Mask Magic: Behind the Scenes with Immortal Masks

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Join PTPOP on A Mind Revolution for an exclusive behind-the-scenes interview with Andrew Freeman of Immortal Masks, where we dive into the art of creating realistic Halloween masks, silicone monsters, and movie-quality creature designs. #ImmortalMasks #AndrewFreeman #SiliconeMasks #RealisticHalloweenMasks #CreatureDesign #SFXMasks #SpecialEffects #HorrorPodcast #BehindTheScenes #MaskMaking #Halloween2025 #PTPOP #AMindRevolution #AlienMask #MonsterMasks Immortal Masks: http://www.immortalmasks.com 3D Mantis 3D Printing https://www.instagram.com/3d_mantis/

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Episode Transcript

Peter (00:07):
Hey there everybody.
Peachy Pop here, leading youout of the rabbit hole, one
grain of truth at a time.
I've got a great show for youtoday, perfect timing for
Halloween.
Today on the show, we're divingdeep, deep into the world of
monster making, mask magic andthe kind of craftsmanship that
blurs the line between fantasyand reality.

(00:28):
I guarantee you this.
This is going to be a greatshow.
We're joined by Andrew Freeman,co-founder of Immortal Masks,
the industry-leading creators ofhyper-realistic silicone masks
for movies, haunted attractionscollectors and die-hard horror
fans.
This guy's work and his staff'swork is just tremendous.

(00:49):
Immortal Mask was founded in2010 by Andrew Freeman, george
Afrangadakis and Chuck Banker,and the company has since become
a powerhouse in the world ofspecial effects and creative
design.
They're based out of Van Nuys,california.
It's about 10 minutes fromHollywood, california.
They've built a reputation foramazing, cutting-edge design,

(01:12):
incredible realism and masksthat are not just terrifying,
they're wearable art.
This is the truth.
This is one of their masksright here.
This is my Zontarski mask.
This is what they call theiralien mask.
I call it my alien green mask.
I wear it for my MidnightMutant Theater show and I love
it.
I become a different person.
You can kind of become a kidagain and you wear this and I

(01:34):
become Zontarski, I justtransfer or just become somebody
else, and you're just going tolove loving to hear how Andrew
makes his mask.
So, andrew, thanks so much forbeing on the show tonight.
Your masks are amazing.
Hello, hey there.
Hey, we're good.
Hey, how's it going Good?

(01:55):
Good, how's it going Awesome?
I'm so glad to see you.
I was.
I was wondering if I was in theright place, because I always
have a problem with Zoom forsome reason.

Andrews (02:04):
Right, I hope we didn't hear all that gross shit we
were just talking about.
Was it something disgusting, Iguess yeah, the guys that make
rubber monsters are alwaysfucking around.

Peter (02:14):
Yeah, you're not exactly that's cool, though.
It's got to be a fun place towork.

Andrews (02:19):
It is.
Yeah, there are stressfulscenarios or deadline situations
.
Right now is the busy season sowe are cranking away, but we I
think everyone here loves whatthey do, so we definitely keep
it light, yeah that's awesome.

Peter (02:32):
I've been watching some of your videos on youtube where
you guys are just somebody madea little documentary and showing
you and your buddy mike, or isit?

Andrews (02:40):
no, it's george, george yeah, I met him at another shop
aside from Immortal Mass and itwas an effect and I was like a
key artist there doing a lot ofthe designs and sculptures and
paintwork and I was even goingon set, you know, doing
animatronics and on setapplication and George was hired

(03:01):
to be the shop supervisorsupervisor and that's kind of
like where we first met.
And once I moved on from thatshop and immortal was getting
bigger and I think george wasactually going to move back home
, I hit him up and was just likehey, you know, can you come by
my shop and tell me if you think?
I think I just wanted hisadvice as a shop supervisor,
like how I could tighten it upAround.

(03:25):
That time we got a big like aclient who's a billionaire and
he wanted to buy 100 masks toset up a haunted attraction on
like the front lawn of hismansion.
Wow, it was all for his son.
His son was a huge UniversalStudios Halloween Horror Nights
enthusiast.
His son knew that I was one ofthe sculptors for a lot of the

(03:48):
masks.
So his dad, being thisbillionaire, had some
connections and he gotUniversal's permission for us to
remake some actual mazes fromone of the years that this kid
chose and they sent likeblueprints and stuff and it was
a pretty big deal and George waskind of instrumental in helping
me oversee that that size of aproject.

(04:10):
And so I think at that time hewas just kind of like like a
shop supervisor for me.
Like I brought him on for thatand after seeing how well he
dealt with it I offered him, youknow, a partnership, because as
an artist I guess I you knowit's it's hard for me to deal
with the business side of stuffsometimes.
You know, oh, yeah, yeah youknow, just just creating cool

(04:32):
art is, like you know, hardenough.

Peter (04:34):
So I went online and bought this really horrible
alien mask made.
I think this is rubber.

Andrews (04:40):
Okay, maybe latex.

Peter (04:41):
It looks like Latex, yeah , yeah yeah, and I've recorded a
few music videos with it, andit's just.
It was horrible.
When you move your head, it itdoesn't, it stays straight like
a yeah, it's like a bucketalmost.

Andrews (04:54):
It doesn't really conform to your head shape yeah,
and the mouth doesn't open.

Peter (04:58):
And then I found you online and I love your mask
because the mouth it opens whenyour mouth opens and I thought
that was like I'm like a littlekid again, like this is so cool.
Where did this all come fromand how did you go from just
doing visual effects to startingyour own mask business?
Was there a dream?
Did you have a dream of makingmasks or?

Andrews (05:20):
yeah, I guess that's a good question.
I, you know, I I've always beendrawing monsters since I was a
kid.
Uh, you know, like I've alwaysbeen fascinated with creatures,
that when, when we go to thelibrary you know which I guess I
sound old because I don't evenknow if kids go to the library
and check out but uh, I wouldalways check out the same books.
So you know, there's certainbooks about like cryptozoology,

(05:41):
like bigfootfoot, loch NessMonster.
I was always checking thosebooks out.
And then I was always alsochecking out like books that had
images of, like the creaturefrom the Black Lagoon and like
some of the old school monsters.
I was just really fascinatedwith creatures, I guess.
So drawing monsters was kind oflike, uh, maybe where it all

(06:05):
started.
And even in high school I wentto like a, uh, like a Catholic
school.
So you know it was kind of uhstrict, I guess we had to wear
uniforms and it was, you know,maybe more strict than just
public school.
But sometimes they would try tolike combine art class with
religion, maybe like kill twobirds with one stone kind of

(06:28):
thing.
And I remember I got in troubleone time because they said draw
your favorite passage from thebible and you know I, basically
you know I knew the story ofDavid and Goliath.
You know the story of David andGoliath has always been one of
my favorite stories, like Iguess the uh, the idea of like a
giant and giants in generalkind of always fascinated me,
and that still does.

