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[narrator] What is
the power of makeup?

For me... it's everything.

[uplifting music]

[Vincent] It's magic.

It's to fool your
audience into believing

that what they're
seeing is 100% reality.

[Alec] The power of makeup is
the power of transformation.

If you're the wearer of the
makeup, it sort of
gives you permission

to be a different character.

[Greg] Makeup effects
and makeup allows actors

to tap into different
parts of their personality.

[Ve] Whether it's
a zombie, or a princess,

or a Frankenstein monster,

it's what enables
an actor to actually emote.

[dramatic music]

[John] Want to
hear something scary?

Makeup and hair are the most
dangerous people on a set

because they get the actors
first thing in the morning

and they're right in their face.

I've seen hairdressers and
makeup people just fuck movies.

So you always want to
be on their good side.

[Leonard] Good makeup helps
create a good character.

Characters are what make
a movie interesting.

If the makeup is ineffectual,

it's going to destroy
the whole movie.

[Michael] It has the power
to heal, it has the power
to inspire,

and it also inspires
and creates imagination

to be able to tell stories.

[narrator] Makeup
has given artists

and filmmakers
incredible freedom.

But all that innovation and
invention can be traced back
to a moment in time

when one film proved
nothing was impossible.

[dramatic music]

[narrator] Makeup
in film has existed

since the turn of
the 20th century.

Early artists were actors who
experimented on themselves.

The successful ones
were then asked

to work on other actors.

One of the first breakout
artists was Cecil Holland.

An early attempt at
creating a simian makeup

was Holland's work
on The Lost World.

To me, Cecil Holland was
the genesis of it all,
the beginning of,

maybe even the first
makeup effects person.

[narrator] Meanwhile,
at Universal Studios,

the horror genre
began to thrive,

and with it rose
the fame of actor

and self-taught makeup
artist, Lon Chaney Sr.

[Guillermo] To me,
it all begins with him.

There is a bridge
between theatrical makeup

and movie makeup.

He starts it.

He did makeups that no one
else had ever attempted

and some of them became,
you know, legendary.

[Vincent] Watching the original
Hunchback with Lon Chaney,

that was one of those
moments where I thought that's,

that is something that
I would love to try and emulate.

[Bill] My favorite
Lon Chaney makeup

was The Phantom of the Opera.

I thought that was
just the most amazing

transformation I've ever seen.

[narrator] Known as
the man of 1,000 faces,

Chaney propelled the horror
genre to new heights.

But his untimely death
in 1930 created a void

in the makeup world
that was quickly filled

by another actor turned
makeup artist, Jack Pierce.

If he had done nothing but
create Frankenstein's monster,

Jack Pierce would have
a place in, uh, you know,
the movie pantheon

of heroes and legends.

That makeup is so indelible,
it's so recognizable,

it's been so much imitated.

There have been so many
inferior knockoffs of it,

but he did it.

As he did The Wolf Man,
another extraordinary piece

of makeup that didn't have
today's technology behind it,

just a lot of hard work
and a lot of imagination.

[Guillermo] Whether
he's enhancing the mouth
of Conrad Veidt

in The Man Who Laughs,
or doing The Monkey Talks,

which is a beautiful precedent
to Planet of the Apes,

in a way, the key comes from
studying the face of the actor.

And saying, "Okay,
What do I need to build,

what do I need to take down?"

I remember seeing the episode
of This Is Your Life
with Boris Karloff,

and Jack Pierce had come out,
and he's there with
the bolt and all.

It was the first time
I heard Jack Pierce's voice,

and it was similar to what
I thought his voice would be,

you know, kind of like
this scrappy guy.

It's wonderful to see you.

The best makeup
man in the world.

-Thank you.
-I owe him a lot.

First person that I idolized
was Jack Pierce,

'cause he's
the Frankenstein's monster,

The Wolf Man, The Mummy.
Classic universal horror films.

And those were the films
that really inspired me
to want to do this.

[narrator] As time progressed,

makeup became more sophisticated

but the quality of films
began to deteriorate.

In the years following World War
II, science fiction became
a popular genre

and there were
some notable films

like The Day
the Earth Stood Still

and The Thing from
Another World.

Very few serious filmmakers
had really approached

science fiction,
and there were a couple
of attempts in the 50s

to make some expensive
science fiction pictures

that didn't really
make enough money.

After a little while,
those films got cheaper,

and tackier, and really became
B-movies and kiddie fodder.

[announcer] Nobody will
believe theInvasion of
the Saucer Men.

[dramatic music]

[light bell music]

[narrator] In the early 1960s,

20th Century Fox producer, Arthur P. Jacobs, was searching

for a project that would astound
audiences around the globe.

Planète des singes,
orMonkey Planet,

was originally published
in France in January 1963.

Natalie Trundy who was then
Arthur P. Jacobs' girlfriend,

had read the book
and suggested it to Arthur.

[narrator] By June of 1964,

the book had been
translated into English

and published in America.

[Scott] What a book, right?
This whole thing where

apes have taken over society

and humans have devolved into
being sort of a lower form

of life than the apes,
was sort of ahead of its time.

[narrator] Richard Zanuck,
the head of 20th Century Fox,

helps Arthur Jacobs obtain
the option for Boulle's novel.

Jacobs hires Rod Serling
ofTwilight Zone fame

to write a treatment
titledPlanet of the Apes,

in hopes of turning it
into a full motion
picture screenplay.

[man] I was a man,
a man from Earth,

[voiceover] a reasoning
creature who made it a habit

to discover
a logical explanation

and not a beast hunted down
by highly developed apes.

[Richard] Rod Serling,
he was a genius.

They didn't give you the script.

You sat down in a meeting...

and they'd start to
tell you a little about...

So by the time they were done,

they really had you hooked.

[dramatic music]

Planet of the Apesis just

the biggest sheet cake version

of a Twilight Zone
episode you can find.

[narrator] Serling was busy
rewriting the screenplay.

He later claimed to have
written over 40 drafts.

[voiceover] Somewhere
in the universe,

there has to be
something better than man.

Rod Serling highlighted
a lot of the, uh, contradictions

of our society, in many cases,
uh, the nihilism of our society.

And the original script
was actually very different

from the final version
of the script,

which was then worked
on by Michael Wilson.

[narrator] Zanuck and the
Fox board calculate a budget

of $2 million, a risky bet

given Fox's financial
situation at the time.

The problem, I think,
intrinsically was

that it was such new
groundbreaking motion
picture-wise,

the studio was very,
very uneasy with it.

And the only one that really
had faith in the whole thing

was Richard Zanuck.

20th Century Fox was not
in good shape financially.

It's been blamed on Cleopatra
and apparently unfairly blamed
on Cleopatrain many cases.

They used it as
an overall excuse

for some bad decision making.

[narrator] The screenplay
eventually wound up

in the hands of one of
Hollywood's biggest stars,

Charlton Heston.

I think that this film
would not have happened

had, uh, Charlton not
wanted to do it.

[Leonard] He was just the right
actor for that part.

His physicality was ideal

and he had the gravitas
to match the physicality.

[Lou] It was his project.

He helped greenlight it,
so it was very close to him.

[narrator] Charlton
Heston recommended

director, Franklin J. Schaffner,

who he was currently working
with onThe Warlord.

With a trimmed budget,

commitments from
Heston and Schaffner,

and Edward G. Robinson
coming on board

to portray
the orangutan, Dr. Zaius,

Jacobs convinced Fox to
greenlight a 10 minute
screen test

in March 1966.

[Tom] Ben Nye was
the department head of makeup

at 20th Century Fox, and he
was getting ready to retire

but he agreed to
do a screen test.

Good evening, Mr. Thomas.

Everything fine, I hope.

Considering I've been kept
in a cage for six weeks,
I'm fine, yes.

[Joe] Prior to this, when you
saw a gorilla in a movie,

it was either played by
a guy in a gorilla suit
or it was played by a monkey.

