Q: Can you talk a little about your background, how did you get involved in mask making and what is your favorite piece of art you've created?
A: I’ve loved the Universal monsters from a very young age; especially, Frankenstein’s Monster. So, I’ve wanted to create my own monsters for a very long time. Mask-making was, and is, my way of bringing things to life that otherwise would never exist.
My favorite piece…well, it’s very hard for me to narrow down to just one. I usually just say that it’s whatever new piece that I’m working on. But, that’s not always the absolute truth. My favorites are often those that have been the most challenging.
Q: What were your early creations like? Did you utilize guidebooks or instructional videos (Smith, Chaney, Baker, etc) or was it mostly trial and error?
A: My early attempts were rough, like most everyone’s. By the time I was five, or so, I was infatuated with the apes in “Planet of The Apes” (the original, with Roddy McDowell and Charlton Heston), and I wanted badly to recreate a chimpanzee face on my own. So, I persuaded my mother to buy a couple packages of Silly Putty for me at the grocery store so I could sculpt an ape’s face over mine. It didn’t go quite as I expected. The putty only covered my upper lip and most of my nose…and, I didn’t realize, at first, that one’s body heat would make the stuff impossible to mold over one’s face. Silly Putty becomes VERY soft while you’re trying to form a chimp’s nose over your own! But, there were a lot of those experimental makeups and sculptures in my early days. Lots and lots of trial and error. And, a lot of money spent at the local grocery store. But, thankfully, my parents were always supportive.
When I was really young, we didn’t have how-to videos that we could buy to learn all of this stuff. Magazines, like Famous Monsters (and, much later, Fangoria) were my main resource. The local Library also became a frequent stop for the books by Richard Corson and Lee Baygan. My brother was a big Famous Monsters fan. He had the original printing of Dick Smith’s Monster Makeup Handbook and I was always borrowing it to try something new. I didn’t know it until I was around ten years old that he had TWO copies of it, and he ended giving me one of them as a birthday present! I still have that copy, too.
Then, Dick Smith released the makeup kits! I never was able to get all three, but I had the Horror Makeup Kit. That was a revelation! I went crazy with that thing and used up all of the “Flex Flesh”, probably, within a week. I knew it was only unflavored gelatin, because of Dick’s handbook. So, I was able to get more and more gelatin from the grocery store. Unfortunately, the vacu-formed molds that came with the kit didn’t survive. But, I really learned a lot about casting and gluing the gelatin to my skin from that one kit; even sculpting.
I sculpted my first ‘mask’ at about 15 years-old. It was my interpretation of the Frankenstein Monster. I sculpt it over a plastic bad cap form, so the resulting rubber mask wasn’t wearable. But, it was a learning experience.
I love that kind of experimentation and discovery. I’m still doing that sort of thing!
Q: You've worked for many studios over the years; if you could provide some insight into which has been some of your best experiences and why? On the flipside, what were some of the worst and what did you learn from them?
A: Oh, I won’t name names. Good or bad, I believe I’ve always learned from my experiences. So, in that respect, they’ve all been great.
Q: Many of your masks are currently available through Trick or Treat Studios; how has it been working with them? Do you prefer going solo or is it nice to be aligned with such well respected artists and business partners?
A: Working with Trick or Treat Studios has been awesome! Chris and Justin are amazing. It’s been a great experience working with both of them, and it’s only the beginning for T.O.T.S. There’s a LOT more in store!
Q: You also have Alex Sanchez and Ryan Banfield in your stable; how has it been having them in the Lubatti Designs Unlimited fold?
A: Alex and Ryan are great to work with. Alex has contributed quite a few masks to the lineup over the last 4 years. He loves 80’s horror films. So, he puts a lot of that spirit into his sculptures. Ryan is super enthusiastic and that energy is very contagious!
Q: The Michael Myers community is by far the largest in the private, custom mask underground- what do you think about this phenomenon? I've always been fascinated by how such a simple, white mask has literally hundreds of variations. This is common in the Universal Monsters universe but that is more than 70 years long while MM has accrued a little more than 30.
