Hey folks, it’s just me today as Todd is pretty sick with a bad cold, so get well soon Todd. Hope you get fixed up and back on track soon.

We’ve got a great interview with someone who was the first person I ever got in touch with. Geoff Portass started Image Animation with business partner Bob Keen, and the company worked on some iconic genre movies and shows in the late 80’s and early 90’s. They also spawned the careers of some of the best known fx artists working today.

I still have my letters from 1990 when Geoff replied to my questions when I was 16!  I sent foam samples of foam latex I had made at home and asked about the makeup they used and replied every time. Check the blog post to see these

I also remember meeting Nick Dudman at my college in 1993, when I basically cornered him for half an hour and asked him all these questions that nobody else could answer – pre Goole etc.  I then went on to work for Nick on a few Harry Potter and Mummy movies.

Anyhow, I drove up to Geoff’s place and we chatted for a good few hours and I had to split this into two podcasts, as there was so much material and it seemed to fall into two logical topics – the film stuff and the teaching stuff. So, this is part 1 which looks at the film stuff and the next episode will be looking at the teaching stuff too.

Just a quick mention of some new workshops coming up at Pinewood studios in the next few months, keep an eye out for announcements and dates on the workshop page of the website:
http://www.learnmakeupeffects.com/workshops/

Also, just to remind you that we’d love to hear from you. Feedback is always welcome and as we normally look at solutions to problems (hence the podcast being called Battles with bits of Rubber).

Our email is stuartandtodd@gmail.com

Finally, if you like the podcast please consider leaving a review or sharing this. It's the best way you can help us out, after all if you enjoy it then hopefully kindred spirits will.

#6 - Geoff Portass Interview (pt1)

The second (and final) hour of the 2-hour BOTTOM 30 of Kenny Everett's amazing World's Worst Wireless Show on Capital Radio 194 London, UK. This count-downs from #14 to #1. This was broadcast on Saturday 14th May 1977 between 13:00 and 14:00.
This was pieced-together from fragments as I had as I managed to lose the complete recording I made of the final hour of this show. Thus, this is not a "fluid" as the other 1977 shows I have posted. Doesn't matter - it's all great anyway.
There was a 1980 version of the show with some equally awful tunes... I don't have a FULL recording of this (I love the adverts and the period news broadcasts) so I will probably not post the show.

Kenny Everett : World's Worst Wireless Show No.5: The BOTTOM 30 Part 2/2, 14 May 1977. Capital Radio

Part 2 (hour 2 of a 2 hour show) of the 1980 version of the World's Worst Wireless Show. This recording is minus adverts and news (shame). Broadcast on 4th April 1980 between 13:00 and 14:00 hrs.
This show count-downs from 14 to #1.
(The #2 song is simply amazing ...)

Kenny Everett : 1980 Bottom 30 (Part 2) World's Worst Wireless Show. 4 Apr 1980. Capital Radio

Charlie Brooker- RHLSTP #5 - This weekend Rich has been working with 88 year old Nicholas Parsons and Charlie has been working with 81 year old William Shatner, but now they've ditched the octogenarians to create this long and fairly filthy podcast. They chat about the humiliation of losing a BAFTA to Stewart Lee, what order you should have sex with the women from the Russian entry to the Eurovision song contest, the vengeance Rich wishes upon Charlie's young family and who Dominic West should really have been thanking. Plus some terrific tips for terrorists and some obscure stuff about archaic adverts and 50 year old spoilers.... It goes on for ages. But that can only be a good thing. In fact it might never end. It might still be happening now.... Doesn't matter. We are all just a collection of atoms and everything we do is meaningless. Enjoy!

Richard Herring's Leicester Square Theatre Podcast - Episode 5 - Charlie Brooker

Cutting edges are the point at which a core meets the mould, and is crucial in creating a fine edge for many appliances.   In flat moulds, there can be something similar even though a core isn’t involved, as it establishes where the appliance actually stops and the skin begins.   A cutting edge and overflow are critical in foam appliances, especially where a mould has foam latex added and a core is pushed into it. A gap between the core and the mould face would ensure the excess foam could escape, and the contact point where the mould meets the core would be decided carefully and precisely. Go to our  to get the free booklet supporting this episode, .  This principle has carried on with silicone, although usually excess waste is minimised owing to the fact silicone isn't mostly made of air, as is the case with foam latex. Wherever the core meets or touches the mould - be it keys, the cutting edge or an unintentional, is known as a touchdown. Getting great edges is important in making pieces which will blend into the skin and appear as part of it, rather than exhibiting a clear boundary where the fake stops and the real begins.  Many thanks as always for your time checking the stuff out. You can email us direct at  or leave us a  directly on our site.   If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us?  Send them a link and help us grow!  -Stuart &amp; Todd

#61 - Cutting Edges

Making prosthetics and makeup effects for TV and film is fun, but it also means you are constantly working outside your comfort zone.  

That being the case, there are lots of things which try to trip you up and take your attention.  These podcasts will address either specific areas of interest for fellow FX nuts, or they will be real commentary on the things that come along and mess with the programme.  

I also have a habit of writing about this stuff too:
http://www.learnmakeupeffects.com/blog/

#61 - Cutting Edges

Stuart Bray

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