But the approach here was
a little different because
the idea was

that these ape characters
were being played by
recognizable actors,

and so there needed to be
a way to allow them to emote.

When you see, uh, original ones
and, uh, do the makeup test,

it's not there.

[Alessandro] Even though
that's nowhere close

to what the makeup
actually wound up being,

the scene was effective.

No one was laughing,
everyone took it seriously,

and the project was, uh,
I think, much more tangible

as something that could
resonate dramatically

with an audience.

[Tom] But Ben Nye
decided to retire

rather than take on
this huge project.

[narrator] Though the screen
test proved it was possible

to portray talking simians
in a serious manner,

it would take nothing
short of brilliance

to getPlanet of the Apes
out of pre-production.

[camera clicks]

[narrator] John Chambers was
born on September 12th, 1922,

in the South Side of Chicago.

[Tom] John Chambers was the son
of two Irish immigrants.

They grew up in a very
rough neighborhood,

where John found it necessary
to defend his sister

and his younger
brother all the time.

[narrator] During World War II,
Chambers trained as
a dental technician,

but his artistry led him to
a career creating facial
restoration prosthetics

for wounded
servicemen at the VA.

But it's important that he comes
from knowing the human face.

It's important that he is
reconstructing the human face.

[narrator] Infatuated with
the entertainment industry,

Chambers wrote a letter
to NBC Television Studios,

asking for a job in
the makeup department.

So he drives to Hollywood

and then finds out that his
letter of acceptance arrived

the day that he left Chicago.

[narrator] Chambers quickly
established a name for himself

and was sought after for many
of the most popular
television shows of his day.

Johnny was outrageously unique.

There was nobody like him.

He was jovial,
laughing all the time.

But when it came to the makeup,

all of a sudden
he got real serious.

[Fred] He was stern in a way
that it was humorous, [laughs]

because when
he put his foot down,

it was always something, "Wow,
this guy's got some cashews."

[Michael] He had almost
a virtual monopoly

on most of the prosthetic
work that was happening
in Hollywood.

They needed something
that was in foam latex,

they went to John.

[narrator] From
his garage studio,

Chambers created some of
the most iconic makeups

of the 1960s.

He was a teacher, probably
more than anything else.

He thoroughly and totally
enjoyed what he did.

John made a tremendous impact
on a whole lot of people

but none more than me.

[soft instrumental music]

[narrator] Tom Burman was born on Thanksgiving Day, 1940,

at Santa Monica
General Hospital.

His father, Ellis,
met his mother, Dorothy,

while attending
the Chicago Art Institute.

After sculpting bronzes
of prominent Nebraskans,

Ellis was commissioned to create several monument statues

in Lincoln
and Omaha for the WPA.

When my father
finished the monuments

he was making in Nebraska,
he packed up the whole family

and drove to Hollywood, where
he got a job at the studios

working in the city department.

And he ended up getting his
own room in the prop shop,

where he specialized
in latex, plastic,

breakaways, and all
kinds of neat stuff.

Now, your father, Ellis Sr.,
I mean, he was like a pioneer

-in making rubber pieces, right?
-Well, he did.

He ran the actual
foam latex pieces

at Universal Studio
for The Wolf Man.

My dad became personal friends

with some of the big Hollywood
actors at Universal back then,

like Claude Rains, Abbott and
Costello, and Lon Chaney Jr.

And sometimes they would come
and have a drink at our house.

I didn't pay much attention
to that, I was too young.

But one day he
takes me to the set,

and there was a makeup man
on the set who called me
over to him,

and he put a little cut,
a little makeup cut on my arm,
which is pretty cool.

And, um, he said,
"What are you doing here?"

And I said, "I'm with my dad."

And he looked at
my dad and he said, "Wow."

He said, "If you're half
as talented as he is,

someday you should think about
becoming a makeup artist."

His name was Jack Pierce.

[light violin music]

[narrator] After a number
of years at Universal,

Ellis opened his own prop shop.

Growing up in my family,
we all worked for my father,

just like a lot of the big
makeup families worked together.

[narrator] Hollywood's makeup
industry had become
a family-dominated business,

with names like Don,
Philips, and Westmore.

My father, who was
the oldest, Monty Sr.

um, was Rudolph Valentino's
personal makeup artist.

Perc became the head
of Warner Brothers,

Ern became the head of RKO,

Bud took over Universal,

Wally took over Paramount.

Frank never really
took over a studio,

but he was very close
with Cecil B. DeMille

and did The Ten Commandments.

There was a wonderful story
about the, the makeup family

of the Westmore
brothers in Hollywood.

So, I contacted
the house of Westmore.

I was able to talk
to Perc Westmore,

said, "Why don't you come over?"

And for the next three,
four, five months,

I was sitting as a subject.

My father called me at work.

He told me that he was
working at Don Paul Studios

and he had a job sculpting
up a "King Kong" gorilla.

And come to find out, John
Chambers was in partnership

with Don Paul's.

While I was there, I found out
that there was a, um,
an apprenticeship opening

at 20th Century Fox and, uh,
John said, "I'll call for you."

And he did. He got me
an appointment with Ben Nye,

the department head of makeup.

I went in to see him, nice man,

and he gave me some
really lousy news.

He told me there are over
90 applicants for the job

and one of them was his own son.

And I thought, "Oh, God,"
here I was, this close.

And I went home
and I was so disheartened,

and, and, um, I didn't think
I'd ever get into makeup.

And that night
I got a telephone call.

It's Ben Nye and he says,

"You want to come
in tomorrow morning

and start your apprenticeship."

Six months later,
I'm in Ben Nye's office,

cleaning up his makeup station,
which I often did,

and Ben comes in with
Richard Hamilton,

who was their assistant
department head,

and Dick Smith, their lab man.

And they looked very forlorn.

And Ben Nye is saying, "I didn't
think they were going to
go through with this project."

And Dick is saying, "We did
everything they wanted,
didn't we, Ben?"

And Richard saying,
"No, they don't look good

and they're,
and they're too stiff.

And, uh, they want to bring
in Bud Westmore."

And he said,
"Because he did the movie

The List of Adrian Messenger."

Now my ears are really perked up

because I knew that
John did that work.

I had seen the photographs
at his house.

I finally just kind of spoke up

and I said,
"John Chambers did it."

So Ben Nye says,
"We'll give him a call,

see if he'd like to come in
and pick up a script."

So I called him and John told
me, "So I'm busy right now.

I'm making Spock's
ears for Star Trek.

And I said, "Well,
they want Bud Westmore."

And I know he didn't like him.

He goes, [growls], he growls.

They wanted Bud Westmore,

from what I had
heard from Tommy.

And he was listening just as
a new apprentice, apprentice.

And he's the one that was
responsible for telling them

to get me, I was available.

The following day, he drives up,

pulls up with his little Buick,
gets out of the car.

He's waving at me as I'm coming
out of the makeup department.

And he says,
"It's you and me, Tommy."

And he holds out this
script and I read the title.

Planet of the Apes.

[narrator] In the heart of
20th Century Fox Studios

was the makeup lab,
where John Chambers

and Tom Burman were tasked
with creating the simians

forPlanet of the Apes.

So, our very first day,
John and I were standing

in the lab, which was 33 years
old and pretty dingy place,

but in the middle of the room
there was this, uh, two foot by
four foot marble top table.

And we were making lists
of things he needed.

So then John turns around, looks
at me and he said,

"Tommy...
Let's clean this shithouse out."

I started going through all the
boxes, through the shelves,
and underneath the tables,

and I started pulling
out all this stuff.

And you could see at first,
John was kind of
being selective,

"Oh, maybe we could use this."
And then after a while,
I see him overwhelmed.

He goes, "You know what? Throw
it all out. Get rid of it."

I literally cleaned out
33 years of old makeup stuff.

It was loaded with
all personal objects

and I needed a laboratory
to work, you know.

[narrator] While Chambers
and Burman feverishly worked

on the makeup designs, it came time to cast the actors

who would populate
thePlanet of the Apes.

