Paul Komodo : "[Julia] was quite a passionate thing for me. The
plan was to get it out in time for the May 1994 Chiller show. I feel
it's probably to date one of the best pieces I've ever done...
"I watched the film of course and once I had the impression in my head,
I wanted to bring my own artistic vision into play. I also used the
Color Atlas of Human Anatomy, which has beautiful photographs of real
cadavers, skinned and in various stages of dissection. I had a feast
doing the corpse at her feet."
The Good Dr. Channard
By Ed Martinez, Coenobium, No 13, Fall 1994
Paul Komodo : "The next thing was the Channard kit, which brings us up to date... My main concern was the design of the costume itself. I have this thing in me where I like to reinvent things. There were a lot of elements to that character that I thought could be augmented. In terms of producing it as a sculpture, I wanted to focus on certain elements, like the redesign of the costume. I think that we've kept to the spirit of the thing. I wanted to give it a bit more dynamic vitality. There are some pretty wonderfully vile things going on."
The Good Dr. Channard
By Ed Martinez, Coenobium, No 13, Fall 1994
Jeff Brower (Sculptor of Screamin's Dr Channard) : "It's a beautiful sculpture. I loved the base; ours is not going to be anywhere near that elaborate. I think it's very dramatic, but Paul doesn't have to conform to some of the same standards I have to. Ours is a licensed kit and has to go through an approval process as well as the fact that ours is a vinyl kit and has certain production factors to content with. I think they're going to be very different things. I hope that anyone who has the Netherworld one will be wanting ours as well. I believe Screamin' and Netherworld are on two very different scales. I think the challenge to sculpting Cenobites is that as cool as they are in the movies, that they really don't do very much compared to a superhero character or an action character. The Cenobites are subdued, so it's hard to come up with dynamic poses."
Interview
By Ed Martinez, Coenobium, No [15], 1996
Mark Van Tine : "I had to get the rough likeness of him, but I didn't go for a photographic likeness from the movie because I wanted it to look more real. Like he might really have looked. I went with more the way the muscles should look on the face. It wasn't too bad of a movie but there were some places where it looked like they made things up, which is nice for film. But when people start examining it, they say, wait, this is wrong. So I tried to keep it a little more realistic. I thought maybe it would be more interesting in the long run to people. I think the pose on it was much more dynamic than any of the scenes in the movie."
Skinless Frank
By Ed Martinez, Coenobium, No 13, Fall 1994