Shannon Shea has done special effects work on over sixty films. From Evil Dead II to Predator. From Dances With Wolves to Jurassic Park. From In the Mouth of Madness to Sin City. Every week he delves into his personal and professional history to tell the story of how he became a monster that makes monsters. So there I was, in a small conference room in Woodland Hills, California on a warm February afternoon in 2009. I knew that the meeting would go long, and I would have to spend at least an hour driving home to Los Angeles. Sitting next to me was Mark Dippe, Industrial Light and Magic alumnus and director of the movie Spawn, and across from me sat Dean Cundey, the guy that not only shot all of John Carpenter’s early movies, but also shot Jurassic Park and Back to the Future just to name a few. At the end of the table was producer Tom Kiniston; I had worked with Tom on the Tremors TV series, and next to him was Brian Gilbert, formerly of Stan Winston Productions. The director was Brian Levant, whom I had never worked with personally. However I was familiar with him because I was representing KNB EFX Group, and KNB had made the Turbo-Man Suits for Jingle All The Way, a Mr. Levant effort. We, along with other department heads had gathered to discuss Scooby Doo and the Curse of the Lake Monster. As we began to go through the [Due to Content Scraping and Theft, we have been forced to try abbreviated feeds. We apologize for any inconvenience this may cause and woud very much appreciate you clicking through to view the full article on FilmSchoolRejects.com]

Normally I would save this for tomorrow’s Daily Diversion, but it just feels like something I should be posting in a more timely matter. I will find something silly for the morning.