Randy Palmer - Paul Blaisdell, Monster Maker: A Biography of the B Movie Makeup and Special Effects Artist

Blaisdell as the title monster takes a practice stalk up the pier steps on location for The She Creature. (Courtesy of Fred Olen Ray.)

McFarland & Company, Inc., Publishers
Jefferson, North Carolina, and London

To the memory of my father, who took me to see
my first Paul Blaisdell movie, and
to my mother, who always knew that movies
dont make monsters out of little boys

For Jackie

LIBRARY OF CONGRESS CATALOGUING DATA ARE AVAILABLE

BRITISH LIBRARY CATALOGUING DATA ARE AVAILABLE

e-ISBN: 978-1-4766-0729-0

1997 Randy Palmer. All rights reserved

No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher.

On the cover: Poster art for the 1958 film It! The Terror from Beyond Space (MGM/UA/Photofest)

McFarland & Company, Inc., Publishers
Box 611, Jefferson, North Carolina 28640
www.mcfarlandpub.com

by Fred Olen Ray

If you had never heard of Paul Blaisdell before picking up this book, you will soon see how damned lucky you are to have stumbled onto him. Like Roger Corman and Bert I. Gordon, you too will discover the rich imagination and ingenious talents of one of Hollywoods most creative fringe dwellers.

That it took the world so long to catch on to one of filmdoms best-kept secrets is a true shame. That, as for many others who toiled in the empty grocery stores that passed as movie studios, his contributions were only realized after such recognition could have yielded any benefit to the creator is a crime.

I think what attracted the admiring fans to his work over the years was not only the images he conjured up into physical being, but the method with which he undertook the task. Obviously, the monsters in Day the World Ended, The She-Creature, and It Conquered the World were astonishingly original in design, but it is also the fact that Blaisdell created them in his garage out of literally nothing more than carpet-laying foam and paint that instills his fans with that certain sense of awe.

What first attracted me to the creations of Paul Blaisdell, at least in the sense that I noticed who was actually creating these monsters, were the how to articles in Pauls magazine, Fantastic Monsters of the Films. In these articles Paul would provide details to knowledge-hungry kids, explaining how they could recreate the Beast with a Million Eyes or construct their own alien suit just like the one in It! the Terror from Beyond Space. Wanting nothing more than to be a monster maker, I read these articles over and over again, never tiring or ceasing to be amazed at what this man could do with so little money and such common household items.

But the monsters themselves were the real treat. Regardless of how quickly or cheaply they were constructed, Blaisdells creations were always way cool looking. One need search no further than Invasion of the Star Creatures or Killers from Space to see what a low-budget movie without Paul Blaisdell was like. The guy had styleflat out. In his minds eye, he knew what a great-looking monster was. His designs were different and lasting and had a flair all their own that exceeded his budget and schedule.

It is often remarked that Roger Corman could take a no-budget concept and elevate it into something memorable because Roger had that special somethinga combination of intelligence and awareness that superseded just getting the job done. The same could and should be said about Mr. Paul Blaisdell. He did so much more than just getting the job done.

That Paul insisted on playing his creatures, even though he was far too small in stature to pull it off, also contributes to his legendary position in the die-hard Monster Hall of Fame. People like Corman and Sam Arkoff still delight in recounting how Pauls Day the World Ended suit soaked up a large quantity of water, causing its weight to increase drastically and sending both monster and starlet tumbling to the ground. Similar stories abound around his other creationsRay Corrigan was too fat, It Conquered the Worlds beastie was too short, and on and onthese are just good Hollywood yarns that beg repeating. And thats what Paul Blaisdells life wasa good Hollywood yarn. It had everything the big-time moguls look for in a storyups and downs, comedy and tragedy, creation, destruction, and ultimately a downbeat finale. Hollywood had Paul Blaisdell in its grasp, but somehow it foolishly let him slip away.

Fortunately for us he left a little something of himself behind.

by Bob Burns

When Randy Palmer asked me to write a preface for this book, I felt very honored. Paul Blaisdell was not only my mentor, he was my very good friend. In the mid-fifties, my wife, Kathy, and I used to hang out with Paul and his wife, Jackie, at their Topanga Canyon (California) home. We had more fun than people should be allowed to have.

I dont think that most people knew that Paul had a great sense of humor. We shot many gag photos and 16mm movies of our antics. I still have the films today. What wonderful memories they bring back.

Paul was one of the most multitalented guys Ive ever known. He could do it all. He was an artist (he did covers for magazines). He was a sculptor, model builder, wood worker (the flying saucer from Invasion of the Saucer Men was made of white pine). He was a master of just about any other talent or craft that you could come up with.

Paul was a pioneer. He had an art background but no formal training in making monsters. There was no Monster Academy or books on how to make a movie monster in those days. He did everything by the seat of his pants and from his imagination.

I used to marvel at the way he came up with ideas to make his creations. For instance, the antennae on the She-Creatures head were carved out of candles. He painted on layers of liquid latex, let them cure, then slit them up the back and peeled off the rubber. He put a wire in the tubes and stuffed them with cotton. Next he painted them, and there you have itShe-Creature antennae!

Jackie was very talented too. She helped Paul with everything. Together they made a perfect team. I had the extreme pleasure of helping Paul on some of his movies that have since become cult classics. I learned a lot from my friend, and I miss him very much.

Im so pleased that Randy took the time to write this book because you now have the chance to learn all about this wonderful, talented man. When youve finished reading, youll know something I was lucky enough to learn years ago: Paul Blaisdell was one of a kind.

The late Paul Blaisdell can be described as neither long-lived nor especially prolific. As a self-taught makeup and effects artist working in low-budget movies made during the 1950s, Blaisdell competed with established professionals like Bud and Wally Westmore, Bill Tuttle, and Jack Kevan, the creator of The Creature from the Black Lagoon