“The bugs are not like us. The Pseudo-Arachnids aren’t even like spiders. They are arthropods who happen to look like a madman’s conception of a giant intelligent spider, but their organization, psychological and economic, is more like that of ants or termites; they are communal entities, the ultimate dictatorship of the hive.”
-Robert A. Heinlein, Starship Troopers
Producer Jon Davison was first approached in 1991 for a science-fiction project — initially titled Outpost 7 – which narrated the struggle for survival of a group of soldiers, stranded on a remote planet whose inhabitants were enormous insectoid extraterrestrials. Writer Edward Neumeier was encouraged to propose the project to TriStar Pictures — but it was turned down. Eventually, it was realized that the idea bore some similarities to Robert A. Heinlein’s Starship Troopers — mainly for the giant insectoids, the driving force behind the project. “[It] had bugs in it, and we wanted those bugs,” Davison told Cinefex. An adaptation of the novel was thus proposed, and this time endorsed by the Studio. To direct the film, Davison approached Paul Verhoeven — who found the idea “silly” at first. He eventually changed idea — mainly for the prospect of working again with Phil Tippett, who had precedently collaborated in bringing ED-209 to the screen for RoboCop. “I’d found our relationship on RoboCop very stimulating,” the director told Cinefex. “Phil’s a genius-type guy, and ever since RoboCop, I’d been looking for another project to work on with him.”
On Tippett’s part, Starship Troopers represented an opportunity to advance the computer animation techniques whose foundation was made during the production of Jurassic Park. He said: “prior to Jurassic Park, I’d produced stop-motion mostly through traditional methods — by incrementally moving and photographing three-dimensional puppets on a frame-by-frame basis. But our studio’s Dinosaurs for Jurassic Park were not created traditionally. Instead, a special piece of equipment, the Digital Input Device, was developed for that picture by a talented guy named Craig Hayes. The DID is a metal puppet armature, rigged with electronic sensors. The sensors record movement information on a controller box that translates it for computer use. When an animator moves the armature by hand, those movements are mimicked by wire-frame representations inside a digital environment.” Essentially, Tippett realized that Starship Troopers was the chance to improve those effects in fields such as software, hardware and render time.
Before any animation began, the effects team focused on designing the castes of Bug society, based on the original story. Heinlein’s Starship Troopers portrays a dystopian future, where humanity engages in war with an alien civilization — the Pseudo-Arachnids of Klendathu, also denigratingly labeled as ‘Bugs’. Despite their apparently primitive appearence, the creatures have considerably advanced technology, having been able to conceive advanced spacecraft and weapons of war (“stupid races don’t build spaceships”). Their social structure is divided in castes: a Queen is the progenitor of a specific colony. The novel never describes this caste detailedly, and goes no further than mentioning that its purpose — much like the queen in many terrestrial Hymenoptera — is only to lay eggs and that it is unable to move on its own accord, once it reaches adult stage. Strategic administration of the society is a task assigned to the so-called Brain Bugs, which — despite their enormous intelligence — depend on lower castes to survive. In fact, they are described as having “barely functional legs, [and] bloated bodies that were mainly nervous system,” and are telepathically connected with the lower castes. The basis of Bug society is composed of the Warrior and Worker classes: the Warriors are “biologically incapable of surrendering,” and move forward in battle with energy weapons. Workers are less aggressive, and are generally assigned to manual labour — even though they can also be strategically used as decoys by other castes (such is the case during the invasion of Planet P).
The film adaptation’s version of the Bugs (also unscientifically referred to as ‘Arachnids’) is widely different from that of the novel. The major departure is represented by the fact that the film Bugs have not crafted any kind of artificial technology. This was a decision taken by the director himself. Neumeier explained: “Heinlein described them as looking like spiders, and yet the Bugs seemed to have evolved physically beyond that because they were able to shoot guns and to behave in an athropomorphic way. This was one of the earliest things Paul Verhoeven and I talked about; and it became clear that our discussions were leading down the path of anthropomorphic aliens, portrayed by actors in elaborate costumes. Verhoeven quickly put a stop to that line of thinking. He told me, ‘I can’t see a Bug holding a gun.’ He did noty want to see some sort of man in a suit with a funny crab claw, or a six-foot-tall ant with its head in a space helmet. Eventually, we came up with the idea that we should do the Bugs as bugs, as believable giant insects.”
Designing the Bugs was a task assigned to visual effects supervisor Craig Hayes. Brainstorming sessions with Verhoeven included reviews of footage of various insects and other arthropods — with focus on their structure and systems of biological defense. Although no Queens or Workers are shown, the caste system of the film Bugs is far more diverse than the novel Bugs; as the film was influenced by World War II, the Bug castes would represent the various kinds of troops. Hayes explained that “since these Bugs were supposed to be intelligent, or, at least, a whole lot smarter than our homegrown variety, we posited that a hierarchical structure would have evolved within the alien community, mimicking the division of labor seen among insects on earth — workers, drones, et cetera. Also, to follow up on the ‘World War II in space’ idea, we invented a sort of military analog for the Bug troops. Some would act as foot soldiers, some as heavy artillery.” Dozens of design ideas were conceived; ultimately, only six types, each with its ‘function’, were chosen and refined.
