9 Behind-the-Scenes Secrets of Movie Monster Makers

Bruno Vincent/Getty Images
Bruno Vincent/Getty Images

Almost since the beginning of movies, people have been trying to use the medium to conjure up fantastic creatures. From Godzilla to Gremlins, there’s nothing like a hideous monster or a furry freak of nature to inspire fear and glee in the audience. The artists, technicians, and designers who create these beasts are highly talented, highly specialized—and highly imaginative. Mental Floss spoke to a few for some insight into the fanciful world of monster making.

1. CREATURE EFFECTS HAVE COME A LONG WAY SINCE GUYS IN RUBBER SUITS.

A 1933 photo of a man inside the mouth of a monkey head made by a stage props company
Bruno Vincent/Getty Images

The earliest creature features typically involved a guy in a rubber suit terrorizing Tokyo or carrying off a damsel in distress. Today’s creatures are much more complex and believable, thanks to new varieties of silicone rubber, upgrades in animatronics, new forms of design software, and the development of CGI.

“Special Effects as an industry is always evolving, and products and materials are expanding and becoming more readily available than ever before,” says Stuart Rowsell, a creature technician and founder of Bloodhound FX in Australia who has worked on films including Star Wars: Episode II (2002) and III (2005), Superman Returns (2006), Mad Max: Fury Road (2015), and Alien: Covenant (2017).

3D printing is also shaking up the industry. Lino Stavole, a creature engineer at Spectral Motion based in Los Angeles, founded 3D scanning, printing, and engineering company Behold 3D to cater to the needs of the entertainment industry. Stavole tells Mental Floss that his company used 3D printing in silicone to create an alien creature for the movie V/H/S in just two days, a process that once required several more. “That really opened my eyes to the potential of what technology can do,” he says. 3D printing is also pushing boundaries in terms of design intricacy—Stavole says a creature he helped create for Netflix’s planned reboot of Lost in Space incorporates about 400 different 3D-printed parts.

2. BUT SOMETIMES, THE CREATURE IS STILL A GUY IN A RUBBER SUIT.

Technological advances have by no means pushed the classic creature suit aside, however—particularly when enhanced with a little digital magic or combined with other techniques like puppetry. A suit offers certain advantages over digital or animatronic creations, after all: “Fluidity of movement is usually why the guy in the suit is required,” Rowsell tells Mental Floss. “They can run through corridors, crawl through water, caves, tunnels, and react in close quarter fighting with characters. Often it is a lot easier to make a creature suit than it is to make an animatronic puppet.”

3. A SINGLE CREATURE OFTEN REQUIRES MANY DR. FRANKENSTEINS.

A 3D-printed model made by Behold 3D from the film Ender's Game (2013) for Amalgamated Dynamics Inc.
A 3D-printed model made by Behold 3D from the film Ender's Game (2013) for Amalgamated Dynamics Inc.
Lino Stavole

Bringing a creature to life is a big job, one usually beyond the capacity of any single designer or artisan. The traditional skills involved include concept design, body casting, sculpting, molding, and painting, while more modern skills like computer animation, digital design, and engineering now round out the list. The broad array of skills required means that making a creature is typically a team effort—and participants tend to specialize. “A lot of people think you’re going to be building a creature from design to completion, but that’s not normally the case. It’s very faceted,” Stavole says.

Of course, some creature artists are the full package. Rowsell says he’s never specialized, and being competent in both design and the various aspects of fabrication has allowed him greater control over the final product. “My business relies on mostly myself,” he says, “so I have quality control and I only have myself to blame if it goes wrong!”

4. THE BEST CREATURE DESIGNERS HAVE TWO BRAINS.

Regardless of specialty, the best creature artists are typically those who are able to think in two different ways. Stavole compares the two mindsets to aliens living on two different planets. “You have an alien on one planet who is like a Vulcan,” he says, “and Vulcans like science, so this brain of a creature designer knows about anatomy, physiology, biology, entomology, and physics—that is the science part of creature design.” The other planet is populated by artistic types. “They communicate with pictures and sculptures, but they also have to communicate history and character with creature design,” he says. Stavole explains that, as a natural Vulcan, he works to help the artists and designers on a creature team understand which sorts of structures will help their design move more naturally.