A: I’m a fan of the original 1978 “Halloween”. I enjoy some of the sequels, and Rob Zombie’s remake. The Shape is a prime example of K.I.S.S. (“Keep It Stupid Simple”). That mask is also something that never could have been planned to become the icon that it has become. If someone set out with intention to make an iconic mask for a horror film, it wouldn’t have nearly the same impact that reworked Captain Kirk has had for 33 years. Outside of Jason’s white hockey mask, Freddy Kruger’s visage (and, to an extent, the Scream Ghost Face and Saw’s Jigsaw masks), no one has come close to Myers.
So, I understand the customer-demand for really good Myers masks. I admire what the artists who do dare take on the infamous white mask and come out with a mask that looks as close to that old Don Post Studios mask as possible. I once tried my hand at a Myers mask many years ago, and was so frustrated with the poor results that I’ve not attempted it again.
Q: A long the same lines, how do you feel about license issues? Many fans and artists feel that these fees charged by property owners are too high and therefore have "gone guerrilla" and are bypassing the entire process willing to take the risk to deliver the people what they want.
A: Too many times in the last 25+ years, the officially licensed masks just don’t look like the character that they’re supposed to represent. Too often, the license holders have ridiculous deadlines and specifics about their masks, and the likenesses are lost in all of the “marketing”. I think it’s an age-old dilemma, the struggle between art and business that gets in the way with licensed products. Not always, of course. But, there have been really poor-quality licensed masks of movie characters over the years!
I have nothing against independent artists producing a limited run of popular characters. Personally, I enjoy doing my take on lesser-known movie characters.
Q: If someone wants a custom piece, how should they go about getting in touch- do you utilize a down payment system and how do you orchestrate communicate regarding the specifics?
A: Just send me an inquiry via email: lubattidesigns@hotmail.com. Let me know what you’re looking for and I’ll provide you with a quote. I ask for a 50% deposit to get started on the sculpture. Then, I send the client photos all throughout production for approval or changes.
Q: Most mask makers I've met prefer to do original works but also have a love for classic properties. What are some your favorites in respect to the former and the latter?
A: I much prefer making original masks. I think most artists out there would agree. Replicas of movie characters do sell better than originals. My opinion is that if one can make a mask that kinda-sorta looks like a movie character, but has a lot of the individual’s own tastes and twists put into it, is the best of both worlds! Red Jack is one of those perfect blends, for example. People are always asking if he’s from “The Nightmare Before Christmas” or if I based him on The Joker. I answer, “Not really”. He’s an original concept that a very dear friend of mine came up with in an original script that he wrote back in the early 90’s. He loves Tim Burton films and the Freddy Kruger films. So, he mixed up all of his favorite aspects of all these characters in a blender, and Red Jack came out as his main villain.
Anyway, I’ve strayed from the point. I love any of the Universal Monsters, or Lon Chaney, masks.
Q: Do any of your creations have back stories or have you attempted to start a franchise around them?
A: Several of my masks have back stories. Red Jack, of course, is a character from a friend’s feature-length script. Belarivo also comes from a script written by another friend of mine. Arix has had several short stories started about him, but they haven’t, yet, come to fruition. I suppose they all have some sort of story behind them, even if it’s just in my imagination for inspiration as I’m sculpting them.
Q: You are very well known for your repaint work; it is not mentioned a huge amount on your site so how does one go about procuring those particular services?
A: That seems to have come about completely by word-of-mouth. And, all anyone has to do is send me an inquiry via email: lubattidesigns@hotmail.com. I’ll be happy to give them all of the information on my repainting services.
Q: What other mask makers do you admire and what are some of your favorite classic masks (Don Post, Topstone, etc)?
A: WOW! What a loaded question! I could be here all night answering this one. I admire many, many mask artists living and dead. Everyone out there right now making masks, or sculpting, painting, or taking creative photographs has my admiration, and I draw inspiration from most artwork that I see. There is so much really good work out there, now! Don Post Sr. was really the first mask-maker that made an impression on me. Even the artists that he employed in the early days of Don Post Studios, the work that came from that studio set the standard that is still pretty much being followed today.
Q: One of the more hotly contested issues of mask collecting is pricing; you have always been extremely fair in this realm with beautiful, handmade product going for half or more of competitors costs- a few pieces are even cheaper than mass produced Halloween store fodder. Obviously, this is much appreciated by fans but I wonder if you have a particular reasoning behind your low prices and what do you think of the sticker shock attached with the hobby/industry?