[Lou] My agent said,
"I've got an interview

for Planet of the Apes."

Never heard of it before.

Sounded like a B movie.

So I went to 20th Century Fox.

It was really just an interview
with Franklin Schaffner.

We didn't even talk
about the movie.

I went home.

Hours later, my agent called

and said, um...
"What did you tell him?"

And I said, "What do
you mean? What...

Is he mad at me?

What--" You know.

And she said,
"No, you got the film."

I got the film,
I didn't audition.

[Alessandro] With an actor
like Kim Hunter,

who had an Academy Award and was
very distinguished actor,

Roddy McDowall as well,

asking them to be
buried behind makeup

was something of great concern
to them in the beginning.

When the town heard that
there was going to be

a major motion picture
called Planet of the Apes,

they were interested.

And then when they heard
that Charlton Heston

was going to be in it,
they sat up.

Planet of the Apes
with Charlton Heston?

This must be quite a film.

But when they heard Roddy
McDowall was going to be in it,

everyone was really impressed.

It gave the film class.

[narrator] As the cast
began to take shape,

the producers turned back
to the 1966 test reel

for their first choice
to play Dr. Zaius.

[Tom] Somebody knocked on
the door, so I opened the door
and it's Edward G. Robinson.

He tells Johnny, he says,
"Well, I have a goatee

and a mustache,
and I won't shave that off.

And I'm not going to
wear that appliance.

I'm claustrophobic,
I can't wear it all day."

And John goes,
"Oh, yeah, okay, Eddie.

Oh, yeah, okay, yeah,
that's good, yeah.

Well, we'll work on that."
And so, "Okay, thank you, John."

And he leaves and John goes,
"He's out of the picture."

[laughs] I thought, "Wow, what
power this makeup artist has."

John Chambers was a brilliant
artist, so talented.

But he had one hell of a temper.

My eloquence in
adjectives go pretty far.

Let me ask you about Chambers.

Was he always
two fisted and rough, or?

He was a real tough character.
He was a--

For instance,
on Planet of the Apes,

Arthur Jacobson
and Mort Abrahams would come by,

and they were going
to, uh, see our progress.

John was doing mock-ups
on their heads in clay,

and painting them,
and putting hair on them.

And, uh, I asked him if he--
If it would be okay

if I sculpted a gorilla,
and he said, "Yeah, Tommy,

you do it in the
back room back there

where nobody's going to see it."

'Cause I didn't know
what I was doing.

And so I was sculpting
this gorilla,

and Arthur Jacobson
and Mort Abrahams came by,

and they said, "Is John here?"
And I ran up,
I was an apprentice,

and I brought John back,
and they were looking

at his sculptures of
mock-ups he did.

And they were saying,
"You know, difficulty is,

we're going to have to
take one of these faces

and put it on
a really top actress.

I don't think anybody's
going to want to wear this."

Mort Abrahams walks in the back
room and he sees this gorilla.

Now the gorilla I had
sculpted was not very good

but it was kind of humanoid...
humanoid ape.

And he comes back, and he looks
at this, and he says,

-"Arthur, come out in here
and take a look at this."
-Oh, my God.

-And John looks at me and I knew
[gasps], you know. Oh, boy.
-[laughs]

-'Cause he's Irish
and he just turned kind of red.
-Yeah, red.

And so, they said, "John, come
out here, take a look at this.
Take a look, what is this?"

He said, "Don't worry about--
that's a background mask
and we're working on it.

It's not even close to being
ready. Come on back here."

"No, John, what we
like about this is

it's kind of like
an evolutionary ape.

It's a little more human."

And so I'm feeling pride
that they're enjoying it,

but I look beyond that and
I see John just turning red.

He's going purple, I mean.

And they said, "Well, next
week we'd like to come back

and take a look
at your progress.

But give it some of that,
a little bit of that."

And John's, "Okay, yeah, yeah.

I'll do that, yeah,
okay, uh-huh, yeah."

So, they walk out the door
and he goes, "Huh, huh?

You and your big
greasy fucking thumb."

-[laughs]
-He said, "You know
what you are?"

He said, "You're
a fucking lunch bucket.

You're a lunch bucket.
You're going to have
that lunch bucket glued

to your hand all your life."

-Oh, my God.
-He walks back,
picks up the gorilla,

smashes it on the floor.

And he says, "Get out, get out!"

For three days he'd come
up the makeup department,

he would check to see
what I was doing.

He wanted to catch me
doing something.
He was still burning inside.

-He was trying to find
something I was--
-I'm quarter Irish, so I know.

Yeah, so I kind of hid out
from him for the most part.

One day, I'm eating my lunch
and he catches me. "You're
eating your lunch early."

I said, "Well, Ben Nye told
me to go to lunch early

because I came in early."
He said, "Yeah?"

And I had drawn a picture of
myself crucified on the wall.

And I had a little caption
that said, "I can laugh
when things aren't funny."

He took a look at that picture
and he goes, just. [laughs]

And he laughs and so hard,
it's like a release for him.

The tears are running
down his face.

He laughed, he goes, "Okay,
okay. Get back in the lab."

And we never spoke
about it again.

-Again.
-Never again.

[eerie music]

[narrator] With Edward
G. Robinson out,

the role of the orangutan,
the protector of the faith,

went to classically
trained Shakespearean actor,

Maurice Evans.

Maurice was the actors'
actor, you know?

He reeked of authority.

Maurice Evans was probably
the only actor on record

who enjoyed getting
into the makeup.

[narrator] With a growing
number of chimpanzees,

orangutans, and
gorillas being cast,

an equally large crew of
artists would be needed

to apply the makeups.

I happened to have a knack
of looking at a person

when I meet 'em,
and God gave me a gift.

I can read 'em
right to the teeth.

Good or bad, you know.

And I don't let 'em
know which way,

but I found out I could find
the people that had the salt.

At that time, I was
working on the third season

of Lost in Space.

Then they took Ben Nye,
he took me off the show

and then I started with John.

I got the job on Apes because
I was, what you would call

a staff, I guess, in those days
over at Fox. So they sent me up.

And so, on the plane going up,
I was sitting with
a young lady and her mother.

And we got to talking,

and realized I had
made her up on a

little test pilot
that they were going to do.

Anyway, when we get up there,
she went to the department

and said, "I'd like that
fellow to do my makeup."

So I did her makeup
while I was up there.

The girl was Linda Harrison.

[Tom] John Chambers
designed the makeups

to be like paint by numbers

because he wanted to
maintain a continuity,

a consistency of uniformity.

He did not want makeup
artists coming in

and putting their own
signature on the makeups.

I took green young men

that I saw a certain talent
in what they produced

in other parts of makeup,

and I said, "This
guy's an artist."

I'd never had any experience
working with prosthetics.

Planet of the Apes
was the first one.

Prosthetics was not my thing.

I had never done prosthetics.

[Maurice] We had two to three
weeks of rehearsal

where we were putting
these appliances on.

[Darrell] Well, we had a couple
of journeymen makeup artists

in the trailers with us
who would go up and down,

and give us pointers,
and tell us what to do,

or what not to do,
or you're doing too much,

or doing too little.

[Maurice] It was kept as
simple as possible.

We had a full face appliance
that had to be prepped,

which meant we had to
clear out the eye area

and the mouth area,
and we had to learn how

to feather out
the edges on the piece.

[John Chambers] All these people
that, that worked with me,

that-- They made that
picture as it was.

I had Tommy Burman,
he was apprentice.

He was a man with his
two sons and a wife,

and they were having a rough
time keeping bread on the table

at that time,
when he was so young.

[Tom] As an apprentice
makeup artist at Fox,

they paid me $90 a week

and I had no
complaints about that.

But when they found out
that I was working seven
days a week, 16 hours a day,

the amount that
I was contributing
to the making of these apes,

they decided to bump me
up to, uh, journeyman wages.