(06:49):
But I, you know the the thestory is is that, you know,
david kills the, the giant, witha slingshot and a stone and
then he has to decapitate himand and present the head to the
King at the time.
And so here's the champion thatI slayed, and so I drew that

(07:10):
part of the scene where he'sstanding on the glass back and
he's kind of like pulling hishair and he's like cutting his
throat as he's decapitating him.
And all the priests andteachers and principal, they all
freaked out and called my momin and they're like look what
he's doing.
And they kind of said the samething.
They said, well, this is partof the story.

(07:30):
So, yeah, we read the Bible and, like it's, it's in there, Like
he, did he not decapitateGoliath at the end.
And they're like well, yes.
And they're like well, wouldn'tthere be a bunch of blood if
that happened?
And you know it, just you know,I always had really supportive
parents in that regard.

Peter (07:46):
That's cool.

Andrews (07:51):
Even though they sent me to a Catholic school, I think
they did that maybe just so Iwould get an advantage in the
education system, which I dofeel the private school system
in the 80s did have maybe anadvantage to what the public
schools had to offer.
So in that regard, you know,I'm very fortunate that you know
I did go there and sparked upsome good friendships and
learned you know about, you know, culture, even though you know

(08:11):
I was raised Catholic.
I'm not like a, you know,practicing Catholic, so to speak
.
I do believe in, you know, Iguess, other theories.
There are parts of the Biblethat interest me and stuff, and
then parts of the Bible thatinterest me and stuff, and then
parts of the Bible I do believe,since you have an alien, I do

(08:35):
believe in aliens and stuff likethat there's that show Ancient
Aliens.
There's a lot of theories thatkind of align with those beliefs
in terms of what's out thereand us, uh, and us not, you know
, being the only thing you knowout there.
So, yeah, I don't know, I guess, uh, aliens have always
fascinated me too, not just youknow, they're creatures, I guess
too, just like humans, if, uh,if, they are out there.

Peter (08:56):
But there's, yeah, there's always that idea or the,
the idea of the gray alien, youknow, like from communion and
the descriptions of them, uh,that have always been kind of
fascinated with yeah, it's thewhole idea that there's
something other than us outthere is always fascinated me,
even when I was a little kid andI'm probably considerably older

(09:17):
than you, I'm about to turn 60and we used to play in the
backyard, my friend and I, andwhen I were 10 we'd sit there
with binoculars and telescopelooking for ufos, looking for
spaceships, because we had seenall these.
You know, like I've got themetal in a mutant here from this
planet earth, I think it'scalled.

Andrews (09:34):
I can't remember what it's called we're thinking about
doing, uh, that metal metalunastyle mask, oh cool.
I don't want to, you know, copythe original design, but I do
love that idea and even with,like the claw hands type thing,
I think it would be cool to uhlike our version of that kind of
alien.

(09:54):
What?

Peter (09:55):
was the first mask you ever made.

Andrews (09:58):
I guess.
Yeah, well, I guess the firstmask I ever made was probably a
mask for Universal Studios.
It was like I guess they callit the freak, which it's not,
the freak that's in the Immortalcatalog, excuse me, it was a
mask that I made for UniversalStudios, which is where I kind

(10:20):
of learned how to make masks.
I did a lot of sculpting.
I went to a trade school in LosAngeles called Associates in
Arts and at this school therewas a lot of sculptors that work
in the effects industry thatwere teaching classes on the
weekends, and I was fortunateenough to take a couple of

(10:40):
classes with some of thesemaster sculptors who kind of
taught me the beginnings ofsculpture, I guess.
And I took that home and justkind of practiced making little
busts and full-scale busts untilI kind of figured out, because
of the internet, that if Iwanted to paint one of my busts,
my sculptures, I'd have to makea mold of it and then create a

(11:03):
mask or some kind of bust thatwould be paintable.
So I realized that mask makingwas probably going to be the
easiest way to.
You know, take one of mysculptures and, you know, finish
it.
And I contacted a local effectshop and basically asked them if
they would, you know, spend aweekend with me and I would pay
them.
I think I offered like a couplehundred bucks just for their

(11:24):
time to explain to me how tomake a mold, one of my
sculptures, and they were nice,but they were just kind of like,
oh sorry, we're really busy andwe don't have time for that,
and I was just kind of, okay,well, I guess that's that.
And then, maybe like a week ortwo weeks later, that same
studio contacted me this timeand or they were like, oh, hey,

(11:46):
uh, so you say you havesculptures, do you mind if I see
you know the quality of yourwork?
And I sent them somephotographs, uh, in an email, of
the sculptures that I had.
And then, uh, they asked if Icould go down there and meet
them in person.
And and then it, uh, it led tothem offering me a job working
for universal studios making themask for them.

(12:09):
So I was super lucky.
I think I'm one of the few rarestories that I got paid to learn
all this stuff, basically, andI learned, you know, from people
, just you know, that were inthe studio doing it.
So the I guess the informationI was learning was, you know,
hands-on, and I would stickaround after my shift was over

(12:30):
and watch people and askquestions and it was and even
eventually hire some of them andlearn from them directly.
Yeah, I was lucky enough to uhstart with universal studios.
I think the very first mask Imade for them was like a uh,
kind of like an elephant manlooking mask called the Freak.
I think there's pictures of iton my Facebook.
I have like a really old albumon there that just exists from

(12:53):
when I first started my Facebook, but maybe not my proudest work
, but definitely important interms of learning how to make a
mask and stuff.
And at universal studios I youknow, maybe in the seven years I
worked for halloween horrornights at this studio, I
probably made close to maybelike 300 masks or something, wow

(13:15):
.
So I really, I guess, learnedhow to I guess, for lack of a
better term sharpen my teeththere and uh, and that's where I
kind of learned, I guess, thematerials and stuff like that.
Because it was a halloweenevent, we would a big halloween
event we would have to preparein the summertime, so usually we
would get together, maybe inthe end of june, sure, and then

(13:37):
we would be making all thesemasks and prosthetics and dead
bodies and all this fake deadbodies and all that stuff, and
then we would take it to theevent in the month of October
and then, come November, itwould kind of be dead though in
that studio.
And that's what kind of led meto seek work in other studios

(13:58):
that were working on films andstuff like that.
And that's where I worked, atthe studio where I met George,
and I guess eventually, you know, I George and I guess
eventually, you know I kind ofsaw, like you know, what would
happen was this because I workedat a Halloween event for four
months it was usually about fourmonths out of the year, for the
other six months out of theyear working at these studios

(14:18):
with some of these kind of hotshot effects, artists from the
80s and stuff who I've becomefriends with some of them and
some of them have, you know,we've become friends and then
kind of lost, lost touch, but alot of them in the beginning
would kind of turn their nose upto the word Halloween.
They would be like oh hey,andrew, like what studio were
you working at before we, youknow, started this project and I

