#i went 2 the star trek set recreation it was so awesome....

[abstract-hellbender]

ITS MY BIRTHDYAYYY BOOYAHHH

[glassbragg27-blog]

Happy Carnival Night In Cosplay

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[daleisgreat]

Mallrats

Last year I was alerted that Arrow Video was releasing a special 25th Anniversary BluRay of the 1995 Kevin Smith cult classic, Mallrats (trailer). I was not familiar with Arrow Video before, but after browsing their catalog, it appears they specialize in Criterion-esque special editions and restorations for films that may not receive the prestige critical acclaim the average Criterion release does. I remember seeing the “spot the sailboat” comic book ads for the film around its release but missed it during its brief theatrical run. It was not until catching the TV cut of Mallrats off ABC around 1997/98 that I was first introduced to Kevin Smith’s works. I already elaborated on my history with Smith’s films in my review for Jay and Silent Bob Reboot last year, so I will not drone on about that again except to say that both Clerks and Mallrats are my two favorite Kevin Smith films. I believe this will be my third time buying it on video. The original collector’s edition DVD received a lot of early buzz from DVD review outlets on how to nail a suite of special features and for having one of the best early DVD commentary tracks. I then upgraded to the 10th Anniversary edition DVD with a bonus extended cut and new anniversary interviews and other bonus content. This BluRay keeps most of the early bonus feature content and adds in a bunch more I will be detailing soon, but for now, I imagine you want to hear about the actual Mallrats movie.

The succinct way to explain it is how Kevin Smith does it in his four-word elevator pitch, “Clerks in a mall.” Essentially it boils down to the film’s two leads, TS (Jeremy London) and Brodie (Jason Lee), getting dumped by their girlfriends Rene (Shannen Doherty) and Brandi (Claire Forlani) in the opening scenes. The duo decides to recover from their sorrows by hitting up their favorite spots in the local mall, where they run into their exes and attempt to win them over with some help from fellow mallrats Jay (Jason Mewes) and Silent Bob (Kevin Smith). Naturally, TS and Brodie have some opposition to overcome to win back their loves in the form of Brandi’s father and local bigshot, Svenning (Michael Rooker), and head mall security guard La Fours (Sven Thorsen). When I first saw this film on TV around 1997/98, it hit at the perfect time when I was in ninth grade, and I was likely within a few years of the last wave of kids where going to the mall was THE thing to do with friends when you asked: “Hey, want to go and hang out somewhere!?” Mallrats captures the spirit of killing time in the mall with nice little asides debating which food stands are really part of the food court, whining over the latest exhibit clogging up the showcase area of the mall, standing in line for celebrity autographs and gleefully beating up eagerly anticipating the Easter bunny.

When I first experienced the film around age 14, I had no idea what Jay and Silent Bob were talking about with their gratuitous weed jokes. Still, they had a hilarious demeanor about them as they delivered their lines, and they instantly won over 14-year-old Dale. Brodie seemed like the coolest cat with his countless wisecracks throughout the film. Jason Lee and Kevin Smith both went on to say in the bonus interviews that despite the film’s initial theatrical failure, Jason Lee’s performance caught a lot of eyes and opened the door for him to bigger and better roles. It would behoove me to acknowledge Mallrats has the best of the dozens of Stan Lee movie cameos. It is more of an extended cameo where Lee says more than his usual five-to-ten words of dialog and instead has a full scene with Brodie when he bestows his wisdom of true love to Brodie to motivate him to win over Rene. Lee is legitimately good in the scene, so much so that Marvel Studios had his Mallrats cameo referenced during Lee’s cameo in Captain Marvel.

Arrow Video did a bang-up job packing in a ton of extras in this two-disc BluRay set. There are now three cuts of the film included. The first disc has the original theatrical cut, while the second disc has the extended cut that released with the 10th-anniversary edition and now also includes the TV cut, which is full of a ton of awesomely bad overdubs of expletives. Smith recorded a new introduction to the TV cut highlighted with a fun story of why Mewes’s dubs are so godawful. I would recommend passing on watching the Extended Cut, as it mostly restores the film's original opening, which features a series of longer opening scenes where it takes a while for Brodie and TS to get dumped, and for the movie to eventually find its way into the mall. Instead, I would recommend watching the hour-long archival bonus of the deleted scenes that has Smith and Vincent Pereira explaining why the scenes did not work and have a good time on why they remained on the cutting room floor. I did make sure to re-watch the original DVD commentary track again with Kevin Smith, Jason Lee, Ben Affleck, Jason Mewes, and Scott Mosier. They are all nonstop entertaining throughout, remembering their time with the film while Fargo was also filming down the street and how Team La Fours fought to get credited in the movie. It is probably up there with UHF being my favorite commentary track, so make sure not to skip over it! New extras for this BluRay are highlighted by a new 12-minute intro from Kevin Smith retelling his highs and lows of the production. My Mallrats Memories is a new 30-minute interview with Smith recollecting his time on the film and how he assembled the cast and crew, and what lead to landing Stan Lee in the movie.

