,and I was, like, leaning over
the pond in full green screenwith this big pole puppeteering
it, and they only shoot it inclose up. I was so mad at
Kyle's, like, it literally lookslike a real bloody fish, and you
shoot only one shot of it inclose up. But if you watch the
show, and you can go to myInstagram account, you can
actually see a test video of it,and it. I that was the one thing

(55:01):
I was really happy with. Butthat was one of so many other
things in the episode. Andluckily, you know, it stood out
enough that we're able to submitit for an Emmy. And Fingers
crossed. Other people like it asmuch as we did. So you never
know, right? Oh

man. The dog makeup alone from that episode
deserves all the awards. Helooks fancy the just the shot of
him sitting there wearing thenets shirt.

Paul Jones (55:24):
Yeah, it's, well, yeah, Laura Montgomery, our
costume designer, was really funbecause she she, she knew we had
like, a partial body suit withlike one human limb and one
animal limb, so she's able todress them accordingly. But
yeah, whenever you put humanclothes on creatures. It's, it's
just, it's just like a perfectrecipe for kind of crazy in the

(55:44):
center. Yeah,

and you were right about the pig. It was cute
in that ugly kind of way. Yes,

Paul Jones (55:52):
exactly right. So you want to hug it, but not for
very long.

I highly recommend to everyone listening
to to follow Paul on Instagram.
I've been following you for alittle bit now, and it is so
cool seeing the behind thescenes, and you have been
posting a lot of stuff from whatwe do in the shadows in that
episode, and just seeing thework that goes into it and the
effects and the differenttesting. It's so cool. And we're
monster kids too.

Paul Jones (56:20):
Thank you. I mean, yeah, I mean social media is,
it's, it's, you know, it's notin his infancy, but my, but my
use of it is, so I'm trying topost at least once a week now,
because I've got stuff goingback to the 80s. I can post. I
have test videos from Waxwork 2,I have Lair of the White Worm
photographs. I have behind thescenes of Nightbreed. I have

(56:41):
Nemesis from one of the ResidentEvil movies. I have Ginger Snaps
stuff. I have all kinds of stuffthat I should be posting, and
I'm just too bloody lazy, so Iwill be, I will start posting
because the because I am amonster fan. I know there's a
lot of monster kids out there,and you know, we've we've got
it. We've got to stay strong.
Because even though digital is abig piece of the pie now, the

(57:02):
new generation of directorscoming in are your guys' age,
and they grew up watching VHStapes, and they grew up watching
rubber monsters. So even thoughthey know digital effects inside
and out, they still wantsomething they can pick up on
set. They still want somethingthey can actually film that,
then they can just CG to kind ofmodify and augment it. So

(57:24):
everything now is a hybrideffect, and that's the thing I
think that is going to keep meworking for many years to come,
is the fact that the technologyand prosthetics has come along.
But also, CG isn't just the onlytool in toolbox anymore. It's
just one of the tools andprosthetic makeup is still, it's
still got a nice kind of slot inthat toolbox. You know,

the excuse for not posting is not laziness,
it's that you're too busy.

Yeah, you're very busy. That's

what it is.

Paul Jones (57:56):
The last season of shadows, I was averaging 13 hour
days, seven days a week, justfor the last month and a half.
But guys, I'm making monsters. Iwas like, I was like, I was
like, a kid in a candy shop. Iwas like, doing, can't talk
about that over there. And I wasdoing five, can't talk about
those over there, season six, Ican't tell you. Yeah, I don't

(58:17):
want to spoil it for you,because you're obviously fans of
the show. I just ruined it. Oh,yeah, all the cool stuff we did.

So what are speaking of? Can't talk about
this here and there. What iscoming up for you? What do you
got coming on next? Is thereanything you can talk about you
mentioned an NDA that you justsigned? Is there anything that
is out of embargo that you can

Paul Jones (58:36):
talk yeah, I just, I just worked with a director who
did The Nun? And I'm pretty sureJacob knows who his name is,
Colin Hardy and he also did,yeah, I didn't come prepared
because I wasn't expecting thatquestion, but I just did a movie
with his me, and Steve Newburnactually shared the effects,