Given these differing approaches, communication is key. Stavole says he has a deep respect for specialists, but adds “the people who have a more complete overview of things tend to be the best communicators and have the best results.”

5. ONE CREATURE MIGHT ACTUALLY BE MANY CREATURES.

A "wheelbarrow" version of one of the giant lizards made by John Cox Creature Workshop for the 1999 film Komodo
A "wheelbarrow" version of one of the giant lizards made by John Cox Creature Workshop for the 1999 film Komodo
Stuart Rowsell

It’s a fact of movie magic that a creature presented as a single entity on screen may actually consist of several different versions used in tandem to create the illusion of life. Rowsell explains that while working on the 1999 movie Komodo with John Cox Creature Workshop, the creature crew made several versions of the giant lizards that appear in the film, including full-size animatronic- and puppeteer-driven komodos, as well as both full-length and wheelbarrow-style (i.e. just the front half on a wheelbarrow rig) creatures. A fully CGI lizard was also created “for the wide shots of the komodo’s faster and deadlier action," Roswell adds.

The luxury of having many creatures to work with, however, is very dependent on budget. Stavole points out that some productions will try to make one version of a creature work throughout a film, because it’s more cost-effective.

6. EVEN KING KONG HAS TO STICK TO A BUDGET.

And yes, even fantastical creatures have money problems. “The creature effect on any feature film or commercial depends on the budget. Usually the production company wants 10 thousand dollars to look like one million dollars,” Rowsell says. Budget is often the determining factor in whether a creature is rendered entirely practically (i.e. in physical materials), entirely digitally, or a combination of the two. It also influences details like whether a production can afford to pay a day rate for a puppeteer to manipulate elements like tails or wings—which often gives a more natural feel than rendering those elements digitally. “It is essentially our job to make as convincing as possible an original-looking creature within the deadlines and budget that performs on-set without falling to pieces,” Rowsell explains.

7. THEIR CREATIONS ARE INSPIRED BY REAL LIFE.

A prop for the 2003 movie Peter Pan, made by John Cox Creature Workshop
A prop for the 2003 movie Peter Pan, made by John Cox Creature Workshop (Foam Latex Supervisor Stuart Rowsell)
Stuart Rowsell

When it comes to the design process that precedes any crafting or building, creature artists draw inspiration from the natural world. They study animal and plant life, and borrow elements of bone structure, skin texture, and physical movement. (Interestingly, Rowsell worked in an abattoir before becoming a full-time artist, where he got a crash course in anatomy and internal organs. He says he recalled the horrible things he saw there when designing the innards of the lizards on Komodo).

They must also take into account another earthly presence: the director. “The director’s vision is paramount to any film,” Rowsell explains. And while the designers may draw on a broad array of sources and render hundreds of drawings of a creature, it is the director who makes the final call when it comes to design.

8. … AND SOMETIMES BY VISITS TO THE MORGUE.

Creature design does involve anatomy, but the morgues designers rely on don't house bodies. In this case, “morgue” refers to a collection of images and ephemera, long a mainstay of artist repertoires and newspaper industry archives.

Stavole, who considers himself to be more of a creature engineer or artisan than a designer, says that when he does take on design, he likes to work with a morgue. For him, this means doing a search of libraries and the internet for images, consulting with various people for ideas, and throwing everything he finds into a sort of creative stew. From that stew, surprises can emerge. “Happy accidents can happen and ideas from one project can get incorporated into another project,” he says.

9. MANY OF THE BEST CREATURES ARE PART PRACTICAL AND PART DIGITAL.

While advances in digital technology have changed the movie creature landscape, they’re unlikely to eliminate the need for practical effects and many traditional techniques any time soon. “Many SPFX artists were worried in the early '90s that CGI would end the industry,” Rowsell says, “but CGI has been very good to the special effects industry. It has enhanced it.”