Mr. Mallrats: Tribute to Jim Jacks is Smith’s eulogy to his recently deceased producer on this film, and he gives a loving history of how Jacks went from movie fan to having a successful career in the business. Blunt Talk is a new ten-minute interview with Mewes recounting his early acting career and how he did not consider himself an actor until people started recognizing him from Mallrats. Hollywood of the North is a new ten-minute animated doc with periphery crew members who have many production stories about shooting in the Eden Prairie Center Mall and dealing with complaints from the mall owner. There is a physical blueprint insert which is a perfect recreation of Jay’s blueprints shown in the film of how he plans to take out La Fours. Also new are two hours of raw dailies compiled together. I did not watch it in its entirety because the quality is very raw, like worse than VHS SLP raw, but it was still fun to jump around in bits throughout it and see the cast and crew chatter before and after filming. I didn’t mean to deep dive this much into the bonus materials, but I believe I have covered almost all of the new content, but trust me, there is a lot more bonus archival content from previous DVD releases, so rest assured View Askew fans that there are several hours of extras to sink your teeth into. Every time I watch Mallrats every several years, I cannot help but get clued in better to some of the jokes and dialog that went right over my initial viewing as a teenager. Thankfully, the film has aged well, and I enjoyed it as much as I initially did in the 90s. I have a good feeling if you’re a View Askew fan or mostly a fan of Smith’s earlier works, then you probably already have this Arrow Video BluRay in your collection. However, for others on the fence wondering if this edition is worth upgrading to, I can safely vouch that Smith and Arrow Video spared no expense to ensure this BluRay is packed to the gills with new (and archival) content to make sure you get your money’s worth!

Other Random Backlog Movie Blogs 3 12 Angry Men (1957) 12 Rounds 3: Lockdown 21 Jump Street The Accountant Angry Video Game Nerd: The Movie Atari: Game Over The Avengers: Age of Ultron The Avengers: Endgame The Avengers: Infinity War Batman: The Dark Knight Rises Batman: The Killing Joke Batman: Mask of the Phantasm Batman V Superman: Dawn of Justice Bounty Hunters Cabin in the Woods Captain America: Civil War Captain America: The First Avenger Captain America: The Winter Soldier Christmas Eve The Clapper Clash of the Titans (1981) Clint Eastwood 11-pack Special The Condemned 2 Countdown Creed I & II Deck the Halls Detroit Rock City Die Hard Dredd The Eliminators The Equalizer Dirty Work Faster Fast and Furious I-VIII Field of Dreams Fight Club The Fighter For Love of the Game Good Will Hunting Gravity Grunt: The Wrestling Movie Guardians of the Galaxy Guardians of the Galaxy Vol 2 Hell Comes to Frogtown Hercules: Reborn Hitman I Like to Hurt People Indiana Jones 1-4 Inglourious Basterds Ink The Interrogation Interstellar Jay and Silent Bob Reboot Jobs Joy Ride 1-3 Justice League (2017 Whedon Cut) Last Action Hero Major League Man of Steel Man on the Moon Man vs Snake Marine 3-6 Merry Friggin Christmas Metallica: Some Kind of Monster Mortal Kombat Mortal Kombat Legends: Scorpions Revenge National Treasure National Treasure: Book of Secrets Nintendo Quest Not for Resale Payback (Director’s Cut) Pulp Fiction The Punisher (1989) The Ref The Replacements Reservoir Dogs Rocky I-VIII Running Films Part 1 Running Films Part 2 San Andreas ScoobyDoo Wrestlemania Mystery Scott Pilgrim vs the World The Secret Life of Walter Mitty Shoot em Up Slacker Skyscraper Small Town Santa Steve Jobs Source Code Star Trek I-XIII Sully Take Me Home Tonight TMNT Trauma Center The Tooth Fairy 1 & 2 UHF Veronica Mars Vision Quest The War Wild The Wizard Wonder Woman The Wrestler (2008) X-Men: Apocalypse X-Men: Days of Future Past

[mudcosmetics-blog]

MY favorite teacher; MUD LA

Ray Shaffer

When you ask anyone about Ray Shaffer, industry profession or student will tell you is the kindest, most genuine, and hard working man they know. He is the gentleman of this profession. His road to makeup wasn't a direct course, but that's what has made him an excellent artist and a phenomenal teacher.