(58:57):
because there was so much in itthat the movie is called
Whistle, and then we justfinished prep. We just finished
production on that beginning ofthis year. So that's, that's a
really fun horror movie that'sgoing to come out, and I'm
currently working on a verylarge Screen Gems, video game
adaption of a movie based on avideo game. And that's as much
as I can tell you,

that's awesome. Yeah, no,

Paul Jones (59:21):
it's, it's, it's, yeah, it's nice. What, what I'm
trying to do now is, is kind ofpush to the side me taking on
shows and running a crew andrunning a workshop to actually
go work in for other people'screws, because I have a lot of
friends in town. Most of theguys that run shops in Toronto
used to work for me back in theday. So now they all owe me, so

(59:43):
I'm pulling in favors now tosay, hey, I need three months
work. Give me some work, youknow. So, so, so, so, yeah, I'm
sure I'm going to be busy, butthe show I'm on right now will
take me till probably end ofSeptember, and then I'm going to
take a little bit of time off,and then hopefully in New Year,
we'll I'll go straight on tosomething else.

I. Now, where can, where can people follow you
on the social so you mentionedyou have an Instagram if they
want to keep up with what'scoming up for you

Paul Jones (01:00:07):
in Instagram @PaulJonesFX, FX, they Yeah,
that's, that's pretty the bestplace, because that's really
where I post most of my work. Ido have some stuff on Facebook,
but I'm going to be scaling thatback for more kind of friends
and family, and I'll be shiftingall the stuff I posted there
onto my Instagram, and I have awebsite as well. PaulJonesfx.com

(01:00:31):
again, needs updating, butthere's pretty much my whole
portfolio in there. And ofcourse, IMDb, if you want to see
all the great, tedious and awfulmovies I've done over the years
and

James Jay Edwards (01:00:43):
and you can scroll through his resume, and
you'll be amazed at what he hasworked on, just like we were. So
yeah, Paul, thank you forjoining us this afternoon, and
we're rooting for you, for theEmmys. We want you to pull that
Emmy who is

Jonathan Correia (01:00:58):
the competition, because, like, I
don't think, I don't think thereis everyone else.

No, I actually that there's some really great,
really great makeups. Of course,Fallout in contention. There's a
great one with Robert Downey Jr.
There's some fantastic makeupsin that. Of course, my friend
Dave Elsie did all the stuff forTrue Detective with, with, with
all the frozen makeups, there'ssome really good stuff. There no
this. There's some really goodstuff. I just really hope I can

(01:01:25):
sneak in amongst the big boys,because I know Shadows gets
nominated a lot. We won BestCostume. We've been nominated
for Best Comedy. There's beensome some other craft awards,
but no love for prosthetics yet.
So I'm hoping with these, withthese furry little guys, that we
can kind of sneak in as the asas the outlier, and I just want

(01:01:48):
a free meal. Basically, I justwant a free meal and meet some
great makeup talent and shaketheir hands when they win their
Emmy. I don't care aboutwinning. I just want to turn up
and just kind of be recognized,just for the show, because
everybody loves Shadows. I youeither there's two kinds of
people in the world, people wholove Shadows and people who
haven't seen it yet, exactly twokind of people. So I'm, I'm

(01:02:09):
really hoping that the peoplewho've seen it love it enough to
just give me a little tickbefore the before the end of
voting, which is in about fivedays. So,

ah, okay, well, we're rooting for you, and
we'll be watching amazing sothanks again for joining us. Our
theme song is by RestlessSpirits, so go give them a
listen. Our artwork is by ChrisFisher, so go give him a like
for us on the socials. You canfind us at eye on horror
anywhere the socials. If you arenot tired of hearing Correia's

(01:02:40):
voice, he's guesting on oursister podcast. You want to tell
us about that real

quick? Oh yes, this is about two or three years
in the making. Got invited toMurmurs From the Morgue to talk
about our favorite DILFs inhorror. You know, it's a nice
little Father's Day episode.
Don't worry, we we were veryrespectful, or we said we were
going to be respectful. Weweren't but, yeah, come join us.
Join me on Murmurs From theMorgue, as we mainly just talk

(01:03:05):
about Train to Busan, becausethere's, there's some hot dads
in that movie. So, you know, itgets steamy over there. And

also, if you're listening into this
today, it posts. Go to oursocials, because we have A Quiet

Place (01:03:20):
Day one giveaway happening, which will open the
Friday after this post. So yeah,we'll you can go and see a quiet
place day one on us. And we'llcall this one an episode with
that. So we'll see you in acouple of weeks. So for me,
James, Jay Edwards,

Jacob Davidson (01:03:36):
I'm Jacob Davison. I'm

Jonathan Correia.

I'm Paul Jones.

Keep your eye on horror.

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