According to Rowsell, working with practical creature effects comes with a host of considerations: foam rubber creatures or suits can tear or break down under wear; they can lack realism; and unlike a purely digital creation, they cannot be completely changed in post-production. But CGI can seem fake or end up looking like a video game. “I can still see (CGI) as a flat animation from a mile away,” he says, “whereas practical effects have substance.” The ideal situation, then, is a bit of both worlds: practical elements to add substance and weight, and CGI elements to augment the effect. “Today’s creature effects, when they work best,” Rowsell adds, “are 50% practical and 50% CGI-enhanced.”

14 Secrets of Food Sample Demonstrators

Tim Boyle, Getty Images
Tim Boyle, Getty Images

Ever turn a corner in your local grocery store or warehouse club and see the aisle backed up? You might be able to blame a food sample demonstrator, those stationary sales representatives who invite congestion in stores by offering up free bites of food products in an effort to raise sales. (The strategy works—one study found that samples can increase sales by as much as 2000 percent.)

The task might look easy, but it isn’t. Sample demonstrators have to endure annoyed customers who can’t navigate aisles due to the traffic, unattended kids, and more—all while adhering to food safety regulations. To get a better perspective on the job, Mental Floss spoke with two former demonstrators. Here’s what we found out about life in the apron.

1. THEY’RE USUALLY NOT EMPLOYED BY THE STORE.

Food demonstrators are often mistaken for store employees, but they're usually not. The people working behind sample trays at Costco, for example, are often employed by Club Demonstration Services (CDS), a separate entity that hires sample representatives to present products endorsed by Costco and usually backed by the product manufacturer. (Companies can send their own reps out, too.) “CDS might have an office set up in the back of the store,” says Jim, a former food sample demonstrator for Costco locations in California. “We’d sign in, go through the warehouse, and get a quick brief on the product we were demonstrating.”

Though CDS is owned by Costco, CDS employees aren’t technically store employees, and don’t migrate to other work areas. But because customers figure the demonstrators work for the warehouse, they’re often asked for directions. “People just assume you know where stuff is,” Jim says. “I usually told them to find someone in a red vest.”

2. THEY CAN SPEND HALF THEIR SHIFT PREPPING.

A man mixes ingredients in a bowl
iStock

It may seem like a sample demonstrator is burning calories at the rate of a Queen's Guard, but they're usually very busy during the course of a six- or eight-hour shift. Food prep—including mixing ingredients for things like chicken salad or cooking steak strips—can take up as much as half of their time. It’s worth it, as cooked food has a huge advantage over ready-to-eat samples like chips. “There’s a kind of anticipation you build up when cooking something like steak,” Jim says. “It could take a few minutes or 45 minutes, and people are standing there asking when it will be ready.”

3. THEY NEED TO STAY WITHIN A 12-FOOT RADIUS OF THE CART.

Food sample demonstrators may sometimes work in a massive warehouse, but they don’t have the run of the property. Once they’ve settled into their work area—typically near where the product they’re demonstrating is stocked or wherever there’s free space in the building—they’re expected to never be more than 12 feet away from the cart. “The 12-foot radius has to do with the fact that you’re responsible for maintaining your station and keeping customers safe,” says Skyler, a former demonstrator for Costco. “If a kid sees an unattended station with a hot grill running and grabs a sample off of it and burns themselves, it’s a liability.” Demonstrators also need to make sure no one is grabbing a sample and then putting it back, which would be a gross (literally) violation of food handling safety. Once you touch it, it goes either in your mouth or in the garbage.

4. THEY FOLLOW AN ACRONYM FOR SALES SUCCESS.

Vice-president Joe Biden greets food sample servers at a Costco
Saul Loeb, AFP/Getty Images

Food sample pushers don’t work on commission, but they can get bonuses if they sell through their inventory, so it benefits them to make sure people are consuming what they’re offering. One method for enticing customers is what Jim describes as a corporate acronym called SITGA. “It stands for Smile, Invite, Talk, Give Sample, and Ask,” he says. Demonstrators are also free to come up with their own strategy. “I liked to rhyme, like ‘come on by, give it a try,’ that sort of thing.”