A: I try to keep my prices as reasonable as I can. It can be difficult, at times, though. Latex costs are constantly going up, as are other materials that go into making rubber masks and props. So, those increases do have to be reflected in my prices. But, still, I remember all too well being on the other side of the fence. Working hard mowing neighborhood lawns to be able to afford a Don Post Studios mask that I’d had my eye on at the local costume shop for the last 3 months. I want people to be able to enjoy what I make, while still making some profit.
Q: Most beloved horror classic? Any recent favorites?
A: “Frankenstein”, the 1931 version. Recently… in the last decade, there’s not been much. “28 Days Later” was effective. AMC’s “The Walking Dead” is another really good, intelligent storyline that I’m enjoying.
Q: In the same vein, most modern horror is driven by CGI and not the time honored tradition of true special effects (in latex we trust!); obviously, it's necessary for some films but it's so unnecessary in many. From Chaney and Smith, to Baker and Bottin, the foundation of the genre has really been eroded in the last decade or so. There are some purists holding strong but do you think survival is assured especially in the big leagues?
A: Oh, I don’t know. Hollywood loves the latest gimmick. That’s nothing new. I can see the draw of CGI with producers and studios; virtual characters don’t have hours and hours of down-time on set if a cable or bladder breaks inside the fake beastie. What I like to see on-screen is a marriage of the two technologies. CGI can fill in (or, take away) on an appliance makeup or creature suit to help complete it. My biggest complaint is that, too often, 100% CGI creatures look like something from the latest version of Xbox. The anatomy isn’t correct, or their movements defy the laws of physics. That sort of inaccuracy pulls me right out of the story and make me focus on how bad the effect was. I’d much rather see rubber head-and-shoulders puppets go through the process of changing into some horrifying creature than a badly rendered CGI transformation scene. I wholeheartedly agree with a recent comment I read by Lee Romaire where he stated that he believes physical and special makeup effects will continue to flourish and show us new and exciting things within the independent film market. I think it will, too. Another market that needs to step up to the next level is the Haunt Industry. I think there’s great potential within that venue to develop new and original stand-alone characters, rather than just relying on what was a hit at theaters last summer. I’d love to see haunts coming up with characters that are their own and catch on in the general population the way horror movie characters have for decades!
Q: Best Universal Monster and why?
A: Frankenstein’s Monster portrayed by Boris Karloff. Everything about it is what I love about horror films: Atmosphere, great acting (on Karloff’s part), good pacing, cool sets, and a killer-looking monster! Even as a young child, I picked up on the sympathetic nature of The Monster. That, alone, made him really stand out from the other monsters, for me.
Q: What do you think about mass produced masks- T.o.T.S. and a few others seem to be doing it well and overall, the entire industry is improving in respect to quality control and attention to detail but being honest, most are just a quick, cheap and grossly inaccurate.
A: When mass-produced masks are done correctly and with care, they can be awesome. When anything gets rushed and corners are cut too much, the end result suffers for it. T.O.T.S (and others) put out quality products, because the manufacturing company is well-qualified at what they do. They know what they’re doing, and care about the product being put out.
Q: Do you have any medical or scientific background? I ask because pieces such as Merrick and Arachnoid are so spot on and realistic. You are also very skilled at expressing age (Old Coot, etc)? Any particular methods you utilize to capture your subjects so well?
A: No, not really. I had art classes in college that really focused on anatomy. A figure sculpture class that I took even went so far to make us learn all of the names of the major bones and muscles in the human body AND we went on a pseudo filed trip to the biology class where they had six or seven human cadavers for their pre-med students to dissect. I don’t like the real thing. Looking at real blood makes me queasy. So, being up-close-and-personal with real cadavers was a nightmare come true, for me. But, I still managed to take a slew of photographs while in that classroom that I still refer back to you on occasion. Whether it’s a zombie mask or an aged character, I always try to utilize good photos, life-casts, whatever I can find for reference when sculpting or painting. I look at people and animals. I study forms and colors while I’m talking to someone.
Q: What other mediums do you enjoy working in (art, music, etc)?
A: I enjoy painting. I mean, fine art painting. Portraits, mostly. I haven’t really had much free time to sit down and paint on canvas again. But, it’s definitely something I have on my personal to-do list.
