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Shepperton Design Studio 3rd January 2005 It has come to my attention that there have been some concerns raised over the authenticity and provenance of the moulds and processes used for the productions of my new range of SDS helmets. I would like to assure collectors that we ARE using the original moulds, the same ones we used in 1976 to create the screen-used helmets. Our statement “The Original Maker, The Original Moulds” means precisely what it says! I’ll go on to explain a little more of the history of the project and the background to the moulds and the “prototype” helmets over the following points. 1 All plastic moulding companies have a mould store. The time and
effort in making moulds does not warrant throwing them away after
the initial production run. We have had a mould store in the North
of England since the mid 1970's where we have stored hundreds of
moulds we made before and after this project including those for
films such as Alien, Flash Gordon, Outland and Space 1999. 3 The moulds to make the rubber trims for the helmets were already in store, as they were extrusion moulds relating to our car production. Such a crossover of use for a mould is common, and hence a further reason for not throwing moulds away. 4 Moulds do not degrade from non use. If they are strong enough to hold up to the heat and pressure of a vacuum forming process, there is nothing in storage that is going to affect their structure. 5 In the case of the Stormtrooper moulds, the extremities that either take considerable wear in use or are vulnerable in storage have been refurbished. One area is the edging to the `teeth` on the face of the Stormtrooper / Imperial Pilot (same mould). The other area is around the left hand side looking at the back of the helmet, where the tumblehome has been fettled in to align up better with the front face. This area always was a problem and annoyed me, as it caused misfitting of earpieces back in 1976. Given the length of time between the original being made and our new helmets we believe small items of refurbishments like these are totally realistic and understandable and without them the quality of product that you see today would not be as good. 6 There is absolutely no reason to remake moulds, other than the refurbishment described above, and indeed this is the same for the Imperial Pilot and all the other characters that we currently have plans to bring back into production. For example, look at the crown of the Pilot Helmet, where there is a small `nick` out of the mould on the top edge - I just stopped myself repairing it in time - as I noticed the same nick on the screen version. 7 The history behind the `serrated` trooper - When conceptualising the production methods for the Stormtrooper, the overriding consideration was that this character was not human and the head could not be seen to be human supporting a helmet. My initial preferred method of construction was either rotational moulding in PU or PE or slush moulding in PVC. This was to accommodate undercuts and tumblehomes, which would enhance the image of an all-enveloping head shape. However the restraints of budget and the pressure of time forced me to consider a quick compromise with vacuum formed sheet material. The tumblehome at the back of the helmet was problem in vacuum forming, as the moulding would not release from the mould. In an attempt to overcome this problem I conducted an experiment of the rear head detail by constructing a `U ` shaped piece of metal with the gable ends filled in. Over one edge I planted a flexible car heater hose supported well enough to withstand the pressure of vacuum forming. After forming over the make-do mould, the flexible hose could be peeled out of the moulding giving me the tumblehome I required. Although this was no production method, the principle could be developed further to produce vacuum forming moulds that could possibly produce undercuts. After four or five attempts at the `lost hose` process I shelved this until a later date. Towards the end of my involvement in the film I re-visited the` Serrated` Stormtrooper. I took the back part of the helmet from the production item, which was being used on screen and cut off the lower rear section. Gluing on the serrated sections from the initial trials, it gave me a development of the Stormtrooper for future use. Several of the characters were conceived in this way, e.g.: the Imprial Pilot was a result of mating the face of a Stormtrooper and the back of a Rebel Pilot. By the time I increased the overall bulk, changed it to black, added a war like Mohawk, the `Imperial Pilot` grew an awesome presence. 8 I’m aware of the interest in the issue regarding the composition
of the original helmets. Let me be categorically clear on this point.
The vast majority of the Stormtrooper helmets we produced were made
from a batch of white ABS we ordered in after being given the go
ahead by the Studio (as a relevant point the ABS order size was
so huge it took us a long time to clear – long after the project
was complete). My team here who worked with me on the original film
are also absolutely clear on this issue. Irrespective of our own
clear memories of the project it is inconceivable to suggest that
we could have produced the glossy body armour in one material, with
the helmets in another. Especially a bumpy, painted material whose
finish was so poor on the eye. Quite simply our contacts on the
film would not have accepted them and quite rightly so! I am sure
that some of the Polythene helmets probably did end up on screen,
such were the demands for the film at that time, however I am absolutely
positive that the vast majority were ABS and these would have taken
a colossal pounding during filming. This point, along with the fact
that it was industry practice to destroy all scenery and costumes/props
such as this when filming completed, probably goes some way to explain
why there are now problems locating original ABS helmets. I will continue to bring back all the characters we worked on at Shepperton Design Studios, and as an artist derive immense satisfaction from the joy that this project brings to so many. Wishing you a Happy New year Andrew Ainsworth |
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