A Dynym Quid with anamatronics, appeared in the casino scene with lots of other space oddities.It had face parts and tentacle moving with a performer inside. Images from the Star War official movie companion magazine. Made at Neal Scanlan studio. Pinewood.
This was my first project working together with Anya, Bevin Roper and the team. They wanted to introduce theatre and mechanical movement to a handbag fashion launch. Andrew Roberts and I were to help design and guide what mechanical effects could be possible for Michael Howells to include in his set designs. On the big … Continue reading Anya Hindmarch: All I Ever Wanted AW12→
A mechanical hand bag with singing bird. I had an expert’s introduction into Victorian mechanical music boxes at Automatomania in Scotland, who also did the feathering. Electronics were by David Buckley in Manchester, and the fantastic making-of film (below) was by Dee Koppang.
Another collaboration with Anya’s creative team, with set construction by Diagon. This show had ten rooms with animatronic effects and was influenced by pop-up books. Movements were controlled by my team of fifteen effects-builders from behind the sets.
Made at Jim Henson’s Creature Shop: in Alice in Wonderland, hedgehogs were famously used as croquet balls. While the object of croquet is to hit the ball with the mallet, or in this case a flamingo, the hedgehogs spend a good deal of their time tapping their feet impatiently or shaking their heads at the … Continue reading Alice in Wonderland (1999)→
For Coulier Harrison SFX, I was a senior animatronic designer on this TV show A fantasy drama series on ITV: a contemporary spin on the legacy of Bram Stoker’s Dracula set above and beneath the streets of modern-day London. With Philip Glenister and Mackenzie Crook.