Q: How did you get involved with Knott's Berry (Scary) Farm and are you still participating in their endeavors? Are you currently working on any other haunted attractions?
A: I worked as a prosthetic makeup artist at Knott’s for two years (2000/2001). I then received an email from one of the actors asking if I could make a custom latex face mask for him. It just all snowballed from that one actor. Each year, I make anywhere from 20 – 35 custom masks for individual actors, now.
Q: What are your thoughts on hoods? Do you plan on making more?
A: I like hoods. Hoods are good. :o) I do plan on making some more in 2012.
Q: How much of a bitch is it to hair that Bigfoot?
A: Putting all that hair on the Bigfoot mask is quite the time-consuming effort! There is a bit of Zen involved when hairing that mask.
Q: Dream Girl is...umm...really interesting, haha. Most folks didn't know about this scene until after the documentary "Never Sleep Again" but still had circulated in years past. What made you want to do this mask/bust and what kind of response have you received from Elm Street fans and devotees of your work?
A: I chose to make a bust of the deleted scene just because no one else had done it (to the best of my knowledge, anyway). I love taking on the movie characters that just haven’t been done to death. The response has been positive to the Dream Girl bust (both versions).
Q: The Troll 2 mask has always criticized for being one of the worst to appear in a film, so it's kind of strange to compliment you on how well you captured it, haha. What do you think about this piece and do you plan to portray any more citizens of Nilbog in the future?
A: Troll 2 is a very bad flick! I hadn’t seen it until I was commissioned to make this mask. Part of my reference material always involves watching the film the character is in. I found it quite challenging to sculpt in a manner that it isn’t quite as refined as I’m accustomed to. I’m not saying that I’m the world’s greatest sculptor (not by any means), but skills and techniques I’ve acquired over the years did have to revert a bit to get that likeness right. Currently, there are no plans to add any of the other trolls, or goblins, to my lineup. But, that’s not say, I never will.
Q: In respect to Alex's "Flukeman", what is your favorite X-Files episode?
A: There’s an episode with Ed Asner and Carol Burnnett as ghosts that I really enjoyed. I think it was a Christmas episode. I don’t know the title of the episode.
Q: What do you love most and enjoy least about the mask making business?
A: I love to hear about, or see, people enjoying my work! That’s the biggest pay-off of all. The thing I like least are the long hours that can sometimes be associated with mask-making.
Q: Obviously, online sales have changed the mask making community a great deal. PayPal and the like protect fans from shifty sellers and allow a comprehensive review of the products, while artists have a chance for smoother transactions and getting their offerings out to the widest audience possible. Still, I know that with all technology, there are definite downsides in addition to the positive qualities- could you offer your perspective on this and how it's altered your business model, if at all?
Q: Any books/films/TV shows/albums that you are really into right now?
A: I’m enjoying “The Walking Dead” on TV. Albums…I’m a fool for anything Iron Maiden has put out, or will ever put out.
Q: Do you have intentions to add to your props and figurine lines? Does working on those pieces act as a nice break from masks? Also, I love the Killer Sandwich- are you planning to make more puppets?
A: I do, actually, plan on expanding the props and puppets in the next few years.
Q: What is something you are thankful for?
A: My family and friends.
Q: Would you be able to offer up a sneak preview of what's in store for 2012 at LDU?
A: Many more original designs are coming in 2012! There will be some movie-inspired masks, as well. But, mostly originals. Some of my own design. A few designed by others. And, there will be some new things that you might not expect to see at LDU…but, I didn’t put “Designs Unlimited” in the name for no good reason!
Q: As I am sure folks mess it up all the time, can you phonetically spell your last name? :)
A: Loo-baw-tee.
Q: Anything else you'd like to add?
A: For anyone who has even an inkling to try their hand at mask-making, sculpting, painting, or anything artistic, just dig into it! Don’t be afraid of making mistakes. Everyone does. And, that’s how we learn and grow as humans, not just artists. Also, don’t be afraid of tearing something apart that you’ve spent a lot time of time on and re-starting it. You might be amazed at how much better that something will be the second or third time around! So, get your fingernails dirty and make some tHiNgS!
www.lubattidesigns.com
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