{"id":5265,"date":"2026-10-23T20:45:43","date_gmt":"2026-10-23T18:45:43","guid":{"rendered":"https:\/\/www.horrortalks.com\/?p=5265"},"modified":"2026-10-23T22:02:38","modified_gmt":"2026-10-23T20:02:38","slug":"interview-with-rick-baker-2015-2026","status":"publish","type":"post","link":"https:\/\/www.horrortalks.com\/en\/interview-with-rick-baker-2015-2026\/","title":{"rendered":"Interview with Rick Baker (2015\u20132026)"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text css=””]<\/p>\n

You met Landis on the set of *Schlock<\/em>*. Even back then, he had already written most of the story for *An American Werewolf in London<\/em>*, right? <\/strong><\/p>\n

Yes, we met while filming *Schlock<\/em>*. John had already written the script and had a very clear idea of what he wanted to do. The story was essentially the same as the one we ended up filming several years later, except for a few scenes, like the one in the porn theater. <\/p>\n

Did you already have a clear picture in your mind of the transformation scene exactly as it was ultimately filmed?<\/strong><\/p>\n

At the time, we didn\u2019t yet know how we\u2019d manage to pull it off, but John didn\u2019t want the classic transformation using a cross-fade, as had been done in the past. The actor wasn\u2019t supposed to just sit in a corner, motionless. He always thought the moment of the transformation would be very painful. He also wanted the protagonist to be naked to show that his entire body was about to change. He wanted something spectacular. And for that reason, he wanted it all to be shown in broad daylight. It was challenging. <\/p>\n

Is that why Landis decided to shoot that scene after the movie was finished?<\/strong><\/p>\n

That’s right. We planned everything and created all the various storyboards for the transformation. And John, since the scene would take a very long time to shoot, decided to film it after all the other scenes were finished. Only a few of us stayed on, and we shot for six days straight\u2014almost ten hours each day\u2014with only David Naughton from the cast. <\/p>\n

You almost worked on the set of Joe Dante’s *The Howling<\/em> *. How did that go? <\/strong><\/p>\n

Joe Dante called me; he wanted me to do the special effects for *An American Werewolf in London<\/em>*. I\u2019d always wanted to make a movie about werewolves, and at that time, Landis\u2019s film wasn\u2019t ready to start production yet. There wasn\u2019t a script for Dante\u2019s film yet, so the producer lent me the book on which the film was based. They told me I\u2019d have a lot of creative freedom in designing<\/em> the werewolf and filming the special makeup effects I\u2019d be creating. The offer was truly tempting. But I\u2019d already given my word to Landis, so I suggested Rob Bottin to them. I knew him well; he\u2019d started working with me when he was fourteen. I served as a supervisor, both before and during filming. Whenever he needed it, I advised him on the best course of action. But I ended up suggesting most of the ideas I\u2019d come up with for *An American Werewolf in London*<\/em> to him. He then, of course, added his own. And he did a great job. <\/p>\n

But didn’t Joe Dante know anything about your agreement with John Landis?<\/strong><\/p>\n

No. I don’t think I told him anything. So, as often happens in Hollywood, we started working on it. We began developing some designs and preparing the effects. Then John Landis called me and said, “Good news! I’ve secured funding for *An American Werewolf in London*!” And I said, \u201cOh, shit!\u201d I had just started working on another werewolf movie! And he said, \u201cYou jerk!\u201d \u201cYou didn\u2019t tell me you were going to do that transformation!\u201d
\nActually, I had told him that. Sort of. But he kept saying, \u201cYou ugly bastard! I\u2019m going to kill you!\u201d And I said, \u201cI\u2019ll take care of everything, I\u2019ll take care of everything!\u201d <\/p>\n

Rob was my first student. When he came to me, he had never done a special effect in his life. On weekends, he would come stay at my apartment, and I taught him the trade. He got to a point where I knew he would be perfectly capable of handling that job. Incidentally, I had already recommended him to Joe for *Piranha*<\/em>, to create the creatures for the film. So I entrusted the project to Rob. Unfortunately, *The Howling*<\/em> came out first. But in the end, John forgave me! <\/p>\n

Do you think Rob has used any of your ideas?<\/strong><\/p>\n

I\u2019d mentioned it to him. I mean, we\u2019d even hinted at a few things. I told him, \u201cI\u2019d really prefer it if you didn\u2019t do that transformation with your body lying on the floor. I\u2019d like you to avoid doing it that way.\u201d But Rob has an extraordinary imagination, and I knew he\u2019d come up with some fantastic solutions on his own. And sure enough, he did. But yes, none of this would ever have happened if I hadn\u2019t entrusted him with that job, if I hadn\u2019t trusted him. And you know, it\u2019s interesting: recently another makeup artist came up to me and said, \u201cDo you realize that many of the most important films in the history of special effects makeup would never have existed without you? If I hadn\u2019t taught Rob Bottin the trade, for example, we\u2019d never have had *The Thing*<\/em>.\u201d And I replied, \u201cExactly! That damn bastard pulled off everything we\u2019d always talked about doing\u2014times ten\u2014in that movie!\u201d But it made me proud. To think that, yes, that movie might not have existed. Nor would many others. I\u2019ve helped so many people. <\/p>\n

You also have to have the skills to do it\u2026<\/strong><\/p>\n

Yes, but the thing is, Dick Smith had always been very generous with me in sharing his knowledge, and I wanted to be like Dick Smith. So whoever came to me found someone willing to teach them. Rob Bottin was my first student, Greg Cannom the second. Then Steve Johnson, Tony Gardner\u2026 All these guys came to me. <\/p>\n

Rob Bottin, however, has practically disappeared. We haven’t seen him in years\u2026 <\/strong><\/p>\n

It’s Bigfoot! I haven’t spoken to him in about forty-five years. He’s always been very elusive. I won’t say any more. [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”4540″ alignment=”center” style=”vc_box_rounded” onclick=”link_image” css=””][vc_single_image image=”5268″ alignment=”center” style=”vc_box_rounded” onclick=”link_image” css=””][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

A student of the great Dick Smith, Rick Baker\u2014a seven-time Oscar winner\u2014has elevated prosthetic makeup to an art form: werewolves, aliens, zombies, apes, and monstrous creatures with a physicality and realism that defined an era.<\/p>\n","protected":false},"author":2,"featured_media":5270,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"rs_blank_template":"","rs_page_bg_color":"","slide_template_v7":"","footnotes":""},"categories":[346,352,348,347],"tags":[349,350,351],"class_list":["post-5265","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cinema","category-festivals","category-film","category-interviews","tag-cinema","tag-movie","tag-news"],"yoast_head":"\nInterview with Rick Baker (2015\u20132026) - Horror Talks<\/title>\n<meta name=\"description\" content=\"A student of Dick Smith and Rick Baker, and a seven-time Oscar winner, he transformed makeup into art: werewolves, aliens, zombies, and monstrous creatures with a physicality and realism that defined an era.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.horrortalks.com\/en\/interview-with-rick-baker-2015-2026\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Interview with Rick Baker (2015\u20132026) - 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