(14:41):
would say, oh, I was working atHalloween and before I could
even say Halloween, horrorNights.
Like I would say, oh, I wasworking at Halloween and before
I could even say Halloween,horror Nights, like I would say,
like Halloween.
And they would just be like, oh, never mind, and they would put
their headphones back on.
Oh, really, wow.
Yeah.
I was kind of like, oh shit,maybe I shouldn't talk about
Halloween to these guys becausethey worked on Terminator and
Jurassic Park and all thesemovies.
I was like, yeah, they probablydon't, they probably think

(15:03):
Halloween's a joke.
So, yeah, I even made like amental note, like when I work
with these old-timers, likedon't talk about how wow but the
other flip side of that waswhen I was working, the
halloween events.
You know these, these clients,these haunted attractions,
specifically universal studios.
They wanted, they know they,they want their event to mimic a

(15:24):
film set.
You know, they want theirquality of their haunt or their
haunted attraction to be filmquality so that when you, when
people pay tickets and go tothis immersive, interactive type
haunted attraction, the makeups, the masks, the set, the acting
, everything you, you know, asfilm quality as possible.

(15:45):
So, in that regard, the, thepeople that were spending lots
of money, the clients, and Ithink at the time I heard that
halloween industry was somethinglike a six billion dollar
industry you know these hauntedattractions, really not six, six
billion dollars yeah, yeah, andthen that was and that was
maybe uh 10 years ago, so I youknow uh oh, wow
it's.

(16:06):
It's.
It's kind of like kind ofremained in that in that area
some years it's gone up and thensome years it's gone down, but
for the most part it's kind ofuh, hung in that area.
But there, you know, then thenI started thinking, okay, well,
there's a lot of more hauntedattractions than just universal
studios, florida and hollywood.
There's a lot of much smallermom-and-pop type haunted
attractions.
And then there's the ones inbetween that are almost theme

(16:28):
park size, like the Netherworldand the Darkness and things like
that and everything in between,like these Field of Scream
franchises and things like that.
So then I started kind of justdeveloping silicone masks and I
guess at one point I had to kindof like take the leap away from
the studio that I was workingat with Horror Nights because

(16:52):
they were basically saying, hey,listen, like either you follow
your passion with this siliconemask thing that I was always
talking about it and trying toget them on.
You know, silicone mask,silicone mask, and they were
like you know, the mask we madefor for universal studios and
all the masks that I learnedmaking.
Those were foam latex maskswhich typically are used as

(17:13):
background masks in the filmindustry.
You know they don't really takewear and tear because foam
latex is.
It's a much softer materialthan the older latex mask that
you have.
Even though that mask doesn'thave movement and it's kind of
like a bucket, it is probablydurable for the most part.
It should be hard to tear whenfoam latex wants to tear.

(17:35):
It's very soft, which wasanother reason why, in the very
beginning, I created a prototypewhere I put a material inside
the silicone, kind of you know,impregnated or encapsulated it
within the silicone itself.

Peter (17:50):
So I saw that on your website.
What do you call it?
It's like a, it's like a sheathor a cloth sheath.

Andrews (17:55):
Yeah, we call it power mesh and it's a yeah, it's a
material that it's a four waystretch material that doesn't
minimize the movement, so thatit's a four-way stretch material
that doesn't minimize themovement.
So you know, you need the maskto stretch a certain amount when
you're putting it on your headand you also want it to stretch
a certain amount when you'removing your neck and opening
your mouth.
We designed this hood that weencapsulate within the silicone

(18:18):
to kind of have panels tomaximize the movement.
So every kind of thought orevery process of the production
has been kind of well thoughtout for the kind of maximization
of the comfort of the wearer.
The alien is one of the masksthat doesn't have nose holes,
and there are a handful of masksthat don't have nose holes.

(18:39):
But I feel like it's kind oflike a subtle sacrifice that
needs to be made to really makethis thing look not human, you
know.
So I could have put the noseholes right where the human nose
holes are, but I feel likepeople would have seen the human
more.
Or, you know, the more I can doto try to hide something and

(19:00):
design it less human.
There's a kind of a term I likeusing with some of the
sculptors that I work with,which is, I say, hide the human,
you know, because in some, insome masks like a realistic old
man.
I want it to look very humanand as human as you know, as
realistic as possible.
But then in some masks Idefinitely want to try to hide

(19:21):
the human because I want it tolook, you know, otherworldly or
from the underworld.
Or, you know, sometimesbuildings like a skull or
something like a zombie istricky because you're having to
make something look thin andemaciated on top of, you know, a
human head.

(19:41):
And then if I was wearing, youknow, I've got a little bit of
weight, so it would.
You know it's.
It's all about kind of cheatinganatomy and and having a good
knowledge of not just humananatomy but maybe you know a
little bit of animal anatomy andand I feel like then you can
almost play like you know, it'salmost like Dr Moreau, where you
can be, like I'm going to make,like a lizard guy, but this one

(20:05):
I want to be 60% human and 30%or 40%, or maybe 30% lizard and
10% insect.

Peter (20:15):
So are you?
Are you the primary designer,or do you have other designers
that work with you?

Andrews (20:21):
Yeah, I'm on the main like a designer art director,
but I do work with other artiststhat bring pretty heavy duty
designs to the table on theirown.
For instance, uh, right now I'mworking with the video game
company blizzard.
Their lead designer, his nameis ben, and his name is ben ert
it's it's his last name isspelled e r d t, but if you

(20:43):
google Ben Ert images, you'llsee a lot of really cool 3D
video game style creatures andhe's just really good at
designing, you know, in his ownright.
So we'll come up with an idea.
Like right now he's working onsomething that we're kind of for
the working title and it mightbecome its actual name.

(21:04):
We're calling it a snailian,which is like a like an alien
snail looking thing but it'seyes have like these kind of
stocks and stuff and it's verysnail looking and he does a
really excellent job with thewhole hiding, the human thing
that I was talking about.
But you know, for the sake ofhim being, in my opinion, like
kind of a genius designer in hisown right, I kind of just he

(21:26):
showed me some designs that hedid and I I kind of picked one
and then we'll, we'll, we'lltalk about that design.
We'll kind of, I guess,segregate it as a design and
then, uh, away from the otherones and then talk about that
design.
We'll kind of, I guess,segregate it as a design and
then away from the other onesand then talk about, okay, if we
made this into a mask, what'sthe plausibility of the mouth
movement based on his design?
So then there might be littletweaks where you say, hey, the

(21:49):
mouth design might have tochange this way so the guy can
open and close.
I like to design these masks soyou can kind of party in them
too, because they're cool masks.
When I go to parties wearingthem I know people are going to
trip out, but then I feel likethey trip out even more when
they see it chugging a beer.

