Designer Times
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Within about two weeks we were able to order the major purchased parts such as the hydraulic cylinders and valves, and to start the search for a shop to fabricate the 1/6 size mechanical machine. Anderson Technologies was selected to build the entire mechanical assembly in their shop. Patrick's shop was busy developing the 1/24 man-in-suit creatures as well as sculpting the 1/6 size body in full detail to make the molds for the flexible body skin.

Patrick also had a small team developing the animation control system. His shop was a prime example of just how financially efficient the movie EFX business can be. The whole project would take less than a year, first sketch to last shot. Patrick leased a building for just the one year, installed all the necessary shop support leasehold improvements, hired a superbly talented crew, and got to work.

I attended very few meetings at his Culver City shop. Most communication was informally on the fly. They knew that you aren't building anything if you're in a meeting. Patrick always gave a quick answer to every question....no one had to wait for corporate input. All the while Sony's accountants kept track of the minutest detail, even tracking used scraps of sandpaper! Even with this accountability, the job moved steadily every day with no holdups. I never saw a more talented bunch of special effects folks ever. I felt kind funny being the "old guy" in the bunch.

At Anderson Technologies, Don Anderson and his one machinist built the entire mechanical assembly from my fully detailed parts drawings. I had developed a fast method to make a detail drawing of every individual part which then got welded up into each sub-assembly. We didn't bother with formal final assembly drawings like most companies....the three of us knew where the stuff went. Don's twosome even added all the hydraulic system parts and hose plumbing, a major job in itself. I made the first drawing in March, and the fully tested mechanical assembly was delivered to the film studio in September....only three guys to do the whole deal! Sure felt sorry for how other companies worked.

Patrick's team jumped on the mechanical assembly to add the flexible skins, cover the arms, and add the head exterior body parts. Soon the creature became alive and had the most realistic smooth and natural motions I ever saw in a big animation. The man-in-a-suit 1/24 creatures worked beautifully after a training period where powerfully legged stunt actors develop the right moves. The film studio where the big Godzilla did it's acting was the very same Hughes Aircraft Company hanger where the Hughes HK1 Monster Flying Boat was built fifty years ago.

There is an irony in the fact that two memorable monsters lived and died in the same place. The Hughes Flying Boat, the biggest airplane in the world at the time, flew only one time....never used again. While the movie was 90% CGI, Godzilla did it's 10% part also just once. There has never been any more actual physical Movie Monsters ever since. I was privileged to witness first hand the beginning of the end of quite an era....Jurassic to Godzilla, and it happened very quickly....just five years.

oOo

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