Robert Kurtzman

You never know. You just never know. I wonder if back in 1930, Universal Studios make up artist, Jack Pierce while constructing his “monster” make-up on actor Boris Karloff, had wondered if he was creating something transcendent. Something that would forever infuse itself into the western culture generation after generation, becoming the mental image that every brain would access when it heard the name “Frankenstein.” I bet he didn’t. I bet ol’ Jack had an assignment, did the best job that he could, collected his meager paycheck and was grateful to be working during the depression. Truly, that is the way it is. You never can tell what will connect with audiences. You just do the work, collect your salary, and thank God you are not pounding the pavement looking for your next job. Evil Dead II is one of those cult favorite films that so much of has been discussed and revealed through interviews, articles, supplemental videos on DVD’s, convention panels, etc., that I’m not sure what I can add to all of this information besides my individual view point. Forgive me if you’ve heard much of this information before; just know that what you are now reading is not being pushed through the filter of a reporter. I was there in Mark Shostrom’s South Pasadena studio. And although, again, I didn’t go to location in North Carolina, what I designed and sculpted at Mark’s would follow me to this day.

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I was fortunate to meet and work with artists who, unlike me, had already began their nomadic careers moving from shop to shop like a herd of dinosaurs in search of water. I would either call or get a call from a fellow make-up artist and the gossip and rumors would begin. There was no Internet and no cell phones so the only way to hear about upcoming work was through word of mouth. In 1985, make-up effects was still on the rise, so there appeared to be a lot of projects happening around town. Of all of the opportunities, however, the best one was presented to me by Bill Sturgeon. For those unfamiliar with Bill, not only did he do incredible mechanisms on House and Strange Invaders for James Cummins, but he was also one of Rick Baker’s original six staff artists who had created the effects for An American Werewolf in London. Bill called me from Stan Winston Studios. In the wake of the success of The Teminator, Stan was re-teamed with director James Cameron on Aliens. However, a few months prior to this announcement, Stan had committed the studio to work on Tobe Hooper’s remake of Invaders From Mars, so now his team was taxed with two films that both required a large amount of work.

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