I told him, "I'm going to
put you down as a lab man."

You know, put him into
journeyman salary
and I carried him through it.

He was one of, one of
the best people I'd chosen.

Before that, I'd never
had $100 to my name.

Now I am well-paid, and
John and I are ready to go.

[narrator] After years
of struggle, misfires,

and challenges,Planet of
the Apes was finally ready

to move into production.

[dramatic swells]

[film whirring]

[crew chattering]

[Dan] The studio didn't have
great faith in it,

so they were really
wrenched down

as far as the money is concerned

and as far as
the amount of days.

[Lou] The first day
of our shoot, everyone
was very worried.

You could hear all
the scuttlebutt and everything.

This has got to work
or we're all in trouble.

We spent $6 million to
be the joke of the town.

[Dan] Schaffner, to his credit,

when people were coming
from all sides saying,

"Well, why don't you drop
this scene and do it this way?

It's cheaper and easier."

He resisted.

[John Chambers] I respected him.

He came from television.

My start was in television,

and we talked the same language.

I says, "What I need from
you is your authority

to stop a shot and say
we have to take it over

on account of something I saw."

And I says, "Can I stop camera?"

He said, "Yeah."

[Tom] Working in the lab,
it was a struggle every day

to keep up with production.

And we were working
around the clock.

We couldn't have
worked any more hours.

In those first couple months,
it was really tough.

[John Chambers] The guys were
working hard, you know,

and I came in at two at night,

and I found the guy asleep
on the chair, you know.

The chair, he was so fatigued.

Oh, man, you know, we worked.

Not just five days, but
Saturday and Sunday, you know.

One time I asked,
"Am I going to get some help?"

And they says, "Nope." I said,

"Well, What do you want me
to do, put a broom up my rear

and sweep the floors as well?"

[Ken] John Chambers was on
location and he was leaving

to go back to the studio.

And he knew how hard
I'd been working.

And he said, you know, he says,
"You've been really
busting your butt.

You take off tomorrow. You sleep
late, you just stay home."

Four in the morning,
pounding on the door.

"Get up and get dressed,
you're going on the set!"

I said, "Well, John told me
I could have the day off."

"No, no, no.

He's not here and we are."

[Lou] Our call was 2:30 for
seven o'clock on the set.

They stumbled,
and were slow, and everything,

but it was in
the middle of the night.

It was rough.

[Darrell] We worked,
and worked, and worked

to get those edges covered.

And then we laid hair over 'em.

We had to work with
straight human Asian hair,

black, which is the hardest
thing to work with

that I've ever found.

[Lou] Tom spent a lot of
his day in the lab

with Werner and Fern Langdon.

And if it wasn't for them,
we wouldn't have makeup.

I created an assembly line.

I had 'em working through
the night, a shift.

Putting rubber in the oven
eleven o'clock at night,

taking it out in the morning.

You know, no one ever
did this before, see?

[Dan] I think on Roddy
McDowall at one time,

we were down to one mask
ahead the next day's work.

If the running
the oven went bad,

which they do many times...

the following day we're screwed.

[Tom] Working the lab long
hours was bad enough,

but then having to go to
the set and work there

was completely exhausting.
But every day was a thrill.

Getting up in the
morning was a thrill.
The whole day was a thrill

because I knew I was working
on something special.

We had a lot of little problems

that we resolved by
working together on it.

It was great,
it was like a club.

[Dan] People excelled,
absolutely excelled.

Every time they turned around,

it was another huge obstacle.

Just this constant
push, push, push.

Probably the greatest
effort I've ever seen

in the motion picture industry.

[Maurice] The actors had to eat.

The actors that were
in all of the makeup.

One of the gorillas was
supposed to be driving a wagon.

It looked fine but as
soon as he took the reins,

and he snapped 'em,
and he yelled real loud,

he opened his mouth real big,

the whole front part of
the bottom piece broke loose.

I look down in there
and I see peas. Like,
peas that you eat.

[narrator] From that point on,
they served milkshakes at
lunch, anything with a straw.

We were at the bottom
of the Colorado River

and base camp was way up on top.

And we moved everything
down with us

and they forgot straws.

Well, that doesn't mean too
much to the average person

but for Kim, Roddy,
Maurice, and me...

we couldn't, we couldn't drink.

So, Heston says,
"You don't have any straws?

Where are the straws?"

"They're back at the base camp."

He ran back to the base camp
and brought straws back for us.

So, you know, that--
just to let you know

what a, what a great
common guy he was.

Kim Hunter was
the queen of the set. [chuckles]

She was articulate and, like
Roddy, just a super actor.

[Maurice] Maurice Evans,
who played an orangutan,
played chess,

and I played chess.
We found ourselves sitting
outside, Fox back lot,

and the two of us were
looking at each other

just like, this is
normal everyday thing.

[Dan] I remember my
superior, Doc. Murman,

he said, "Well,
we'll go to the dailies,

we got to watch this
piece of junk again today,

you know, 15 minutes of this."
He says--

You know. I said,
"Well, don't underestimate

what an ape can do,
you know?" [chuckles]

[narrator] To ensure
the locations would be

as groundbreaking
as the makeups,

production designer,
Bill Creber, created Ape City,

shot on Fox Ranch
in Malibu Canyon.

I always loved Ape City
because everything was rounded

and had these soft
curves to them

that, that looked primitive
but functional.

[narrator] For the final
beach scene, filmed in Malibu,

the makeups and heavy
costumes had to be worn

in 100 degree heat.

[Lou] I think it was, uh,
Charlton Heston's idea

to helicopter us all in.

So we all met at 20th Century
Fox, there's a helipad there,

and we were helicoptered
to the actual set.

Then we had our makeup started.

[Tom] You knew they
weren't comfortable.
We tried to keep everybody

as comfortable as we could,
but it wasn't easy.

When we finally wrapped
Planet of the Apes,

it was, I...
I guess it was bittersweet

because, you know, you'd been--
I'd been so involved
for eight months

without a day off.

It totally consumed my life.

All of a sudden, I didn't
have to get up at 3:15.

I wouldn't be seeing all of
my friends that I worked with,

and I'd made a lot of
friends on that show.

And it was a very
strange feeling

because I wanted to
continue doing that,

continue doing just
what I was doing,

what I'd been doing
for eight months.

[Darrell] When they said,
"that's a wrap"
for the last time...

[laughs]

I left there,
I thought, "I don't ever want

to do another appliance
as long as I live."

[Maurice] Planet of the Apes
was a real team effort

because all of us were brand
new at applying this amount

of appliance work
on a daily basis.

But when you look at what is
going to end up on the screen,

the worst makeup job is
going to represent everybody.

The best makeup job is also
going to represent everybody.

[narrator] Filming of
Planet of the Apes wrapped

on August 10th, 1967.

It was now in the hands of
the post-production team,

including Jerry Goldsmith,
who was composing
the iconic score.

John told me, he said, "It's
going to have a rough screening.
You want to go and see it?"

And I think Wes Don,
the other apprentice and I,

"Yeah, let's go see it."

I was devastated 'cause
I never saw a movie

without color correction,
without music,

you know, with just temp music,
missing scenes.

And I came back and John said,
"What do you think, Tommy? Eh?

Eh? What do you think?" And I'm
terrified of telling him
I think it's one of

the worst things I've ever seen.

The actors looked great
but the rest of the movie
looked terrible.

[narrator] Planet of
the Apes also required

considerable ADR, or dubbing,

due to the muffled voices
of the actors in makeup.

[Lou] Doing the looping,
Franklin would give direction,

and then he had a golf cup
and he'd putt.

And then, "Okay,
go ahead, Lou." [laughs]

[Tom] So, Danny Striepeke
gives me a gorilla mask

and tells me to take it
over to the scoring stage.

When I get there, Jerry's in
the middle of scoring the film,

and I was just blown away

because I never heard
anything like it.

And Jerry wanted to wear
the mask for inspiration

while he conducted
his orchestra.