5. THEY HAVE TRICKS FOR STAVING OFF BOREDOM.

Speaking with the Yes and Yes blog, Sam's Club food demo specialist Jan said that the hours spent sporadically interacting with customers can require demonstrators to make up their own fun. "I deal with the boredom in several ways. I practice standing on one foot and count the seconds before I lose my balance ... I count and rearrange samples. I reorganize the equipment under my cart. I alphabetize equipment. I grab items off the shelves and read the ingredient and nutrition labels, read slogans on T-shirts, or I try to engage customers in conversation."

6. THEY GET TIRED OF HEARING THE SAME RESPONSES.

A man in an apron looks tired
iStock

Sometimes it's hard to tell what's worse—going for long stretches without customers, or hearing the canned answers they love to give over and over (and over) again. "Customers make stock remarks about certain foods," Jan said. "If you serve sausage, they ask, 'Where are the pancakes?' If you serve a cold drink, they say it would be better with vodka. Coffee samples inevitably get, 'Now I need a donut.'"

7. THEY HAVE TO DEAL WITH “SAMPLE NINJAS” ...

There’s usually no cap on the number of samples a customer can grab from a cart. Still, people can feel a degree of embarrassment going back for seconds—or thirds—and sometimes try to sneak a taste without being seen. Skyler calls these people “sample ninjas” for their attempts to go undetected. “People love free food,” he says. “They don’t want to be seen as freeloaders, they don’t want to hear a sales pitch, they just want snacks.”

8. ... BUT THAT SHAME CAN WORK IN THE STORE’S FAVOR.

A woman examines a supermarket shelf
iStock

When people are so addicted to a food sample they keep going back for more, they might opt to just buy the product rather than risk being perceived as a greedy shopper. “There have been cases where I’ve been shopping at Costco myself and went and bought something because my overwhelming shame kept me from grabbing a fifth sample,” Skyler says. “The system works.”

9. THEY HAVE A HEIGHT POLICY.

Kids represent a dilemma for demonstrators. If they’re unaccompanied by a parent, it can be potentially problematic to offer up a baked good or other food that could contain an allergen. Fortunately, most kids are aware of their food sensitivities. According to Jim, the unofficial rule of thumb is to give out samples to unattended children if they’re tall enough to see what’s on the cart. “We can’t really determine the age of a kid just by looking,” he says. “They just need to be tall enough to see the sample and discern what it is.”

10. THEY HAVE REGULARS.

Food samples are set out on a tray
iStock

Many Costco demonstrators stick to one store or district, making them a familiar face for people who shop there frequently. “There were definitely regulars,” Skyler says. “I would see old teachers from school, old friends, new friends, and regulars who would know my sales pitch and always play along—for more free samples, obviously.” Others were memorable for other reasons. “I was making cookies once and a woman grabbed the raw cookie dough and yelled at me because it was not cooked.”

11. THEY DEMO NON-EDIBLE PRODUCTS, TOO.

While Jim estimates that 90 percent of his time was spent demonstrating food, CDS also handles accounts for a variety of indigestible products, like Ziploc bags. “I’ve done dish soap and laundry soap, which is hard to demonstrate on the floor,” he says. “You have to give someone a sample and hope they try it and then come back.” Another time, Costco charged him with selling prefabricated outdoor tool sheds. “No one is buying a $3000 shed on the spot. They take a flyer. We didn’t get a sale the entire week.”

12. THEY HAVE A PLAN TO MAKE SURE NO FOOD GOES TO WASTE.

Food sits in a trash can
iStock

Toward the end of their shift, demonstrators start to estimate how many more samples they’ll need to meet remaining demand without setting out food that will wind up going to waste. “I do what I can not to waste anything,” Jim says. “We’ll usually make sure we’re done cooking by a certain time so nothing is left over.” Sealed food might go to a food pantry, depending on store policies, but prepared and unused food goes into the garbage. And no, it's not going to the demonstrators: They’re prohibited from taking the excess home.

13. NOT EVERYTHING THEY MAKE IS APPETIZING TO THEM.

Sample demonstrators are usually expected to taste their supply so they can make informed comments when a customer presses for details. While most everything is intended to be delicious, it may not necessarily be the demonstrator's own personal preference. "[I served] horrifying steak chimichangas, microwaved," Jan told Yes and Yes. "When cut into bite sized pieces, [they] squirt out a nasty brown liquid. Worse yet, lots of people liked them."

