Pulp Features

Sean Hope’s love for movie special effects started at the tender age of seven years old with the uncut version of Béla Lugosi’s Frankenstein movie on PBS. This movie, along with his avid comic book reading, sparked Sean’s creativity in ways that would only reveal themselves later.

At the age of thirteen Sean and his brother decided to take home movies to a new level by smuggling some fireworks into their home and nearly blowing themselves up. Their first movie ended in disaster and, sadly, the tape has fallen into obscurity.

After a long series of movie making pitfalls, Sean met Jerry Shuman, a great, yet still relatively unknown, makeup artist. With Jerry’s help, Sean escaped the dead end constraints of Corporate America, and together they started a New Jersey based special effects makeup studio - HopeWorksfx.

Sean still hopes to one day sit in the director’s chair, but in the meantime he spoke to Dale Pierce about the art and craft of special makeup effects.

Dale: As a special effects person do you feel you tend to be ignored by the media, as opposed to actors, actresses and directors?
Sean: I don’t feel ignored, the funny thing about the special effects business is the more realistic or convincing the work we do is the less seen the F/X artist is. The general audience actually believes what they are seeing so having the effect go unnoticed is a good thing. Special Effects artist are like magicians in that respect and the more people believe in movie magic the less in the limelight we are. In the same token the more praise from the industry we get for our work.

Dale: It seems like Tom Savini gets attention but no one else. Have you ever met Savini?
Sean: Actually I have met Tom at Chiller Theatre in Rutherford, he certainly took an interest in some of our prosthetics and the feelings are certainly mutual with some of his effects. I think it probably the greatest compliment that can be given to an F/X artist, is one given by their peers. I also disagree with you that Tom is getting all the attention, I think Rick Baker and Dick Smith would disagree with you on that.

Dale: Where did you learn the art of f/x?
Sean: The simple answer is I when I was in college I took several courses (inside and outside of school) that dealt with painting, anatomy, mold making, sculpting, theater and film. But I started when was 8 years old, I was given a “How to Book” written by Dick Smith for my birthday and after a lot of time and even more books, I have been working in the film and effects field ever since. In addition, I have a special place in my heart for monster/horror movies.

Dale: Why does the industry say f/x instead of special effects?
Sean: I think it’s mainly because when you say the two letters together it sounds like “effects” and it’s much simpler to write than Special Effects.

Dale: Now you also teach other people?
Sean: Yes, we do, though we don’t teach in a class setting and normally what we teach is something the “students” are specifically looking to learn.

Dale: What films have you worked on?
Sean: As a company, Hopeworksfx is just starting out and I would like to personally thank Lou Gomez of Iglou Entertainment for giving HopeWorksfx its first professional job. Myself, I’ve worked on over 30 films, commercials, and TV shows. My partner Jerry Shuman has been doing make-up for a few years longer. Our newest member to the team Dan Ferron also has a lot independently before joining. We have been involved with projects from the USA Network, MGM, MVP, Iglou Entertainment, FD Productions, View Askew, Marvel Comics, HBO, Showtime, The World Wrestling Federation, and many others.

Dale: In the indie film world there are loads of budget and behind the scenes problems, making horror stories within horror stories so to speak? Any interesting mishaps you can recall that you would want to talk about?
Sean: The only one that comes to mind is we made a mask hat covered the face, nose, and mouth and once applied to me, I quickly learned that not only couldn’t I see, but I couldn’t breath either. I sucked it up and held my breath when I could and almost passed out. The funny thing is I’m the one to blame for the lack of air and I think it was a good thing that it was me behind the mask.

Dale: Any upcoming projects?
Sean: There are many things in the works right now. We are in the middle of a Super Villain Movie for FD Productions and Iglou Entertainment is going to grab us up once again to do some more episodes for their UFN project. The rest we are either contracted to not discuss the project or we are in the middle of talks for contracts - I never count my chickens before they are hatched. Halloween time is our bread and butter, we are doing the decorations for several large parties in both New York and

Dale: What are some of the past projects you have worked on?
Sean: For HopeWorksfx as a company the main past project was this year for Iglou Entertainment’s UFN project.

Dale: Are there any other makeup artists or special effects people from the past we have not mentioned, whom you admire?
Sean: So with the exception of Dick Smith, Rick Baker and Tom Savini for the list. I don’t think I could name them all. A few off the top of my head Ben Nye Sr., Tom McLaughlin, Kevyn Aucoin, Eva Marie Denst, Jack Pierce. The truth is I have a lot of admiration for those who continue to create effects for films.

Dale: What about on the present scene, aside from yourself?
Sean: The present New York film industry scene has been hit hard. The decline in the economy has hurt the Entertainment and then with all of the homeland security making it either too difficult or too expensive to film in the city. There are a lot of laws and rules that have been changing; investors in films no longer get a two for one tax break and a host of other problems that make being an independent film maker very difficult. I believe the filmmaking and special effects industries are strong enough and will adapt to the up coming changes

Dale: What advice can you give others who wish to break into this field?
Sean: Though I’ve been told that acting is tougher to break into - Jerry and I have been creating this company for the past three years and only now are we starting to be recognized. One of the pitfalls that I have encountered over the years is that most people offer only credit and sometimes a meal for special effects. The reason I say this is a pitfall is that though it gets you noticed for doing effects, it also gives you a reputation for working for free. It’s very difficult to get away from doing that because “work for free” there is more work than anyone can handle. I worry sometimes that film makers don’t understand that in order to dedicated 100% of our efforts to special effects we have to survive and one or two meals doesn’t pay the rent. So my advice is work very hard, hone your talents and creativity (practice, practice, practice) and be insulted when the film maker only wants to only offer you film credit - because that’s what they are telling you that your time, your craft is worth nothing.

Dale: Have you ever considered acting, directing or making your own films from scratch as a producer, or is your interest entirely in the effects field?
Sean: Yes I have considered doing all of the above and no my interest isn’t entirely in the effects field. Ten years ago I would have told you that I was a movie director. My love certainly leans towards the creative and doing special effects has certainly turned itself into a passion.

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