It's a very unusual score.
I mean, that was another
thing about Jerry was

that he loved to take chances.
And he would use orchestrations
and combinations of approaches

that ordinarily wouldn't
probably be considered
by most people.

[uplifting music]

[Dan] It all coalesced.

That doesn't happen very often.

To bring all those
divergent talents together

into one, I call it
a column of creativity.

[tense music]

[narrator] Planet of
the Apes was completed

near the end of 1967 and slated for a March 1968 release.

[John Chambers] The biggest fear
we had was, will they laugh

or accept the apes?

But I thought if they laughed,

this was going to
be a Mickey Mouse.

20th Century Fox had
a lot riding on this movie.

And the rumor around the lot was

that if this thing was a flop

that they would be in
tremendous jeopardy.

[Charlton] Hundreds of
technicians and
the largest number of

makeup artists ever assembled

assisted the producers,
the writers,

the director, and the cast.

[Ed] I didn't really think it
was going to be that big, no.

But I know it'd been tried
before and it was a flop.

[announcer]Planet of the Apes,

beyond your wildest dreams.

I was fortunate enough
to get a ticket

from 20th Century Fox to go
see their premiere opening.

I sat dead center
in the theater.

And once I saw that gorilla
come up in the corn field,

that big zoom shot,
I went, "Oh, my God."

The reveal of the gorillas

is still absolutely
extraordinary sequence.

You see the sticks,
and you see the people running,

and the astronauts are like,
"What's up?" You know.

[Richard] Starting to get
really into the movie

and then as you realize,
wait a minute,

I'm, I'm relating to these--
They're apes.

You didn't even think about it.

Charlton Heston looked more
animated than the apes did.

Take your stinking paws off me,
you damn dirty ape!

As soon as we saw the apes,

I, I was-- I just
stared and stared,

trying to figure out,
how did they do that?

[Guillermo] It's hard
for people to imagine now

what a massive
mind-destroying thing it was

to see apes talk.

It blew me away.
Because all of a sudden,
you're seeing chimpanzees,

and you're seeing orangutans,
and you're seeing gorillas.

[Scott] But I think what people
still to this day talk about

is that amazing ending where
he's home, all the time.

That stunned people,
that shocking ending.

And they play it
without any music.

All you hear is the ocean
lapping up on the shore.

And he's just screaming
his guts out.

And then you get a point of
view shot which pulls back

and you see the Statue
of Liberty in ruins,

blown to pieces,
and rusted, and decrepit.

It's so devastating because
the symbol is not accidental.

It's liberty, it's everything
that was good about the world,

that is destroyed.

It said everything
I believed in.

Um...

We were living in an era...

where we were still
afraid of the bomb.

Of course we are now, today,

but it was very prevalent then.

And this script said,
you know, you idiots.

You keep fooling around
and you're going to blow
everything up.

[solemn music]

[Tom] I was so moved and so, um,

proud to have
worked on this film.

It was like
the highlight of my life

to be able to sit
and watch something that I had

given so much
of my, uh, time and effort,

trying to make my part
the best I could.

[narrator] Just three months into what was already shaping up

to be the most tumultuous
year of the 20th century,

Planet of the Apes
premiered on March 27th, 1968.

Everything about
a movie is who you are,

how old you are, who you're
with the first time you see it.

And when you ask people for
one of their favorite movies

or something, not only can
they tell you about the movie,

but you say,
"Where'd you see it?"

They'll tell you the theater.

My mom dropped us off,
it was a little
theater in Santa Ana.

Um, [clears throat] we ran out
to the car and said,

"We want to see it again!"

[Maurice] When Planet of
the Apescame out,

that's all people talked about.

[Darrell] It was pretty intense.

I mean, they lined up
to see this movie.

[Lou] You really don't
know what to think

of a film called
Planet of the Apes.

You don't think it's going to
tackle such important things.

[Leonard] It was the kind of
film everybody wanted to see,

that everybody buzzed about.

It was a film that
made an impression.

How could it not?

There was something magical,
funny, whimsical, poignant.

[Steve] The worldwide
nerve that it struck,

besides the story,
which is incredible,

and there's so many
subtexts to it as well,

the makeups were
pretty outstanding.

[Michael] As everyone in this
industry is going to tell you,

Planet of the Apeswas
a complete game changer

where the makeup was
such an integral part

of telling of that story.
If the makeup didn't work,
the film wouldn't have worked.

It would've looked silly.

In the makeup world,
it was revolutionary

as sound coming to film.

[Tom] Thinking back to day one

when John Chambers
pulled up in his car,

waved at me getting out,

and he said, "It's you and me,
Tommy," holding the script,

and it was Planet of the Apes.

And he says, "I'm going to
win the Academy Award."

And I thought, "Come on,

the Academy doesn't even
give awards for makeup."

[presenter] This year, a board
of governors at the Academy

has voted a special
award for makeup.

Would John Chambers
please come out here

and get his award?

[audience applauds]

Mr. Chambers is responsible
for making monkeys

out of Roddy McDowall,
Maurice Evans, and Kim Hunter

for Planet of the Apes.

[audience applauds]

And quite brilliantly, too.

Will one of the friends
of Oscar back there

please bring
Mr. Chambers his award?

-[John chuckles]
-[audience gasps]

[audience applauds]

That's what I call
a terrific makeup job.

[audience laughs]

-How can I follow
an act like that?
-[audience laughs]

May I thank the Board
of Governors for
this wonderful honor.

May I thank Mr. Zanuck,
Mr. Jacobs,

and Ben Nye and Dan Striepeke,

who share this award
with me, I say.

But most of all, all those
wonderful makeup men

and hairstylists
that worked so hard

to make this picture a success.

From all of us to all of you,

God bless you
and thank you so much.

[audience applauds]

[slow jazz music]

[Tom] John Chambers
wanted to acknowledge

all the makeup artists
that worked for him,

so he went to a jeweler,
and he got this jeweler

to make these little gold
and silver ape heads.

The gold ones went
to the makeup artists

who did the principal actors.

This was a gift
from, uh, John Chambers

to all of us who started
and finished on the movie.

And I've treasured this
over the years.

This was John's way of
sharing his Academy Award

with all of us.

[narrator] With
Planet of the Apes
a financial and critical hit,

and having proved that
nothing was impossible,

a new generation of makeup
artists were inspired
to join the craft.

[Rick] The first time
I even heard about
Planet of the Apes,

actually, my parents had
a subscription to Life Magazine.

They had a picture of
Maurice Evans in the makeup.

I turned the page and saw
this amazing orangutan,

this guy, you know,
"What the hell is this?"

It was so cool.

[upbeat jazz music]

[Tom Woodruff] I remember
learning about
Planet of the Apes

in the Famous
Monsters of Filmland.

It was just such
an amazing thing

to see that process
in a, in a magazine,

the step by step process.

I knew then that I was thinking,
I have to get into that.

And that's when I started
playing around.

The first makeup was Planet
of the Apesmakeup, you know.

It was so much fun doing.

It has this ability to
intrigue every makeup artist.

I don't know one makeup artist
that's been like, "Please,
Planet of the Apes."

It just left this
permanent mark,

uh, uh, that I really
wanted to be part of,

and, and it was the only thing
that, that I ever wanted to do
since I was a kid.

My first ever movie
was a Super 8

with my Planet of
the Apes,uh, figures.

I think the studio, Fox
was really, uh, surprised,

taken aback by just
how many people,

uh, fell in love
with this movie.

[Dan] Tremendous, tremendous
reception to the film.

And particularly Fox,
when they started seeing
the coffers fill up.

And the studio went, "Sequel,
sequel," you know, right away.

The pressure on us was
to come up with something

as groundbreaking,
and as unusual, and original,

like the very first
Planet of the Apes.

[dramatic music]

[narrator] Production of
Beneath was difficult

due to Charlton Heston only
being willing to work one week

and Fox battling
producer Richard Zanuck,

eventually leading to his
firing from the studio.