Peter (22:09):
Is there any way that you could make these eyes blink?
Well, yeah, technically itwould require like pretty
advanced animatronics, though Iguess, like it's not even like a
little bulb you could squeezeor something that would make
them open and close, or would itbe that too complex?

Andrews (22:27):
it would, it would still.
I guess the trick is you knowthe silicone has weight to it,
you know it's.
I designed that one with a foaminsert to try to alleviate some
of the weight.
But I'm sure you know, once itgoes on, you know, it's kind of.
I feel like.
I compare it to like a book bag, where if you're holding a bag
like a backpack full of books inyour one arm it's going to feel

(22:49):
heavy, but the second you putit on your shoulders it just
strips your way.
You're able to like hike milesand shit with it.
But I feel like that's the samewith the mask, like in your in
when people hold it in theirhands, like wow, this has weight
, but then once they put it onthey're like, oh okay, I get it
and and it is like that.
But for the sake of that weightthat is just inherent in the.
You know the viscosity of thewhen we pour it and the nature

(23:13):
of like the.
We're developing something rightnow where it's it's, it's, it's
basically an animatronic, butit's uh, we're trying to make it
where it's actor driven, wherebasically your jaw movement had
like there'd be like a, an understructure, like a, an
underskull.
That has to be hard and it hasto be hard to accommodate for a

(23:35):
series of cables.
They're basically like a goldenrod-type cable, it's like a
cable within a cable.
It's like a plastic housing andthen a little-realistic

(23:59):
chimpanzee or gorilla mask wherethe muzzle comes really far off
the mouth.
But with this cable system it'skind of like, I guess, like a
Chewbacca mask where when youopen the mouth this lip
activation peels the lips backand when you close it closes
completely.
So if you're just sitting thereit would look like just a

(24:23):
docile, chill primate, likechimpanzee.
But then the second you startopening the mouth, like the lips
curl back.
And we're thinking about tryingto have a secondary motion where
on the brows, like we can gofrom kind of like sympathetic
brows to like kind of angry.
So so it can go from, dependingon how far you open the mouth,
like you can kind of hang inbetween like a neutral or you

(24:45):
can make it go from docile tolike pretty insane angry looking
.
If, if we're able to developthat you know the alien is a
popular mask and there is apossibility that we could try to
use that same type of wirepulley system so that maybe when
you like you know it would be,rather than something that you
would hold, or maybe you knowthere's a possibility that, if

(25:08):
that works, maybe instead of youknow your jaw activation, you
know that way.
You just have your mouth closedand you want to blink, maybe
something that you squeeze, orsome kind of secondary emotion
that could be hidden in yourpockets or in your hand, or
something.

Peter (25:21):
That's brilliant, that's really brilliant Wow.

Andrews (25:24):
It's definitely not out of the question.
I guess we are trying to takethese things to the next level,
I guess, because, you know, Iguess when I entered the film
industry in like the late, Iguess, I want to say maybe the
early 2000s, yeah, mid-2000s,yeah, I guess, like CG and

(25:46):
computer-generated imagery, itkind of like was competing a lot
with the practical effects andthe old like rubber monsters and
stuff, practical effects andthe old like rubber monsters and
stuff.
So when I came in, in my opiniona lot of the studios that were
doing like advanced animatronicskind of got the shit end of the
deal because, right, well, Ifeel like right, when we were
getting really good at this, cgcame and said anything, anything

(26:10):
that could have been, that canbe this now, and and producers
and directors were like, okay,we, yeah, and so a lot of these
like wizards that were gettingreally good at this kind of had
to stop because there was youknow, it was like a competition
and the cg guys were doing itfaster and cheaper.
I'm not going to say better,because I hate how some of it
looks.
So you know, I feel like itwould have looked.

(26:31):
These movies would have been alot cooler if they were in shots
, but how does ai affect whatyou do?

Peter (26:38):
is I mean, are you still work for the studios universal
or?

Andrews (26:41):
yeah, yeah, we just made a bunch of stuff for them
and last night was their uhpreview night and a bunch of uh
my crew went and checked it out.
I guess for for that, a veryexact example of halloweenights,
which is like a theme parkhuman interactive event, I think
.
For that very reason, I'm kindof luckily, insulated from AI.

(27:02):
Okay, like there would have tobe like some kind of competitor
that would come out andspecifically use AI designs and
then have to interpret those AIdesigns either digitally or have
an artist sculpt those to tryto like somehow take me down.
But you know, because of thesize of our catalog and our

(27:26):
reputation with not just, youknow, the quality of our work
but our customer service, I feellike you know it would take,
like you know, I don't know likea lot to try to.
You know it would take like ayou know, I don't know like a
lot to try to you know mess withthis.
I guess you know there's alwaysgoing to be people that want to,
you know, be somethingdifferent.
You know, and these masks, youknow I I feel like you know the.

(27:48):
You know my main thing is justtrying to like get people to
know what they are and try toget them to catch on more,
because I feel like, uh, youknow, such a small percentage of
the population know about theseand if more people know, it
would be cool to you know, likeI have some celebrity clients
that, like they're some of thebiggest like celebrities in the

(28:09):
world and come to me for thesemasks to like disguise
themselves and like I want sobadly to like post these videos,
because they even send mevideos like here's a video of me
taking it off and I just fooledthe people downstairs and I
love it, it's the answer to allmy problems and it's like yeah
yeah that's the best commerciallike these.
These celebrities get paidmillions of dollars to make

(28:32):
commercials by these, some ofthese companies, and this is
like a commercial they just sentme for free thanking me, but I
can't post it because then Iwould ruin the anonymity that is
helping them.
So it's kind of like you know,but I just wish more people knew
about these for the art's sake.
It's my art.
I want more eyeballs to see it,you know.

Peter (28:55):
But maybe that's why I called it immortal, even even if
I'm long gone and eyeballs keepseeing this shit like job done,
you know yeah, have you seenthe music video by paul
mccartney where I it's from hispaul mccartney three album
during the pandemic and beck isin it and and throughout the

(29:15):
whole video it looks like PaulMcCartney when he's young in the
60s.
And then he approaches thecamera and pulls off this rubber
mask and it's really Beckunderneath it.
Yeah, I don't know if, but Ialways wonder.
There's all this rumor thatPaul McCartney died in 1966.
There's an imposter in hisplace.
He's wearing a rubber mask andall this stuff.

