Science-Fiction-Filme)    First of all, I would like to thank you for your time doing this Interview. I think you´re work have got a huge fan base here in Germany. Especially because for films like SHORT CIRCUIT (1986), DEMOLITION MAN (1993) and WATERWORLD (1995)  of course. A lot of movie maniacs know the films you are involved. Could you please tell us something what you did before you come into film business? Why have you chosen the way of being into special effects?

 

Eric Allard) I was a Demission Specialist in the US Army. After Mmy service, I went to work at Universal Studios as a carpenter in 1977.

 

 SFF)    I love movies a lot. One of my very first experiences was ALIEN and THE TIME MACHINE I love movies a lot. Is there any special event or movie which made you think: “Alright, I want to do the same thing?” Do you have any personal idols or favorite movies in your business? What event on the big screen or on television (if any) fascinated you so much that you said to yourself, "I want to do that too"?

 

E.A.) It was Ray Harryhausen that first got my interest with „The 7th Voyage Of Sindbad“. After a couple years in the business I transfered to Special Effects when I got an opportunity to go to work for Danny Lee at Walt Disney Studios. Eventualy I worked with Douglas Trumbull on „Brainstorm“ and continued as his Special Effects Supervisor for a coupl;e of years aty his company Showscan.

 

SFF) What was your job on BRAINSTORM (1982) and how was the shooting environment for the effects?

 

E.A.) I was a crew member on the Special Effects team working for SPFX Supervisor Marty Briesen. I was part of a small team that provided all oft he live action special effects, and continued on at EEG Visual Effects during post production.

 

SFF) Can you please explain the following. Douglas Trumbull designed and patented a robot called Pal. In 1985 he made a short film called LET'S GO for Toshiba which they showed at the Expo in Tsukuba, Japan in 1985. The movie is about a boy's relationship with a robot.  Trumbull designed PAL and you built it. Is that correct so far?

 

E.A.) Yes.

 

SFF) In the finished movie, the robot was operated by Bruce Schwartz using a kind of rod puppetry technique. The following "rumor" is going around. Steven Spielberg saw PAL and introduced you to the director John Badham. You then worked on SHORT CIRCUIT (1986). The robot Pal is very similar to Johnny 5. How did this come about, or is this story true?

 

E.A.) I have never met Mr. Spielberg. But as I understand it, he saw the Film, “Lets Go“ at a Showscan screening. He knew that John Badham was looking for a robot for his movie and he recomended that they go look at PAL in the short film. The producers got my name off oft he credits and contacted me independantly. I got the script and over a weekend developed a 30 page proposal which won me the job of Robotics Effects Supervisor.

 

SFF) How many versions of Johnny 5 were there and what was special about this type of construction?

 

E.A.) There were 15 J 5 Robots. Two super heros with 49 axis opperated by remote control. Five Seni Heros that hadeverything that the heros had except for articulated fingers and wrists. And Eight Stunt Bots. All oft he chassis were identical but the Stunt Bots just had lock off axis. We also built the Trash Bot that pushed Number 5 of off the truck. In addition we made Three cable controlled puppets, Two sets of Insert Arms, Three Hero Heads, abunch of stunt heads, and a few othe specialty items for spacific shots.

 

SFF) You also developed and gave birth to one of the most iconic advertising characters: the rabbit from the Duracell advertisement. Can you please tell us how you got this job and what were the difficulties in building the bunny?

 

E.A.) Actually I built the Energizer Bunny and performed it for Ten years. Duracell is their direct compeditor. They have a smaller pink bunny that can not be used in US markests. I quitt he account when they refused to pay me as a SAG Puppeteer. When I left, I took the Energizer Bunnies with me asa I owned all the hardware. Chiat Day, the agency who created the campane didn’t produce any more commercials for Two years and eventualy lost the account due to their incompatence.

 

SFF) You also worked on MATRIX - RELOADED. More specifically, on the stunts on the highway with the motorcycles. i can imagine that these scenes required an enormous amount of preparation. Can you please tell us how you meticulously plan such scenes?

 

E.A.) My roll in that movie was somewhat limmited although I designed and built one oft he key Motion Control rigs to get both the live action and the post production motion control oft he scene wher the Herowin jumps a Ducoty motor cyclre og the top of a car carrier truck.

 

It was a big motion controll rig that articulated the motor cycle with the two stunt riders on it in real time. Then the rig was placed on stge in front of a green screen and the moves were done in a fraction oft he speed with the principal actors.

 

SFF) You also worked on two of my absolute favorite films: DEMOLITION MAN and WATERWORLD. two films that are said to have been difficult to produce. Did you notice anything about that and if so, what?

 

E.A.) DEMOLITION MAN  was a ball buster because I took over as the effects supervisor on the movie, mid stream. All oft he action props were made at All Effects, which I owned at the time. „“Demolition Man“ was the worst. Just because when I took it over, there was nothing usable. We actually had to shut down production and catch up. Warner Brothers Studio tried to cheet my crew out of $100,000.00 of overtime pay. I went to bat fort he crew throught our union and won all oft he moneey they deservrd in arbatration. I was black balled from working at Warner Brothers for years after that.