"I was born at the Submarine Base in Groton, CT. My Dad was in the Navy at the time and worked on nuclear submarines. Part of my childhood was very residential, and part of it was moving around a lot because I was part of a navy and a coast guard family.

I first got interested in makeup when I was very very young. My Mom still is a nurse. She's been a trauma nurse for about 54 years, and she's finally going to retire this spring. She used to work the 3-11 shift at St. Vincent's Hospital. She would get off work around midnight or so, and come home to get me out of bed to watch Mission Impossible reruns together. There were lots of disguises in the show and my head just smoked at the idea that people could be different people. My Dad, who really wasn't into monster movies, but when I was 5 or 6 he would stay up with me to watch the Creature Feature at night. That was really cool because he's a very down to earth guy and monsters really weren't his thing."

Your first introduction to practical makeup came in the friendly familiar form.

"I remember when I was 12 or so, Dick Smith had a Monster Makeup Kit that you could buy at toy stores. I was saving up from my paper route to buy it, and I would go into KB toy store and look at it longingly. My birthday is in October and I was hoping to have it in time for Halloween, but I knew I was going to be a few bucks short. Well on my birthday my grandparents came over. My Grandpa drove a big green Chrysler, and I was feeling bummed when he called me over to it. He pulled out a box and he had bought me the Dick Smith Makeup Kit!

Basically it was vaccuform molds that you could make your own appliances on out of gelatin, although Dick called it flesh flags. He was looking for something easy to use and relatively non toxic, which it was. The whole heating it up thing was a little weird. You probably couldn't get away with that now. But the first makeups or appliances I did were out of the Dick Smith Kit. Later on I found Stage Makeup by Richard Corson in the library and that put me up on a different level.

I remember the first appliance makeup I ever tried to do on my own was a Rocky makeup. I was 14 or 15 trying to recreate the boxer damage makeup. I remember being very happy with it at the time. Then I lost the pictures, but I'm very glad because it was probably awful. It was a lot of fun. Later I remember what a thrill it was to meet Mike Westmore when he came out to MUD to talk. He had been the makeup artist on the first few Rocky movies, and on First Blood and Raging Bull, and all these cool films, plus Star Trek. It was really cool!

So how did you turn your interest in makeup into a career?

"I started out wanting to act. I'd always loved makeup, but being from the east coast, I may as well have being talking about being a rocket scientist or being a ping pong player in China. I didn't understand enough about the field to figure out how to make that happen. I wanted to be an actor, so I used makeup to augment my range as an actor. I'm a pretty unique looking guy. So unless I just wanted to wave a steak knife, or be the guy yelling "die grandma die", I needed a little help to make me believable as other characters.

In the course of working in theater in college, I was working on a play called a reconstruction. It's where you take a classic text and rearrange it. It's usually experimental theater. My college did Hamlet, and my roommate was playing Hamlet's Father. Our director had the idea in his rebelling of it to make him a Viking Chieftain. And what do they do when a they die, but put them in a funeral pyre. So we needed to have this crispy critter corpse kind of guy. A role like that is an awful lot for a 20 year old actor to wrap his head around. He tried different things, but wasn't happy with what he was doing. So I built the mask for him.

I remember him putting it on and staring in the mirror and being very very quiet about it. When you see your face burnt down to the skull the whole idea of how much you've been violated hits you. That night at rehearsal he was a whole different cat! I remember him walking off the stage and hugged me. I was so emotionally overwhelmed by that, that it was probably at the point I jumped ship. I felt I was doing better work influencing other performers than I was enjoying acting myself."

"I sort of dividde my career into East Coast and West Coast. My first prosthetic makeup job ever was in a theater in Massachusetts. I remember they thought I could age a whole cast for $50. I did it! I ended up having to augment it with cotton and latex.

My first job on the west coast was for Rob Burman. It's funny because it just got released! Andrew Gettty who was the grandson of John Paul Getty was a sort of auteur. He wanted to be a film director. He had some very nightmarish visions and he tried to write a narrative around it. Basically he picked away at this film for a long time. He would shoot it a little bit, then he would get upset and stop, then he'd start again with a different crew...and so on and so forth. He passed about 2 years ago or so and his estate had the work completed since he was in post production, and just released it on dvd and video on demand. It's called The Evil Within. There was some creepy stuff in there. There was a spider that was stitched together from human body parts. Lots of practical gags and lots of in camera tricks, things with perspective. I'm not sure if there was any cg at all. But that was my first film. That was also my first job for Rob Berman."

Eventually you made a transition from practical or teaching.