Andrews (29:38):
But it was like I guess you know that he's definitely,
you know, gone.
I do remember that and we'veactually been asked many times
to do those types of gags andstuff and when we have, for same
thing, celebrities.
In fact, george got hit up bymichael bay one time.
You know he didn't realize itwas michael bay because you know

(29:59):
, he has like a, I guess, afriend named michael bay on
facebook and he thought somehowthis guy was calling him.
But it was like transformersdirector michael bay, and like
yeah, and he was calling us toask if he, you know, if we could
quickly make a like that, thattype of gag for a like a mask
pull-off thing and it's for asuper bowl commercial and he
needed it in like a week and itwas like man, like that's like

(30:22):
kind of impossible.
But then you know, we, I thinkwe told him no.
He said you know, sorry, it'sjust, you know, if you gave us a
little more time we could do it, but it's impossible, like no
one can do that, you know,because he wanted it, it had to
look like what's that guy's name?
Eric or rodriguez, a rod, alexrodriguez yeah, from the yankee
yeah.
So and you know he's got aspecific look and I was like man

(30:43):
, like no one can make a maskthat looks like him in less than
a week, with all the hair workand everything that's oh yeah
yeah, but then we found, wefound a mask and we ended up,
you know, it ended up workingbecause we, you know, silicone's
kind of a funny thing.
You know, like I was like youknow it was a fully punched mask
but it didn't quite, uh,resemble a rod.

(31:03):
But if I gave it a haircut thenit did and so that's what I did
.
I got an actual, like astraight razor and, like you
know all the hair work that wasin there, I just like gave this
thing a haircut and it resembledhim not enough.
Where we sent them pictures andthey're like, yeah, we'll take
it and they used it and we'vebeen a pro.
There's also the entertainmentside of this, which is what I

(31:26):
enjoy from being the kid thatloves drawing monsters and being
curious about aliens and shit,and I'll always be that way.
I love that stuff.
I I still love giants.
I'm still painting picturesabout giants and stuff.
But there's sometimes we getcontacted about like weird
things.
Like there's governmentagencies that want disguises to

(31:48):
get people across like I don'tknow borders and shit.
Wow, like there's the facialrec.
So there's two sides to thecoin.
There's government, you know,we've been approached by
different agencies that want usto make kind of like, you know,
disguise masks.
And then we're also approachedby companies that create facial
recognition technology, that areaware that we make these masks

(32:12):
for people and they they'retrying to, they're trying to
basically advance theirtechnology using so they'll buy
masks from us custom masks andand try to use their.
I don't know what like part ofme is thinking, you know, I
don't know if this is true ornot because they don't share the
results, but it almost seemslike they're.

(32:33):
They're like trying to use likeinfrared, like predator type
vision, to like pierce throughthe veil of a mask.
Yeah, yeah, pick up your heatsignature and almost, almost
pick up your facial recognitionbased on heat signature type
stuff.
So it seems like that's part ofthe tests they're doing and
things like that knowing that weexist and that we you know we

(32:55):
try to, we definitely work withyou know, the FBI and like our
government, and trying to notcreate masks for like bad people
, because you know, I just wantto make fucking aliens and
monsters.

Peter (33:06):
You don't want to get stuck working for the CIA and
then you're a slave to them.

Andrews (33:12):
Yeah, but there have been instances where people
contact us for you know, what wethink is just a custom mask.
And then we agree, you know,sometimes we don't want to do it
.
We say you know what, tell themwe'll do it, but for like I
don't know, like $70,000.
And then the guys come back andwe're like, okay, we'll do it.
And we're like, fuck, now wehave to do it, you know.

(33:32):
And then at one point, one ofthese things, the FBI hits us up
and they're like, hey, we needto talk.
And it's like, ok, shit, youknow, but we are.
We, you know, we're alwayscooperative with you know, the
authorities If something's weird.
Wow.

Peter (33:46):
So then, are we going to get in?
Do you get in trouble for foradmitting to this in a podcast?
I don't think so.
They're not going to knock onyour door and say hey, what are
you doing?
Tell them that you didn't signany NDAs or anything with them.

Andrews (33:59):
In fact I hooked them up, man.
They came here without asubpoena and without a warrant.
They basically said they cancome back with that stuff.
But I told them no, I'll talkto you, I'm cooperative.
I'm not trying to help othergovernments, I'm cooperative.
I'm not trying to like helpfucking.
You know other governmentscreate, you know, or get, do bad

(34:19):
shit or Sure, sure, sure, andthen you know, I get.
Apparently, though that's kindof part of the whole thing
Anytime another government comesto the U?
S to do business over a certainamount of money, I guess
they're supposed to, like, youknow, clear it with.
You know they're supposed to docertain things and these people
didn't do that.
But surprisingly enough, yeah,not surprisingly enough, yeah,
our government still knew abouteverything they were doing.

(34:41):
Yeah, so you know there'snothing I can do except for
cooperate.
I'm not trying to.
You know, I'm on our side.

Peter (34:48):
That's got to be, that's just got to be fascinating.
I mean, do you wake up everyday and just feel like you're
the luckiest guy?
This is what you do for aliving.
I do.
Yeah, it's got to be for grant.

Andrews (34:58):
I love this stuff.
Yeah, you know, I can makewhatever I want and we have
interesting clients.
We get asked to do interestingthings.
You mentioned dildos earlierand like we've been asked to
make weird alien monster dildos.
Okay, and we've considered it,because it's just like, I don't
know, like there's, there isalways like the.
You know, you know I'm alwaysmaking, you know, monster heads

(35:21):
and monster sleeves and monsterbody suits, but sometimes I'm
always like well, what does thisthing's dick look?
like I don't know, but I don'tthink too hard about it.
But if someone's gonna help meto develop it, but then
sometimes it's like, yeah, youknow what, we don't know enough
hard about it.
But if someone's going todevelop it, but then sometimes
it's like, yeah, you know what,we don't know enough about this
stuff and that's you know, likewe're good at masks, you know,

(35:44):
and so you know we, that's whatwe, you know, we enjoy doing,
that's what we're good at.
So sometimes, you know, eventhough we get asked to do lots
of things, for the most part welike to just stick with what
we're good at.

Peter (35:55):
What movies could we see on YouTube or on Netflix that
your masks are in?
That you've done in your shopthere, not when you were at
Universal.

Andrews (36:08):
We did some background masks on the last Guardians of
the Galaxy film, which wasactually I think it was their
Christmas special right?

Peter (36:16):
No, it was three.

Andrews (36:17):
You can't really see it in three, but you can see it in
the Christmas special.

Peter (36:20):
But they were four.

Andrews (36:23):
So yeah, we do some, sometimes big-budget background
masks.
We did some masks for theGuardians of the Galaxy.
Those were backgroundcharacters that aren't immortal
masks, though.
They were sculpted to look likeRavagers.
There's a scene where there's abig Ravager battle and we
sculpted some backgroundcharacters like that.
Same situation for the movieFuriosa.

(36:44):
There's a scene where someone'sset on fire and silicone isn't
fire.
It's not fire safe, but it isheat resilient.
You combine, you know, the thisfire gel with a silicone mask
and, you know, have all thesafety people and precautions.
Like a lot of times people willuse silicone masks to protect

(37:07):
their stuntmen during these firescenes.
So if you watch, if you seesomeone on fire during furiosa,
it's most most likely one of ourbody suits under there.
And then I guess actual moviesthat have used this are usually
more lower budget.
I guess there's one horrormovie called the Rental.
The Rental is like a horrormovie.