[Tom] The script for Beneath
the Planet of the Apescalled

for humans to live under
the surface of the Earth.

These humans were mutations.

[John] When John Chambers
set up his makeup lab,
I would go over there,

and, and there-- originally
it was just John,
and Mr. Burman, and Verner.

And I would go over and hang out
there 'cause it was so cool.

You know, I'm a Famous
Monsters of Filmlandkid.

So to be with--
they had all this stuff.

And in that movie are mutants.

I watched all the prototypes

and there were a couple
that were so gross.

There was one that
had teeth coming, like,

I mean, really malformed,
and was so grotesque,

it literally made you sick.

I think we came up with half a
dozen or so different sculptures

of different,
uh, mutated people.

And what I noticed was...
We were-- In the script,

they were supposed to be able
to take their normal faces

and peel them off to reveal
that they were mutated.

Well, I kept looking at these
heads that we were doing,

and these heads
were so distorted

you'd never be able
to put a face over it.

Somebody saw the book,
Gray's Anatomy.

It had an illustration
of a guy in there

with all the veins, and muscles,
and everything showing.

And went, "Oh, that's it."

Because that we could
put a thin skin on

and make it look like
the person underneath,

so when they pulled it off,

it would marry
to it beautifully.

Beneath the Planet of
the Apesturned out

to be a very successful sequel.

And if Fox was surprised by
the success of the original,

I think they were
even more surprised

by the success of the sequel.

So there was an immediate
need to keep the story going.

[narrator] At the
end ofBeneath,

the Earth is destroyed,

seemingly ending the
Planet of the Apes franchise.

[low rumble]

By sending apes back in time,

a whole new world of
opportunities was opened.

[Joe] The cleverest of
the follow up pictures

is Escape from
the Planet of the Apes,

which is a time travel picture

in which the apes
go back to 1973

and are harbingers of what's
going to happen in the future.

And of course, there are, uh...

people who want to stop
them from breeding

and make sure that that world

of apes conquering
man never happens.

Uh, and it's a really
cleverly plotted movie,

and it's my favorite
in the series,

just because it's so much fun.

It has an ending
that could have only...

happened in the 70s,

where... well, "How do
you want to end it?"

"Let's shoot a baby."

"Okay." [chuckles]

Planet of the Apesis
the first major franchise

outside of James Bond that
was successful in its sequels.

I ran out to every
single one of 'em.

My favorite is Conquest
of the Planet of the Apes,

which, to my knowledge, was shot

on the Century City, uh, grounds

after 20th Century Fox
had sold their back lot.

I was at the University
of California Irvine,

I was a premed student.

Um, I looked out
the window one day,

and I was in my chemistry lab,
and I saw a film crew
on the set,

and apes running all
over our campus.

And it was Conquest for
the Planet of the Apes.

And so, I told my lab partner,
"Hey, finish up here.

I'm going to go pay a visit."

And I met J. Lee
Thompson on the set,

had lunch with him,
and then six months later

I was Cornelius on Battle
for the Planet of the Apes.

[John] I knew J. Lee Thompson,

and Lee said to me,
"I'm doing another Apes movie."

And I said,
"Oh, good, you know."

And he said,
"Why don't you be in it?"

I said, "I'd love to be in it."

He said, "Okay."

So, I'm mostly cut out of it.

I'm a face on the cutting
room floor in that movie

although I get
pretty big billing right
in the main title. [chuckles]

But, uh, I played a human
slave to Roddy McDowall.

No cracks.

But I got a lot of
shit for it, you know,

especially from Roddy.

[Bobby] The role of Cornelius
wasn't really going

to be that significant
until they realized

that they had, you know,
a sentimental storyline.

After a few days of watching
Roddy work up close,

I noticed that his makeup
was more expressive,

more pliable than many
of the other characters.

And so, I asked my makeup
artist, Jimmy Phillips,

how it was that Roddy could do
this little nose wiggle thing

that was unique.

And he said,
"Well, that's a secret."

And I said, "I know,
but I'm his son.

I should be able to do
the same thing that he does."

And he said, "Well, if you can
get Roddy to tell you the story
of how that gets done,

I'll do it for you."
And so, I was brand
new in the industry,

a little intimidated,
but I went to Roddy

and said, "Look, Mr. McDowall,
I'm playing your son.

I should have a characteristic
similar to yours.

Would you agree?" And he said,
"Yeah, what do you got?"

I said, "How do you
do the nose thing?"

And he said, "Tell Jimmy
to hollow out the inside

of the appliance." The following
day, I got on a scene,

he was in the shot, and
I did the little nose wiggle,

and it was well-received.

They still had other ideas for
how to expand the Apes universe,

and they brought Planet
of the Apesto television.

When they did that, they,
first of all, managed
the biggest crew,

which was to keep Roddy
McDowall as part of the cast,

as a brand new character, Galen,

a chimpanzee on the run

because he helped
two marooned astronauts.

[Dan] I was involved
in the TV series

and, uh, we tried to adhere,
within budget constraints,

to what was done
in the original pictures.

In fact, we probably had
to do, on a percentage basis,

more appliances than masks

because of the TV
medium being so close.

Danny Striepeke called me up...

and he said, uh,
"Fred, I want you to do
the Planet of the Apes.

We're doing a TV series."

I says, "Really?"

He says, "Yeah, you're
going to do Roddy."

I started working on Roddy
and it was just heaven on earth.

[Darrell] Roddy McDowall,
when they called a wrap,

he would say, "Are you sure?"

They'd say,
"Yes, that's a wrap,"

and he would go.
[mimicking tearing]

And tear the whole
thing off in one piece.

The physical challenges
of production,

I think, just was impossible
to do on a weekly basis.

[narrator] Despite its
popularity, thePlanet of
the Apes TV series

is canceled
after just one season.

An animated series follows
but also only lasts a year.

This would be the last Apes
project produced by Fox

for over 25 years.

[TV static]

[Tom] John called me
and asked me if I wanted

to, uh, go into
partnership with him

to open the very first
independent makeup studio.

He said I could also
bring my brother with me.

We were going to be doing motion
picture and television work,

but that was only our cover.

It was our job to help the CIA
create quick change disguises.

John stayed with them
all the way up till the 1980s.

We all knew that he was
working on something secretive.

[tense music]

[crowd shouting]

There were six people when
the Iranian embassy was overrun

that had gotten away.

John Chambers and Bob Sidell
created a fake movie

just to get these
people out of Iran.

[narrator] The details of John
Chambers and the CIA's
involvement in

the Canadian caper remained classified until 1997.

The full extent of their
mission wouldn't be revealed

until 2012, whenArgo
premiered to critical acclaim,

winning the Academy
Award for Best Picture.

[audience applauds]

[Tom] John, one day, came in
and he was real grumpy,

and he looked torn,
he looked beaten,

he looked downtrodden.
I said, "What's wrong?"

And he said,
"Well, I've been diagnosed
with Hodgkin's Disease,

which is lymphoma or
cancer, blood cancer,

and I need you guys
to buy, buy me out."

Well, my brother and I had
to scrape every dollar we had

to be able to buy him out.

We found out later that
the whole Hodgkin's Disease

was something he just made up

because he wanted us
to buy him out.

[curious music]

[narrator] The first film
produced after Chambers' exit
wasPhantom of the Paradise.

Despite having no involvement,
John Chambers was given full
credit for the production

due to his status as
an Academy Award winner.

After we bought
John Chambers out,

it was tough finding work.

We didn't have any contacts.

And my brother and I
really couldn't afford

to keep two families going
on what we were making,

so we decided to flip a coin
to see who was going to
take over the studio.

I won.

And I did several things

and started getting
the reputation,

things started
to work real well.

And then John Chambers
calls me to ask me

if I would like to, uh,
work with him

on The Island of Dr. Moreau.

You know, his ego
got out of check,

he was overbearing,
harassing people.