"I came out to the west coast in the summer of 2000, and I worked intermittently then continually was a makeup artist and primarily as a lab technician. Which means I made molds, I did hair work, I did castings, sometimes when the sun shone in the right direction I even sculpted. I did that for 10 years. In the late 2000's, a lot of things really depressed the film industry. SAG went on strike, and the the WGA went on strike. And then the banks crashed, and I navigated that as best I could but nobody was working.

I had to look for another opportunity. Also around this time my mother started getting sick. Mom is a tank so I knew if something was wrong with Mom then I wanted to be there. So I went back to the east coast to try to be of use to my family. In the course of wanting to stay busy I was going through Craig's List, and there was an ad the MUD NY was looking for instructors. At the time I didn't even know MUD had a campus in NY. So I contacted them.

I know that I'm a patient guy, and I hoped that I'd be descent at teaching. I was surprised by how much I loved it! There was an adjustment. It's challenging to take 20 people who are all at different motivation levels, ability levels, artistic levels and to guide them as a unit through things they sometimes don't believe they can do. So there is a learning curve. What started out as something I wanted to try, turned out to be something I love very very much. I think of friends back home who are knocking rust off of boats and making t shirts and working in fast food stores, and I've got the best job on planet earth.

With having a career sculpting, molding, applying, and painting, what part of the process is your favorite?

"What do I love doing? I love sculpture and molding. What is it that I love about makeup? I just love the whole idea that we can make things that never existed before. That you can sit down with a motivated actor and a little artistic vision and hard work, you can take a bag of cement and a block of wax clay and turn that into people, and species and creatures that the world has never seen before. It's so creative and only limited by your skill set and your imagination. And there's not a lot of that left in the world anymore. Everything is prepackaged. For us to be able to make something that is so unique individual in this world is something else."

What has changed about the industry from your perspective?

"I think computers have become a bigger part of it but even that is cyclic. Now there's a big push back. I think makeup and computers are both awesome tools, provided they are used appropriately for their strengths. If I use a hammer to hammer a nail it's a wonderful tool. If I use a hammer to saw a table in half, it's sort of a mess.

When all of the changes started happening was when Avatar came out. That scared the begezus out of all of us. There had been fun cg characters for some time, but Avaatar was the first instance where a director could look through the viewfinder on the camera and in front of him was people in motion capture suits. In real time he was seeing blue kitty people in the jungle. Basically when everyone saw that it was a huge hit, it freaked everyone out. Everyone making films at the time stopped and went into turn around. They wanted to evaluate this new option, and there was only one studio in the world that was doing work that good, WETA. Other studios caught up, but it took a while and meantime nobody was working.

There was a time when every action or adventure film you saw was just filled with lots of cartoons. Then there was almost a backlash against it. People were tired of watching confused looking actors standing around monsters that clearly aren't there. The Star Wars Prequels are a great example. People standing around in a green room looking confused. I think people missed what makeup brought to performances. I think the physical space that they fill on screen. There's a real tangible quality to them. If you look at the cast of Phantom Menace, they are clearly great actors but you look at how they struggled in that movie. Then you look at a movie like Alien, you have Sigourney Weaver in a real space with a guy in costume in a smokey alley with smile dribbling on her, that affects your performance.

Great makeups in your presence effect your performance. All the sudden you feel like you're in the presence of an alien, or a senator from another planet in a way that someone standing talking to a mark on the wall does not. They're effecting in a way that cg often does not. It's nice to see it come back. I think everything runs in cycles. In some ways opportunities have declined, and in other ways they have not. There are far more people making movies now a days, whether it's a YouTube movie, netflicks, a feature, a low budget thing. In some ways there seems to be more work."

And what does the future hold?

"I would be happy teaching as long as MUD is happy having me. I would be happy sculpting and making makeups. I'm getting better and look forward to continuing getting better all the time. There are things I think that are good or bad, but there's always improvement that can be made."

What advice do you want to share for makeup artists?

"Work hard and don't quit. I know that sounds like such a stereotype. A lot of these pieces of advice you hear so often that they lose their meaning but I've seen wonderfully talented people not succeed when they only need to try a little built harder and not quit. A lot of time common sense and a work ethic are super powers. Don't let anybody tell you that you can't do it.

If I have no other gift, I hope a teacher I have a gift to help someone who's straight out of high school, or wherever they are in life believe that they can get through a sculpture. And then they can get through fiberglass. And if you keep on trying doors will open. All luck is is your preparation meeting the right opportunity. So don't quit and believe you can do it. The whole idea of being able to make something from nothing is very empowering. Rob Burman used to say, "once you learn you can make stuff, you're never the same again"."