Tom Sullivan - Evil Dead (Retrospective Interview)
Much has been said about The Evil Dead over the years. An abundance of articles and books have covered the arduous low-budget shoot, and the creativity that came out of long cold nights in the wilderness of Tennessee. The dedicated cast and crew went to extreme lengths whilst making the classic film; including memorable instances like Ellen Sandweiss running through the woods until feet until her feet were in pieces, Campbell having his soon to be famous chin scarred when a deadite hand grabbed him through the floor, and long nights in the cabin with no running water leaving crew to wash blood off their hands in scolding hot coffee. But just as impressive as the aggressive perseverance needed to finish the 16mm low budget opus were the imaginative and gory effects that have been etched into fans retinas for nearly forty years! The blood spewing, head-severing effects were created by Tom Sullivan, who had provided makeup for Raimi’s fund-raising short film Within The Woods. Sullivan signed up for The Evil Dead and created the numerous prosthetics and blood gags essential to dismembering a cabin of teenagers, helping bring to the screen a bloodbath of carnage that Stephen King famously called “The most ferociously original horror film of 1982.”
With only three weeks to break down Raimi’s script and create the necessary effects needed - and a further three months to create and film the stop motion blood and pus filled “Deadite Meltdown” at the end of the movie - Sullivan built a legion of makeup appliances, severed limbs, and some of the most iconic props in horror movie history. Sullivan, who tours with his Evil Dead Museum showcasing of many of the props, makeups and ghastly creations used in the Evil Dead movies, spoke with Project Louder about what went into creating such iconic pieces for 1982’s The Evil Dead.
Project Louder: Let’s start with the most famous of all Evil Dead props, The Book of the Dead. In the script it was described as being made from an animal skin. How did you design the book and what was your process of putting it together?
Tom Sullivan: My book is different than the one Sam Raimi described in his script, “Book of the Dead”. His book had some kind of animal skin with a couple of letters from an ancient alphabet on the cover. As an illustrator that didn’t read like an evil book to me. So, I proposed a book covered in human skin and a human face would make it more obvious it was human skin as opposed to just leather. I had made face molds of all the actors but Bruce Campbell. So, I coated Hal Delrich’s mold about 8 or 9 layers of mold rubber, let it dry, yanked it of the mold and glued it to a piece of corrugated cardboard. The pages were a stiff card stock that I bound together with grocery bag paper. The Illustrations were not to be seen in the original script but as an artist I had to draw on everything, so I based the drawings on DaVinci’s notebooks on anatomy. The text is all made up on the spot. I call it Bullscript.
Project Louder: What was the process for makeup design, prep and application in regard to Theresa, Betsy and Ellen?
Tom Sullivan: Sam gave me the script three weeks before shooting began. As the make up and special effects artist all I could think was, “shoot me now”. I had time to breakdown the script, figure out what effects and make up designs I needed, how I might do them and what supplies I would need. The original demon concepts were based on the Sumerian background. Not that I knew anything about Sumerians, but I had seen The Ten Commandments with Charlton Heston, so I just figured maybe the Sumerians were proto ancient Egyptians. I was hoping movie audiences were as ignorant as I was, and I was correct. So, I sculpted some designs for the deadites based on a hawk, a snake, and a dog. Sam thought it was starting to look like Planet of the Apes and I agreed. So instead of stealing from John Chambers let’s steal from Dick Smith. Ellen’s, Cheryl Deadite make up was inspired by Smith’s Exorcist make up of the demon. Betsy’s make up was the first make up I did for the film. It was black veins radiating out of her darkened eyes. That design became Shelly’s make up. Don’t waste good ideas. All of the ladies’ make ups were done in 4 to 6 hours sessions. They were built up from scratch. Only Scotty’s dog make up was a latex appliance. That was left over from the Sumerian Dog design. Don’t waste anything.
Sam’s concept became the idea that the demons were mocking and revealing their victims. After discovering about the “latex point” during the making of Within the Woods, I was hesitant to use spirit gum on the actors. It tends to harm skin when actors have to wear glued on masks for long days upon days. So, I used latex rubber like contact cement. I’d put a thin layer on the contact surface of the mask and a thin layer on the contact surface of the actor. When the layers were drying but still tacky I would press them together. It’s important to clean the actor’s skin with alcohol to remove oils on their skin for longer adhesion.
Project Louder: The Kandarian dagger is another iconic design. What was the concept and build process?
Tom Sullivan: The dagger was just a dagger in the script. I wanted to make it more memorable and read as a bizarre and disturbing weapon. I loved Ridley Scott’s Alien so I took a 1 ½” piece of aluminum stock, ground it down with a sharp point, took a couple of handfuls of a ground paper mache called Celluclay added water, mashed it into a clay like substance and shaped it over the hilt of the dagger in the rough shape of the “chestburster” from Alien. I took the parts of a 12” skeleton model kit and stuck those into the Celluclay. When I ran out of kit parts, I bought a chicken, cooked it, ate it, boiled and dried the bones and stuck those into the hilt and instant horror movie prop. I got the idea for the dagger’s skull puking blood the night before we shot the Shelly Deadite death scene. I figured I could drill a hole from the skull’s mouth to the back of the dagger, stick a small, tube into the hole and have a production assistant blow blood through it for the take. I suggested the close up shot for the film when I showed up at the set. And Sam used it. He has excellent taste.
Project Louder: The Evil Dead never skimped on the blood. Would you care to share the Tom Sullivan blood recipe?
Tom Sullivan: It’s Sam Raimi’s blood recipe. He taught it to me during Within the Woods. It is one bottle of Corn Syrup, 2 to 3oz of Red Food Coloring. 1 Cup Instant Coffee mixed with water into a paste. Mix well. It stains everything but is safe and non-toxic for your actors. However, I drank so much of this coffee syrup I haven’t had a cup in coffee ever since filming Evil Dead. So be warned!!
Project Louder: The climactic stop motion sequence is masterful in is gore and execution. How did you approach such a complicated and time-consuming sequence?
Tom Sullivan: I love stop motion animation, so I was looking for an opportunity to use it in Sam’s film. Sam’s idea for the finale was for me to make some balloon versions of the Scotty and Cheryl Deadites and have them deflate while smoking. As I had been creating lots of gory effects for the film that seemed a bit lame for finale. I thought it needed an explosion of gore and as the special effects artist I wanted to throw guts into the audience’s lap. I did some storyboards of my concept for the meltdown and using George Pal’s great film, The Time Machine stop motion sequence of the Morlock decomposing via clay animation in that films finale, I sold Sam on the idea. He knew Bart Pierce, a filmmaker and stop motion animator and we met and designed the full sequence and started filming in his basement. I made the almost full-size clay models of the deadites over wooden ball and socket armatures made with large wooden beads. I made heads out of blood red dyed modeling clay sculpted into the muscles and then pressed into a mold of the deadite’s sculpture that had a more flesh colored clay. That was then removed from the mold, painted, wigged and ready to animate. To match the cabin set we used wood from the location and found out Bart’s garage’s ceiling matched the ceiling of the cabin. So, we used it. I am very proud of my work with Bart and I consider it my best artistic collaboration.