 

Although the phisical work has often been challenging, it was never really difficult. The difficulty more often than not was dealing with the polatics and personalities of some oft he people in high places. Many of which had no business being there. And whom I’m sure would probably say the same about me.

 

SFF) In your opinion, are there any key skills you need to survive in your industry or in film in general?

 

E.A.) Everything these days is being done on computers. Even if the Special Effects, Action Props, Ribots, and Creatures are m ade to be shot in pricipal photography they are designed by engineers and artisans on computers and manufactured using advanced audimation and additave manufacturing. A strong understanding and of all formes of fabrication, ie; Metal working, welding, machiening plumbing, sheet metal, composit materials, etc. I think being well versed in Computer Aided Design (CAD) is esential these days.

 

SFF) When you compare the working conditions of earlier films and those of today, what are the biggest differences in terms of creativity? Has it become easier today, even in the context of CGI, or has the pressure increased? Maybe it's all in balance?

 

E.A.) In the old days, studios couldnt make it up as they went along. The level of script writing and production exacution relied on a shooting script and well developed plan. Sure things are alot easyer to bring tot he screen with all oft he modern CGI. And in many casses it ist he only way to achieve some things. But there is no replacing a well planned and prepared production. It requires the kind of disaplin and forethougjht that rarly exists today. There are many oft he old pros like Spielberg , Cameron, and others who know exactly what they want and how to get it using the full veriety of tools available to them.

 

But often people in the Secial Effects field, especialy the Visual Effects people are burdened with creative and business desitions that cause a great deal of exsess hours of work and millions of dollars due to changes in movies that often are still being scripted even after production has started.

 

SFF) For many decades, handmade, practical special effects in films were an integral part of the fantastic field. Then, at some point, CGI took over. Do you think there's a film that represents a kind of end of the line in classic modelling? If so, which one and why?

 

E.A.) No. I don’t. I still believe that as much of a film shoul;d be done using live action props, robots, creatures, and sets. It is actualy a trend that is on the upswing. Advancements in electromechanical robotics, electronics, AI, fabrication have been injected into the industry making it easyer to create live action elements. From this point forward, there will always be a place for live action special effects. Just like there are still synphony Orchastras and artist who pint in a clasic style with oils, the art of special effects will endure.

 

SFF) You're involved in a lot of SFX, after all. Is there one area that you particularly love? And if so, why?

 

E.A.) Robotics in the real world. That is my only focus now. Soon robots will have the physical skills and intelligence to understand and work with people in human society. Not only are the robots going to have to be able to maneuver through and manipulate items in environments built by humans for humans. They will have to communicate with humans. And if we humans are going to bring them into our comfort zones, people are going to have to accept the robots on more than just an esthetic liking of the robot product. The robots are going to have to be appealing and friendly.

 

Anthropomorphic robots will be the most useful and the easiest for humans to Assimilate with. That is if the robots are artificially intelligent enough to have conversations with their human counterparts. They will have to have a high degree of anthropomorphism.  The robots will require both facial expressions and in general move in a non-threatening manner. More like a human than an industrial robot.

 

Ro.bo.nal.i.ty: the combination of characteristics or qualities that form an individual anthropomorphic robot’s distinctive character:

 

 If humans are going to get along with robots, they are going to have to like them.

 

SFF) You've also been in the industry for a few decades now. Is there a project where you are angry that you didn't agree to do it and also the other way around where you agreed to do it and it didn't go well?

 

E.A.) Angry is not the right word. Dissapointed is more like it. There are many opportunities that I didn’t take advantage of or blew my chances of getting. There are manny that came out of no where and as a result I got to travel the world and create some incredable things. I think it is valuable to reflect on passed accomplishments as well as disapointment only from a perspective of how to move forward with my carrer and life in general.

 

SFF) Besides being self-employed, you have also worked for some SFX/ VFX companies like Legacy Effects. What do you take away from that time? What exactly is the advantage of being self-employed in your industry?

 

E.A.) Legacy Effects ist he latest substantial work that I have done. I was a lead mechanical designer on a few projects. Legacy is an incredable place with a bunch of tallent and capabillities. I learned a load oft he latest techniques, including my need to improve my CAD skills, so that is what I am doing these days.

 

SFF) You've worked on films by many well-known directors. Is it a great difficulty to realize the visions of each director?

 

E.A.) Usually you end up getting the job because the Director or their representative like your ideas. Some have been more difficult to please than others. The best results I have had were with Directors who brought me into the tent. John Badham was the best one. Also notably was a little move ,“The Class of 1999“. Mark Lester gave me incredable space and opportunity. And although it was one oft he smaller budgets, I produced loads of special effects and had a great time doing it.