He was really miserable,
it was tough on everybody.

Even Danny Striepeke, who had
been his friend since NBC,

and he didn't speak
to him again.

And I didn't speak
to him for years.

[narrator] After changing
the name to Burman Studios,

Tom and his team began working

on some of the greatest
films of the 1970s and 80s.

It's guys like Tommy who
had the creative juices

in their hands
and in their brains
that create these pieces.

We were in survival,
and we just did anything
and everything we could.

Anything that came past us,
we grabbed onto it.

[Michael] Tommy's a talent,
he comes from a talented family.

His brother, his dad.

You always expected quality.

[narrator] By the late 1970s,
Burman Studios was one of
the top names

in the makeup business. At this point, Tom Burman had partnered

with makeup effects
artist, Stan Winston.

We just hit it off
right on day one.

There was something about Stan

that was tremendously inspiring.

[Matt] Tom Burman
and my father, Stan Winston,

were kindred spirits.

Two incredibly creative,
incredibly goofy individuals

who happened to love
monsters and monster makeup.

[Tom] By the end of the 1970s,
I decided to push for
a title I had been using

called special makeup effects.
Nobody else used it,
the union didn't like it,

John Chambers didn't like it,
but I didn't find anything
that described what I did

any better than that title.

So I started using the title,

along with Stan Winston was the
only other one who backed me up.

I also pushed really hard
to create a category for
makeup at the Academy

because they were very
resistant, but you could see
everywhere that makeup was,

uh, was very prominent
in so many films.

[audience applauds]

[narrator] The first annual
Academy Award for Makeup

was presented in 1982.

Because of the importance
ofPlanet of the Apes
on the art form,

Kim Hunter was chosen
to present the award

with horror icon, Vincent Price.

The winner is Rick Baker

for An American
Werewolf in London.

[audience applauds]

In California there
were only three guys.

I mean, there was Rick Baker,
Stan Winston, and Tom Burman.

And they were doing
everything and innovating.

[Mike] Tom is a mainstay
of our industry.

He is a creative force
that everybody recognizes,

everybody knows the Burman name.

He is one of the main
people in our industry

who gives us material to look at

and to draw inspiration from.

[Tom] One of my favorite
directors to work for was
Richard Donner.

We did, um, Goonies,we did
Scrooged, Lethal Weapon.

[Richard] Making
a movie is a bitch.

You run into all kinds of
trials and tribulations.

Forgetting all that, they
delivered the best, the Burmans.

They were just
a pleasure to be with.

Going into the 80s were some
really interesting years

and that's when I met you, 1980.

And we did, um, Cat People
together, remember?

I do remember and it
was very magical.

And you, you allowed
me the freedom

to help you design Nastassia
Kinski's transformation,

and our journey began.

Yeah, I wanted
a feminine approach,

not a real masculine
heavy approach.

That's why I was delighted to
have you there and we've, um--

We've been collaborating
ever since.

Yeah, we've been
collaborating ever since.

You always know
where we're going

-and I'm a detail fanatic, so.
-You are, you are.

She loves to get those little
tiny edges, and the little
parts and pieces.

And, uh, you know, we do our
dance around somebody as we--

-It's very magical
because we just sort of--
-Yeah.

When an actor's in our chair,

we just sort of
know how we work.

And, you know, you always
know where we're going

and then I am obsessive
about making sure

all the details are perfect.

And it's a blissful marriage,
partnership, and journey.

It's been, been great.

I'm giving you a kiss.

[lips smacking]

[narrator] In 1988,
on the 20th anniversary

of its original release,
Fox began discussing a remake
ofPlanet of the Apes.

But the film would spend over
a decade in development hell

before director, Tim Burton,
joined the project.

I need to take a sabbatical,

I need to get away for a while.

I get a call from Tim Burton

saying, "I'm going to do
a Planet of the Apesremake,

I'd like to talk to you
about doing it."

And I was like, "Oh, shit."
You know?

[narrator] Rick Baker
and Stan Winston vied

for the highly coveted
position of makeup designer.

My dad wanted so badly to put
his stamp on the franchise.

And he lobbied for it hard,

and he and I got
our life cast done,

and they sculpted these
incredible ape makeups.

Dad was an elderly chimp,
I was a young chimp.

It was a dream for me to be
able to perform with my dad,

but I know it was
a dream for him

because he came out to
Los Angeles to be an actor.

And here was his
opportunity to act again.

[narrator] Despite
Stan Winston's effort,

Rick Baker was selected
to create makeups

for this new vision of
Planet of the Apes.

I was very pleased with
the makeups that we did,

and was pleased at the
amount of makeups that we did,

and the quality of them.

[dramatic music]

[narrator] Released in 2001,

Planet of the Apes
opened to mixed reviews.

And despite being
a commercial success,

it was unable to
match the original.

The big films started going
more to the larger studios

like Stan Winston's, or
Rick Baker's, or Greg Cannom's.

And, uh, Barry and I started to
do a segue into television.

We, we didn't want to leave home

because we had
a brand new baby, Max,

and, um, it was perfect for us.

We did things like
The Tracey Ullman Showwhere

we only had to work one day
a week, we could prep all week.

And we did things
like Chicago Hope,

and we did the pilot for Buffy
the Vampire Slayer, CSI.

And we eventually wound
up doing Nip/Tuck,

and we decided at that time,

we wanted to bring motion
picture quality to television.

Greer Shephard, Ryan
Murphy's producer, came to us

and said that the studio
greenlit Nip/Tuck

because of the work we did.

There's always a range of people

that can make something
delicate or expressive.

You know, uh, and I think that,
uh, Tom could run the gamut

and make something
that was so naturalistic

that nobody knows it's makeup.

I feel that Tom took a,
a different approach

to a lot of things than
other makeup artists would.

[Ve] They did so many
fantastic things for TV

and I'm sure it was like,
you know, hellacious,

because TV has such
quick turnaround.

So, he really made it possible
for that to happen on TV.

The Burmans did an amazing job.

I think that really laid
the way for a lot of shows.

[narrator] Throughout his
career, Tom Burman has been
not only an inspiration

but also a mentor
to makeup artists.

I'd been looking for someone to,
um, teach what I knew.

I mean, it's not like
we didn't have people

through the years,
a lot of people.

Vince was insatiable and
he wanted to learn everything.

I decided to retire.

Vincent came here at that time.

It was easy just to
hand it over to him.

[Vincent] The day that Burman
Studios became B2FX was,

it was kind of
an emotional day for me,

because I joke and I often say

that it was almost like moving
back into your parents' house

after you moved out.

I've always wanted to
open up my own studio.

Taking these steps into
making that happen

just came full circle into me
renting the space
and being here.

It was, it was...
it was such an amazing feeling.

[narrator] Despite
makeup finding a place

in the hearts of a new
generation of artists,

the industry began to shift
towards digital effects.

Ever since I can remember,
there are these naysayers

about the future of
the motion picture business,

especially makeup because
of the digital era.

And, uh, I don't see it.

I see makeup's just
going to keep growing

and it's going to keep changing.

But there's a lot of
fear around that.

I said, "You know,
eventually they're not going
to need makeup artists."

He says, "What do you mean?
Oh, you're full of crap."

I think they're going
to go CGI route.

I see, basically the end...

of makeup as we know it today.

[narrator] Bolstered by the success of digital studios, such as Weta and ILM,

Fox greenlights a new
Planet of the Apes film.
This time, it's a reboot.

The new Planet of the Apes,
what we did is that we made
all the apes digital this time.

And, you know, one of the funny
things is that when we were
doing the first one,

a lot of my friends from Los
Angeles, you know, heard that
we were gonna be doing it

and he said, "Oh, fantastic.
You're finally gonna get to work
on a Planet of the Apesfilm.

So, what kind of prosthetics are
you gonna use and everything?"

I thought, "Actually,
no prosthetics this time.
It's all going to be digital."

[Michael] But it's a completely
different approach,

completely different,
really, type of film.