(37:29):
It's about some people thatrent an Airbnb and then shit
starts going around.
At the very end the killer kindof reveals itself and that's an
immortal mask.

Peter (37:39):
Excellent.

Andrews (37:41):
The old timer, the old timer Without giving it away.
And then there's another onecalled Blood and Honey, which is
like a Winnie the Pooh slashermovie.
It's kind of silly.
It got a lot of attention,winnie the Pooh slasher.
Yeah, I'm sorry.
So yeah, like a couple of yearsago you know we make a lot of.
You know I was on a TV showcalled Face Off and that TV show

(38:04):
it's like a competition.
Oh yeah, it's like a top cheftype show, but I'm on season 12.
If anyone wants to watch season12, you can see.
Okay, I actually make silico.
In the very last episode I makea couple silico mats.
So that's, that's awesome butduring that, the filming of that
uh show, one of our challengeswas I was tasked with making

(38:26):
something whimsical and you know, a lot of the immortal catalog
is either realistic stuff orkind of, you know, horror,
sci-fi scary stuff.
So when I was asked to make likea kind of a silly, whimsical,
happy character, I came up withthis like kind of like goofy
looking woodchuck and the storywas that he builds homes for you

(38:46):
know, like homeless woodlandcreatures and shit.
It had it needed like a nicestory to go with it.
So I came up with thischaracter and I tried to make
him really like happy andwhimsical, like a like a Disney
character come to life, I guess,and I didn't really think about
it at the time.
But I gave him a chainsawbecause you know he builds homes
and stuff.
You know, when I once I saw itall on set, I was like, oh fuck,

(39:08):
it's actually kind ofterrifying.
It's like this big, like uh,disney looking character like
holding a chainsaw.
I was.
I was like it wasn't on purposebut I was like man, it's
actually like me trying to makesomething happy and child
friendly, like it was even moreterrifying.
It turned out even more scary.

Peter (39:26):
Have you seen the guy on Tik TOK that wears the Jason
mask and he pulls up alongsidepeople in traffic and he holds?
His horn and looks at them andall the girls scream and people
laugh at him and stuff.
But yeah, I've thought of goinginto the drugstore wearing this
, you know, and going to pick upsome beer pop or something and
makes you sure you're in a safepart of town.

Andrews (39:46):
You don't want to get shot or something.

Peter (39:48):
Yeah, no, I thought.
Well, somebody else will thinkI'm, you know, a crazy person or
something.
Attack me same thing.

Andrews (39:53):
We make lots of bigfoot masks and these people are
ordering these fully hairedbigfoots.
Yeah, hey, if you're out in theredwoods doing that photo shoot
, please don't get shot oh yeahyeah, bigfoot's big in
southeastern ohio.
Everyone down there is chasingafter bigfoot in the forest yeah
, you're gonna go do wait, waittill uh hunting season's over oh
yeah, oh, that's very true.

Peter (40:13):
Do you have a mask?
That is like favorite shit.

Andrews (40:18):
Man, that's a good question.
You know it's hard to saybecause like I look at them like
almost kind of like children,like yeah yeah like all.
Like it's funny when george andI we do a big trade show in st
louis called trans world andit's it's like the world's
biggest halloween trade show.
Everything halloween related atthe show.
That's really cool.
But every year we go there wehave the world's largest display

(40:39):
of silicone masks somewherebetween six and seven hundred
masks wow.
But we always have like thestruggle of being like what mask
do we take and what?
Which ones do we leave behindor do we take one of everything?
Because part of me you know likeyou never know what haunted
attraction you know like, forinstance, we might have a
character like a bird guy andthe bird guy doesn't really sell

(41:00):
in here.
So it's like maybe we shouldleave the bird guy home and take
, take more of the aliens,because people love the aliens.
Uh, but like but then it's likeyou never know if that's the
year that, uh, some hauntedattraction wants a bunch of bird
things and then and they don'tsee that and they, they don't,
they don't order it, they get itfrom someone else and it's like

(41:24):
oh shit, like uh, and you see,their advertising was like oh,
they went, they didn't burnthings.
So you know, part of me is justlike I I feel like it's like a
family reunion.
We should just bring them all.
So I personally love all ofthem, I guess.
But I know this might sound kindof hokey, but like my favorite
mask is always like the, thenext idea like I'm always really
excited about, like the nextone, like we're sometimes we try
to like, do and so you know,like those, the, uh, the

(41:48):
animatronic mats I was tellingyou about that.
I have the, like I'm reallyexcited about that.
I really hope that that we candevelop it.
It's been one of the trickiestthings I've been, you know,
trying to develop and and if wecan get it going, I think it
it'll really.
It'll basically open a wholenew category of creatures that I
can sculpt that will havesecondary animations and stuff,

(42:10):
kind of like the Predator withthose Totally.
Yeah, there were the animals Ican do insect creatures that you
know their things are kind ofcoiled and then when you open
your mouth they can.
I mean, even if we just take itto the realistic realm and I
have just a realistic scarylooking old grandma lady who

(42:30):
maybe looks like just a normallady, but when you open the
mouth, something happens.

Peter (42:35):
From Psycho or something with the old lady in the attic
and stuff.

Andrews (42:39):
Yeah, I guess I don't know.
Old people always scared me asa kid.
I think it was the movie, uh,poltergeist 2 with the red king.
Yeah, watching that movie did anumber on me.
So I growing up, I was alwaysafraid of scary looking old
people, you know.
So I think you know, like likemy last halloween in front of my
house, I filled it with a bunchof like really scary looking

(43:01):
old people and the neighborhoodgot all fucked up over it.
It was really pretty cool.

Peter (43:06):
You've got a mask on your site which I think is an alien
in, like a bubble helmet.
Oh yeah, is the helmet part ofthat mask, or is that just
something you put in for thephoto shoot?

Andrews (43:17):
Yeah, that's the costume.
Soorge george is, uh, mybusiness partner.
He's.
He's really good at costuming,you know.
In fact I think when I met himat that studio in the effects
world, he kind of came from likea costuming effects costuming
kind of background makingpredator suits, like you
mentioned.
A predator earlier like george,was a big part of, like the

(43:38):
early online predator community,wow and uh.
For that reason he knew a lotabout materials and costuming
and kind of specialty typecostuming.
So in conjunction to beingreally knowledgeable about
effects-related things, he'salso really knowledgeable in
costuming-related things.
So not just the costumingelements.

(44:00):
Also you know where to sourcethese things and stuff like that
.
So it's a really important part, in my opinion, to help elevate
these things.
Like I said, you know we, we douse them in big.
You know cinematic type movies,like guardians of the galaxy,
but you know for to reallyshowcase them as cinema, like
movie quality.
You know pieces, you know welike to.