14. THEY APPRECIATE A LITTLE CUSTOMER ETIQUETTE.

Food samples are set out on a tray
iStock

While free food can cause some of us to abandon civility and manners, food sample demonstrators always appreciate when customers acknowledge they have a job to do—and it’s not to hand out free stuff. Listening to their sales pitch is the polite thing to do in exchange for the eats. “Just try to remember that it’s a sales job and that final sale number is being held over the sample demonstrators’ heads,” Skyler says. “They’re not just someone being paid to hand out food to boost customer morale.”

17 Behind-the-Scenes Secrets of Bookstores

iStock
iStock

For book lovers, there’s no more magical place than the local bookstore. Endless shelves of stories and characters, all at your eager fingertips. And while most of us have probably spent a significant amount of time wandering the aisles, few of us know what goes on behind the scenes. Here are some insights into the life of a bookstore, gleaned from the people who keep the shelves stocked.

1. EMPLOYEES WANT YOU TO ASK THEM FOR RECOMMENDATIONS.

“A person will say, ‘I have a really strange question, I’m sorry, but can you recommend a book?’” says Phyllis Cohen, owner of Berkeley Books in Paris. “That is the most normal question. It is my favorite question in the world! Give me some clues. I’ll ask them some pointed questions and then I make a pile for them. When they discover it they’re over the moon—it’s like they have a personal shopper in the bookshop.”

2. BUT BOOKSELLERS ARE NOT MIND-READERS.

They want to help you find your book, but they can’t if you don’t know the book’s name, author, or what it was about. This happens all the time, and it drives them crazy. “Customers will say ‘I don’t remember the name or what it was about but it has a blue cover. I think it had this word in the title,’” explains Katie Orphan, manager at The Last Bookstore in Los Angeles. Sometimes the questions are so vague that no amount of Googling will help, and then the customer leaves unhappy.

Even a botched title is better than no hints at all. “One funny thing that happens with customers is they get the titles totally wrong,” says Marissa Rodriguez, who has worked in a bookstore for two years. “High school kids will say ‘I’m looking for ‘How To Kill a Mockingbird’ or ‘Angry Grapes.’”

3. THEY CAN SPOT THE BOOKWORMS FROM A MILE AWAY.

A woman browsing near a sign for half-price paperbacks at a bookstore
iStock

Just browsing? Bookstore workers can tell. “Cookbooks is one of the sections where that happens the most,” Orphan says. “Art books and cookbooks. The people who are going to buy books, I can tell by the way they look at them, touch them, start carrying them around in a stack. I can always tell when people come up who is going to buy a book and who isn’t.”

4. THEY KNOW WHEN YOU’RE “SHOWROOMING.”

In recent years, many brick-and-mortar stores have fallen victim to online outlets like Amazon, which often offer the same books for a lower price. Some customers will browse for books they like, only to buy them later online, and they’re not very sly about it. “They’ll come in and use their phone to take a picture of the cover and barcode and just use the bookstore as the Amazon showroom,” says Keith Edmunds, a former bookstore owner. “It was awful. Seeing people do that was the height of ignorance.”

5. AND WHEN YOU’RE PLAYING THE SYSTEM.

“Some regulars would buy books one or two at a time and then within the two-week return window bring them back and be like, ‘I bought the wrong book,’” said Kat Chin, who worked at The World's Biggest Bookstore in Toronto for five years. “You’d know they read them because you could see the book was a little bit worn or the spine was cracked.”

6. THE GOAL IS TO GET BOOKS IN YOUR HANDS.

A red sign advertising bestsellers at a bookstore
iStock

One trick to get customers to commit to a book is to physically put the book in their hands and have them flip through it. “You can direct them to a part of the store, but that’s only half of selling a book,” Rodriguez says. “It's important to get merchandise in people's hands so they feel there’s already some ownership happening. They say ‘I like the way it looks and feels in my hands and I like the way it smells.’”

7. YOU HAVE TO HUNT FOR THE COFFEE SHOP.

Many bookstores, particularly the bigger ones like Barnes & Noble, have incorporated cafes into their layout. Alex Lifschutz, a London-based architect, told The Economist that putting the coffee shop at the back of the store or, if there are multiple stories, on the top floor, “draws shoppers upwards floor-by-floor, which is bound to encourage people to linger longer and spend more.”