[Rick] I wanted to hate
the Planet of the Apes

that they did when they
did it with all computers,

but I was actually pretty
blown away by what they did.

[narrator] By 2018,
three, all digital

Planet of the Apes
films had been released

and grossed over
$2 billion at the box office.

Entertainment is evolving
faster than we can imagine.

And digital
technology is the vein

through which that life
blood is going to flow.

There's no-- We can bang our
heads against the wall

and say, "No, there'll always
be prosthetic makeups.

We know it's better
to blend the two."

We can bang our heads and
we can do whatever we want,

but it's coming.

[Greg] I love CGI,
I'm all for it.

If I do an age makeup,
trying to do it every day,

you're going to make
mistakes, little things.

I think a lot of people
are so afraid of CGI,
and things taking over,

and the makeup effects world
being this dying art form

that will, you know,
just go down.

I just don't see any
of that happening.

I see it as busy as it
has ever been right now.

[Tom] Artists like
Vincent are our future

because he appreciates the past.

Most makeup artists that I know,
they always refer back to
the originals, the classics,

which Planet of
the Apesof course is.

Tom, this is the first time
we've talked in 48 years.

-Wow.
-And I'm still mad at you.

Yeah, should be, you should be.

-Yeah, it seems like yesterday.
-[Lou] I know.

[Tom] Part of me,
just seems like I can go back

and visit that moment, and get
all excited all over again.

[Vincent] When the conversation
first came up of putting
Lou Wagner

back into
a Planet of the Apeslook,

that was a very
exciting phone call.

It's a once in
a lifetime opportunity

to be able to take
somebody from that film,

this many years later,
and transform him into a,

what really got me,
is into his character now.

[dramatic music]

Seeing Lou in his old age
ape makeup after 50 years

brought back a lot of memories
of John and our falling out.

Those years when I tried to
contact him and couldn't,

didn't know where he was.

And then I heard he had a stroke

and he was in
the Motion Picture Home.

I was fortunate to
meet John Chambers.

Kind of felt like he was in
the witness relocation program,
from my perspective,

for a while. It was like he
disappeared, and he was
completely off the radar.

And then I heard that he was
at the Motion Picture Home.

[Scott] I said, "What if we do
a party for John?"

Because it's been,
at that time, 30 years

since he worked on
Planet of the Apes.

And I'll bring in
people he worked with,

but he'll also meet people
he's never met before,

people who were influenced by
what he did in those movies
in terms of their makeup.

[crowd] Surprise!

-[crowd applauds]
-[John Chambers laughing]

-Oh boy. When an Irishman hasn't
got words to say anything...
-[crowd laughs]

[Scott] And it just so happened
that it was the day
before his 75th birthday.

♪ Happy birthday to you

[Scott] He was pretty impressed
that we had all
those people there,

because it was
a lot of his friends,

and colleagues, and peers.

You sparked the imagination
of an army of kids

who are now the eminent
and renowned of your field.

I'm afraid that you have
to settle for the reality

that you are an icon.

[all applauding]

Dr. Zira, I believe
Chambers would like a kiss.

[all laughing]

[all applauding]

[Michael] You probably couldn't
predict this, but there was a
great thing that happened

for our industry that day,
is there were a lot of folks

who hadn't seen each
other in a long time.

And maybe some old grudges
were left behind that day.

I think it was
a good healing time,

I think, for the industry.

[calm music]

[Tom] After
Scott Essman called me

and told me that they were
throwing a 75th birthday party

for John Chambers, I was
a little ambivalent about going

because I had a lot of
unfinished business with John.

We had kind of
separated in a way

that I hadn't spoken
to him for years.

I had tried to get in
touch with him many times.

I never got an answer.

So, I went.

But to see him in
a wheelchair...

was pretty moving for me.

All of a sudden... I, I saw
him in a whole other light.

He didn't have that
bombastic presence any longer.

You, you could see that
he'd had a stroke,

and you could see that one side
of him was somewhat paralyzed.

And it was, um... I kind of
stayed in the back,

and watched everybody as,
as they congratulated him,

and people filed by
and they shook his hand,

and they got their
picture taken with him.

And, uh...

It was-- after, after a while,
he, he looked over
and he saw me.

And, uh...

he...

he called me to his side.

And...

And he said...

"You're the one
I'm most proud of, Tommy."

And...

and we looked into
each other's eyes

and both of us had tears.

And it was over.

The anguish, the past...
it was gone, finished.

[narrator] John Chambers
died in August of 2001,

at the age of 78.

Johnny. Hm.

[sniffling]

[whispers] Just a minute.

I loved him like a brother.

And at times,
I got so damn mad at him,

I could've killed him.

[Tom] He was like
a father to me.

He was my teacher,
he taught me about life,
he taught me about people,

he taught me the skills that I
needed, the entrepreneurial
skills I needed to be on my own.

He made a huge
difference in my world.

[light jazzy music]

[horn honking]

[Tom] The one thing
we never expected

when we were working
on Planet of the Apes

was the huge fanbase.

-[uplifting music]
-Hello!

I'm still shocked and surprised

that there are
such avid... fans.

If you're a fan of
Planet of the Apes,

you're a dyed in the wool fan.

[Scott] If you go to conventions
like Monsterpalooza,

you always see Planet
of the Apescharacters.

And the fans don't
spare any expense.

They have the shoes
with the, the ape paw print,

and they have the,
the full head to toe costume,

mostly they make themselves.

I've been a fan ever
since I was a child.

When I hear the opening music,
it's just like I'm, you know,
11 years old again.

We pretty much did everything
ourselves, I mean down to making
our own shoes, our own costumes,

doing our own makeup.

This is why I love,
uh, science fiction

and horror movies so much.

It's all Planet of the Apes.

If the Planet of the Apes
franchise didn't have

an absolutely committed
and dedicated fanbase,

it wouldn't have sustained
itself for the 50 years
that it has.

Um, Star Trekhas been around
nearly as long, uh,
Star Warsfans,

they're all extremely dedicated

to that particular franchise.

And the Apes fans, I find,
are enormously... intelligent.

[narrator] Original memorabilia
from thePlanet of
the Apes franchise,

including prosthetics,
costumes, and props,

have become relics
among collectors.

[Joe] Collecting film artifacts

and television artifacts
has grown exponentially.

I've been very fortunate because
I've saved a big chunk of the
history of Hollywood, right?

In my career, I've probably
handled almost everything

that survived from
Planet of the Apes,

to whether it's the Lawgiver,
the bleeding Lawgiver.

I've had every costume
of every principal actor,

you know, makeup heads,
background apes, prosthetics.

I don't think there's
something we haven't had.

[solemn music]

[Alessandro] The 50th
anniversary exhibit that we have
here on display at

the School of Cinematic Arts
is an attempt to
really bring together

as many facets of the Planet
of the Apesuniverse, really,

as we can, to show and
celebrate the original films,

alongside the amazing
achievements

of the contemporary films.

[Howard] I think the work that
Tom and John did

on Planet of the Apeswas
absolutely a turning point

in film history.

When people say they don't
have influences, they're lying.

Because everything you
see influences you.

And I know that I took something
from Planet of the Apes.

It's a very successful
tale well-told.

[dramatic music]

[Richard] It's that
world of fantasy.

It seems to hold an audience
for generations to come.

[Maurice] If I'm ever asked
what some of my favorite
projects are,

I would always come up
with the very first one

that almost everybody in
the world knows about.

It was the original
Planet of the Apes.

[Lou] It was singularly
the best film

I was lucky enough to do.

It's the proudest
I am in my 50 year career.

I hope that 50 years from now
that people will look
upon our sequence of films

with the same
amount of respect and...

nostalgia.

I'm honored that people love
the movies I've worked on,

and I've worked on hundreds.

But when I look back,
the greatest moment

in my career was
John and I standing

at that marble top
table making apes.

[dramatic music]

[uplifting music]

[solemn music]

[dramatic music]