(44:21):
You know, find movie qualitywardrobe and and pair it will,
will even go as far as to ifit's a character that has the
actor's eyes exposed, well,we'll find contact lenses that
you know hide the human, uh, soto speak.
So, uh, and even, you know, addteeth and things like that,
just to kind of enhance thecreature or character, to show

(44:41):
people.
Look, if you did want to usethis in a, a movie, and you
wanted to see what it might looklike, with all the bells and
whistles, with the context, theteeth, here's a little example
and, you know, showing it in itsmost maximum form in my opinion
is the best way to showcase it.
Because then if someone doesn'tquite want that and wants a
more simplified form, well,that's easy, you know.

(45:02):
But if people do want to see asfar as it goes, like we like to
kind of, you know, showcasethat right out the gate, kind of
introduce the character in inits best light.

Peter (45:11):
You know, yeah, oh yeah, that's that's.
That's really cool.
I've always wanted some type ofspace suit and everyone,
whenever I find them online,they want like and fifteen
thousand dollars, oh, yeah, yeah, or these like apollo 12 suits
and I'm like boy, that's, that'stoo much for me yeah, yeah,
sometimes, yeah, I mean yeah,sometimes they'll find suits and

(45:32):
they're they're a little bit ofan investment for us.

Andrews (45:34):
It's, you know it's.
It's an easier buy, I guess, ifwe know that we'll get multiple
use out of it, if we couldshowcase it with, you know,
several different astronaut typecharacters or alien type, you
know real quick.
Getting back to one of yourquestions about other movies
that people could see our stuffin, uh, I just remember there's
another one coming out calledpopeye the slayer man and uh,

(45:55):
you know, the interesting thingabout this winnie the pooh and
this popeye thing is that they,they just, you know, winnie the
Pooh became a public domain, Ithink back in 2023 or 2022 or
something, when they did thatmovie, which is why those people
did that.
It became public domain andthey can't get sued, so they
made a.
Basically, they took a friendlyWinnie the Pooh character and

(46:17):
made a horror you know slasherfilm out of it and it did fairly
well, to the point where Ithink they made a part two and
maybe they're making a partthree.
But the same thing happenedwith Popeye.
He became public domain acouple years ago and these
filmmakers approached us and hadus make a custom Popeye mask.
So if you see that movie I'msure it's just like Winnie the

(46:39):
Pooh or Blood and Honey.
So if the viewers have seenthose, they're very probably
similar.
But if you like those kind offun slasher films, that's
another one.
And also we also make the maskfor the band Ghost.
I don't know if some of yourviewers also listen to the rock
band Ghost, but if they do,they'd be familiar with the Papa

(47:00):
Emeritus character and we didhis latest mask that he's
currently touring with, which iskind of a face mask, and then
we did his last iteration of hisPapa as well.
I guess.
You know, sometimes I do get tolike, you know, kind of leave my
immortal cave and work on film,like I worked on, you know, you

(47:20):
know, star trek, the star trekdiscovery series, wow.
And recently I was able, I waslucky enough, to work on the
upcoming frankenstein film, sothat guillermo del toro directed
.
So that's coming up in a fewmonths or pretty soon here.
I guess they're starting toshow it at some film festivals,
but I think it's going straightto Netflix.

(47:41):
I'm not sure they deal withthat, but a friend of mine, mike
Hill, did all the creatureeffects for that and he's a
really amazing artist.
I was lucky just to have a verysmall part, just kind of
helping out with some of thedead bodies and the Frankenstein
body itself a little bit, buthopefully the movie's cool.
But the stuff we made but youknow it's the the stuff we made.

(48:03):
You know it was fun to work onthe project.

Peter (48:06):
Do you, do you get residuals from those films, or
once, that's it.

Andrews (48:12):
Yeah, yeah, I just get paid.
Uh, just get paid for the workand that's it for me.
You know, it's not so muchabout the money, it's just more
about the opportunity, and Iguess if this becomes an iconic
movie, it's cool to have a handin it a little bit.

Peter (48:29):
Is there anything that you want this to become?
Do you have a vision of whereyou'd want to be in five to ten
years, or are you happy justdoing what you're doing?

Andrews (48:41):
I guess I would like to just keep advancing it to 10
years, or is?
Are you happy just doing whatyou're doing?
You know I, I guess you know Iwould like to just keep kind of
advancing it.
You know, like, in five to tenyears it'd be cool if I have, if
I have that animatronic thingfigured out and a whole line of
uh, apes and werewolves andaliens that can uh, sneer and
blink and do stuff.
I'd also like to take things tothe next level.
You know like.
You know like maybe morecreature suits.

(49:02):
You know more, more, morethings, more big things that
could, you know, push our stuffmore cinematic, I guess, as much
as possible.
You know, like sometimes, youknow the hard part about making
a product like we make is, youknow, considering the one size
fits most factor.
You know, like a lot of thesemasks kind of, you know, go by

(49:23):
that, that that rule here we arestarting to develop a mask
that's a little bit bigger for,you know, really big guys but
for the male and female fit maskare one size fits most.
And when it comes to masks it'sa little easier to to find the
happy, I guess, the happy placewhere that works.

(49:45):
But when it comes to body suitsand sleeves, it's a little
harder, just because people have, you know, just different sizes
and the bodies and arms varymuch more than just a skull and
a neck.
So there are challenges, butI'm really happy with where we
are.
I definitely want to keepbuilding the uh, the catalog you
know.
We have, I think, like 500characters.

(50:07):
So, wow, I feel like you knowit'd be cool to, you know,
eventually have like a thousandcharacters.
Oh, yeah, you know, I uh, yeah,I don't know, I maybe make a,
uh, it'd be cool to make liketoys and shit at some point.
You know, like with, with wheretechnology's heading, we were
able to 3D scan and 3D print,like the alien mask, for

(50:29):
instance.
I was able to 3D scan the maskand then, in a program I made
here, I'll grab it real quickand show you?

Peter (50:36):
No, that's fine, right here.

Andrews (50:45):
Basically by 3D scanning the mask in a program,
I was able to make these littlebusts of the alien wow, that's
great.

Peter (50:57):
I have a friend in LA that does 3D printing.
Her company is called 3D Mantis.
If you need someone tooutsource some of your 3D
printing to, she printed theMetal and a Mutant for me, yeah.

Andrews (51:09):
If you don't send me the link after we're done here,
I would you know in the email.

Peter (51:13):
I would love to check it out.
Yeah, I'd be happy to.

Andrews (51:16):
This is also.
I did same thing.
This is the same alien, but Ijust put a body on him.

Peter (51:23):
Oh, this is him.

Andrews (51:28):
Yeah, yeah, I'll get it kind of close up so you can
kind of see.

Peter (51:30):
It's kind of like that one they saw in somebody's
backyard.
I mean, if you saw that recentvideo, yeah yeah.