8. THE KIDS SECTION IS STRATEGICALLY LOCATED.

According to Edmunds, the kids books are almost always located at the back of a store. “If the parents want to get a book for the kid they have to go through the whole store,” he says. “They’re hoping the parent will see something they want.”

9. SOMEONE PAID FOR THAT PRIME SHELF REAL ESTATE.

A red sign advertising bestsellers at a bookstore
iStock

In many big-box stores, publishers pay for good placement on “front tables, end caps and window space, in the same way General Mills and Procter and Gamble buy space for their breakfast cereals and dish detergents in the supermarkets,” Andy Ross, a literary agent, told The Book Deal.

10. AUTHORS, BEWARE THE “SOCIOLOGY” SECTION.

No author wants their book tucked away in the “sociology” section, claims veteran publishing insider Alan Rinzler. It’s “a catchall section for ambiguous titles, and the kiss of death for book sales,” he says.

11. BOOK THIEVES LOVE THE BIBLE.

At The World's Biggest Bookstore in Toronto, “the Bible was the number one stolen book of all time,” Chin says.

Other frequently stolen books? Japanese comics (a.k.a. manga), expensive medical books, and Kurt Vonnegut’s work. Chin also says Haruki Murakami books were so frequently stolen that her bookstore had to take them off the shelves, only bringing them out when they were specifically requested.

12. EMPLOYEES HATE WHEN YOU LEAVE BOOKS WHERE THEY DON’T BELONG ...

Long rows of books at a bookstore
iStock

“Neatening up a bookstore is a daunting process,” says Demi Marshall, a bookseller in Austin, Texas. The next time you pluck a book from its designated shelf slot, put it back when you’re done. Otherwise, “it’s like if you go to a clothing store and unfold all the clothes and then put them back on the shelf but don’t fold them,” Chin says.

13. ... AND WHEN YOU TREAT THE STORE LIKE YOUR LIBRARY.

“It’s nice to be able to go in and read maybe a chapter to see if you’re gonna like the book,” Chin says. “But then when you sit and read the whole book and put it back on the shelf, it gets grubby.” You’ll know a bookstore is trying to nudge you out the door if multiple employees drop by to ask if you need any help. “We would quietly pester people,” says Caleb Saenz, who used to work at Barnes & Noble. “I was at my peak passive aggressive phase when I was working at a bookstore.”

14. THE INTERNET HAS ACTUALLY BEEN A GOOD THING.

A brick-and-mortar Amazon bookstore in Seattle
iStock

Before the internet became ubiquitous, the process of looking up a book for a customer was daunting. “We had to look it up in 'Books In Print,’ which is a multi-volume, 4-inch thick, hardcover book,” says Liz Prouty, who owns Second Looks Books in Maryland with her husband, Richard Due. “It was a slow and cumbersome process and if anything was indexed wrong or a customer had the first word of a title wrong, you were out of luck.”

15. IT’S ALSO MADE US LOVE BOOKS MORE.

Some thought the e-book would surely spell the death of the bookstore. But many independent sellers say digitization has actually made people crave physical books more. “I’ve noticed in the last couple of years, so many people come in waxing rhapsodic about the smell of books, the feel of books,” Prouty says. “And they say it more now because the alternatives exist. People are deeply attached to the old-fashioned books.”

16. SOME BOOKSELLERS CAN IDENTIFY BOOKS BY THEIR SMELL.

Especially used booksellers. “These Penguins have their own particular odor,” Cohen says. That odor? Vanilla. Others might smell like almond or coffee.

17. BOOKSELLERS AREN’T IN IT FOR THE MONEY.

A blue sign with white letters spelling out the word "books" and a hand pointing
iStock

In fact, most of them have second jobs or need monetary support from family members. “It is definitely a work of passion for everyone that I know,” Marshall says. “We don’t do it for the money, we don’t do it because we have any power or prestige. It’s genuinely just that we love books and we love getting them into people's hands.”

A version of this story first ran in 2016.

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