Andrews (51:36):
And they also did some Miami mall.
They said there was a bunch ofaliens.
Yeah, yeah, something like this.
I was like, oh, you know, itmight be cool to like create
like figures where you knowpeople that have the mask, that
are fans of the mask, that theywould be like, oh, you know what
, I'd buy that and put it on mydesk, you know, because it's
cool, you know.
And if you could make itposeable too, that'd be awesome

(51:56):
that was that's where I wantedto take it to the next level,
because george actually collectsthese little one one six scale
figures and some of them areactually silicone and there's
little wire armatures that makecomposable.
So it's definitely been talkedabout.
Maybe make them a little largerand even if we just did a very
limited run of I don't know,like, let's say, we we chose

(52:18):
five characters and we only makelike 200 of each of them, so
there's a thousand toys that wemake and we just put them out
there.
There's highly collectiblebecause we'll probably never do
it again.
But you know, george and I dothis because we like making shit
that, like you know, we alwayslike when we were kids and masks
and toys and all that shit andI don't know.
I feel like it keeps us youngand we never get old.

(52:40):
We love it.
You know I love, you know,mythology and horror movies and
video games, and you know horrorand fantasy, sci-fi related TV
shows, comic books.
I love all that stuff.
So you know there's plenty ofinspiration out there for us to.
You know, just keep pushing andkeep going, is there?

Peter (52:59):
anything you want people to look out for, that you're
proud of coming up, that peoplecan keep scanning the horizon
for you know we did the thingwith Activision.

Andrews (53:12):
If people follow us on Instagram, we'll probably make a
post, but there's a new Call ofDuty video game coming out and
we did some cool stuff.
That's kind of out of the normalwheelhouse of Silicon Mass,
making that people share, littleshare, but yeah, same thing if
people you know want to checkout the frankenstein movie, I I,
you know I have a very smallpart to play in that, but but
one of our good buddies, mikehill, is the main guy that you

(53:34):
know that did a lot of the workon that and he he actually
sculpted our fred mask, which isone of our most popular
realistic masks.
Oh, wow, if people watch theFrankenstein film and really
like it and they want to buy apiece of art that Mike the
artist made, it's the Fred mask.
Right, it's a really cool mask.

(53:54):
In fact, that video was a lotof fun to make and I feel like
the hair work on the Fred maskif you, if you were to get it
fully hair, really it's likeprobably one of the best
disguise masks out thereexcellent, that's excellent, and
your website isimmortalmaskscom.

Peter (54:10):
I'm really happy to try to help promote your stuff
because I just love this mask.
I don't know if you've seen mymy little dinky youtube show
where I have Zantarski themonster movie host and I make
fun of the old B-roll B-moviehorror movies like Plan Knife,
Modern Space.

Andrews (54:27):
I have seen some of your videos.

Peter (54:28):
Oh, you have Okay.

Andrews (54:29):
And I came across some of your videos.
Because even when I'm sculptingin the sculpting room, I go on
YouTube and I just kind ofbecause people will link the
Immortal Mass to it and stuffit'll pop up and I'll be like,
oh, because you know, peoplewill link the immortal mass to
it and stuff it'll, it'll pop upand I'll be like, oh okay, and
it'll just kind of like cyclethrough and I was like, oh,
that's cool, yeah, me and someof the artists in here will
watch it.
and uh, yeah, no, it's sometimeslike, sometimes I watch because
I'm just I'm always curious tohow it fits and stuff and, you

(54:51):
know, because that's animportant part, to kind of, you
know, make it look, you know, uh, not so human.
And uh, yeah, I know, and yeah,your videos are awesome and it
fits you great and I'm sure, ifyou wear it out in public, I'm
sure, yeah, you get a crazyresponse, I bet.

Peter (55:05):
Yeah, I might wear it at the door for Halloween this year
If my wife approves of it.
I was going to do it last yearand she's like, oh no, you might
get some ass for.

Andrews (55:20):
I'm definitely thinking about doing an alien theme for
Halloween in front of my housethis year just because of that
whole interstellar object that'sgoing to be.
I just keep fucking people'sfears a little bit.
But just to throw this outthere too, right now we're
making which is kind ofinteresting.
We made a new set of sleeves.
Our current sleeves that wehave are on the larger size to

(55:41):
fit like a grown man, but theycan be a little loose and stuff,
and the alien ones we have arethree finger.
But right now I'm making acustom mask, an alien mask for a
comedian and he ordered somecustom sleeves to go with it and
what we did is we have a newpair of much, much more snug
fitting human sleeves that arethat would probably go with this

(56:01):
character.
But we basically get patchedand we just patch over the
fingernails to make them justlook more alien.
And if you ever wanted to getsome sleeves to match the green,
you can talk about that.

Peter (56:14):
I have some cheap ones I bought off of Etsy.

Andrews (56:17):
Oh, okay.

Peter (56:19):
And they're a murder.
Trying to get on and I probablyhave to shave.

Andrews (56:22):
Probably have to shave my arms because it rips all my
hair out there are four fingers,so you got to do, like a, some
kind of thing with it, or is?

Peter (56:28):
there five, yeah, they are four, four fingers, but I
think I've got about baby powderin it or something, because
they, they stick together.
You can't get them open yeah,yeah those are latex and well,
if you don't, let me know.
Uh, you know, yeah, we did thepodcast.

Andrews (56:44):
You know, if you wanted to order some sleeves, you know
, tell them.
Tell them, uh, that you spoketo andrew and uh, I'll give you
a little discount, you know, oh,that'd be awesome, awesome,
yeah.

Peter (56:53):
Well, having me on here today yeah, I'm so glad, I'm
really glad you accepted and itwas a thrill to meet you guys.
Andrew, it's been awesome.
Thank you so much and I hope tohear from you again.
And watch out for Zontarski.

Andrews (57:06):
Well, thank you so much for the support and thanks for
having me.
I appreciate it.

Peter (57:09):
Yeah, you guys have a great night and thanks so much
and have a fun Halloween Thanks.

Andrews (57:13):
Likewise you too.

Peter (57:14):
All right, take care.

Andrews (57:15):
All right, you too.

Peter (57:22):
Bye, bye-bye.
Well, thanks for watchingeverybody.
This is a great show.
I had a lot of fun tonighttalking to Andrew.
If you enjoyed this episode,don't forget to like and
subscribe and hit the bell soyou never miss a new episode
from TTPop.
Huge thanks again to AndrewFreeman and the entire talented
team at Immortal Masks.

(57:42):
Thanks so much for giving us apeek behind the curtain and for
creating some of the mostjaw-dropping masks in the
industry.
They're really amazing.
This is one of them here.
This is the alien mask, orZontarski as I affectionately
refer to him, or Svenaffectionately refer to him, or
Sven.
Until next time, stay curious,stay creative and maybe check

(58:06):
under your bed.
Tonight.
This has been PT Pop MindRevolution.
Hasta la vista, baby.