The first design to be approved was the one seen the most in the film — the Warrior Bug, “an eight-to-ten-foot-tall insect infrantryman,” according to Hayes. The design is entirely devoted to its function: the Warriors use their enormous jaws and their sharp, mantis-like arms to brutally slaughter their enemy. Their slender anatomy also guarantees considerable agility during combat. The four legs configuration was chosen due to being “purely practical,” according to Hayes. Even after the initial approval of the project, the studio executives were uncertain as to how the creatures could be efficiently brought to the screen. To erase those concerns, Davison convinced the executives to fund a “Bug test” — on a $225,000 budget. The short film was not only crucial for further development of the film, but also a chance for Tippett Studio to estabilish how to render the creatures — especially the Warrior Bugs themselves, whose design was finalized by the time the test was filmed. The four legs configuration was conceived to render animations less complex. Hayes continues: “four legs meant that our animators needed to spend only half the time moving them around. We also had a chance to tweak the colorization of these Bugs during the test. Paula Lucchesi, who led the paint jobs on all of the Bugs, originally came up with a dark red pattern for the Warriors. Later, we decided to change it to yellow — the coloration you see on wasps and yellowjackets. It is a natural warning sign, signaling other creatures to stay away.”
The Plasma Bug represents the heavy artillery of the Bugs. Hayes said: “we spliced together the biologies of real stink bugs and fireflies to come up with Plasma Bugs — gigantic creatures that could eject plasma from their lower abdomens into a planet’s upper atmosphere, resulting in spaceships being knocked out of orbit or asteroids off course. The Plasma Bugs became the heavy artillery of the aliens.” Due to their size, their limbs are proportionally thickened; and since the plasma projectiles are ejected from their enormous abdomen — the last pair of limbs is bigger than the others, in order to properly lift the ‘biological cannons’ into position.
Anatomically similar to the Plasma Bug is the Tanker Bug, the Bugs’ version of a Tank. The structure of the Tanker Bugs is mainly inspired by earth beetles, with — again — thickened limbs to support the creature’s immense mass. The creatures also have enlarged claws or toes to aid their stability when walking. Their name is derived from their organic long range weapon, violently ejected from an orifice in their forehead region: a flow of “corrosive acid ignited by organic sparkers near their mouths, spewing out a cross between an acid bath and a flame-thrower.” The final design applied cosmetic changes in regards to the maquettes — such as an additional pair of locomotory limbs.
The air troops are represented by the Hopper Bugs, “capable of gliding on air currents and shearing off human heads.” The design was obtained by reverse-engineering the Warrior Bug design, with several changes and additions — such as the wings, appropriately large to support the creatures in flight; the legs, structured for long jumps (or ‘hops’) and for take-offs; and a less angular shape of the main jaws. The Hopper Bugs also sport a considerably different color scheme, which is mainly composed of an iridescent green — inspired by certain species of beetles, such as the goldsmith beetle — in contrast with the Warriors’ more opaque configuration.
The Bugs’ strategic mind is the Brain Bug, which aesthetically follows the vague description in Heinlein’s novel, with an enormous, bloated body and atrophied limbs. Hayes commented on the design: “I thought it would be interesting to have pulsing ripples periodically moving just under the flesh on the top of the Brain Bug’s head — an effect we dubbed ‘the meat wave.’ For his face, we hit on using multiple eyes, like a tarantula’s, and a slitted, sexually suggestive mouth organ. From that unfolds a hollow, pointed proboscis — another sexual suggestion — which can spike the top of a human head and suck its brains out.”
Due to the Brain Bug’s inability to move considerable distances by itself, Hayes conceived the Chariot Bugs as its “transporters” — small creatures with a plated dorsal region, able to coordinate their efforts to support and move the considerable weight of the Brain Bug accross the nests. Hayes commented on the design: “because [the Brain Bug] is so fat, it is relatively helpless, physically, and rides around on the backs of little courier insects, which also act as information gatherers. We called those Chariot Bugs.”
The aforementioned first “Bug test” [also seen above] was screened for studio executives in september 1994, and finally achieved the greenlight for the film. Compared to Tippett’s earlier effort in photorealistic digital creatures — Jurassic Park — Starship Troopers presented considerable challenges: not only it presented a far more massive number of digital effects, but it would represent fictional entities without an actual point of reference from reality. Tippett explained: “we’d had concrete reference points for [the Jurassic Park] dinosaurs. And when the weight and the joints of a real animal — even an extinct one — are available to you, you pretty much know what to do with it digitally. But when you’ve got something that’s never really existed, such as the insects of Starship Troopers, suddenly the tail is wagging the dog. We had these great Bug designs that Craig had come up with; but trying to figure out what these creatures could do — what, for them, could be a realistic gait, or a lifelike action — became an enormously complex enterprise.” In addition to that, the creatures would be shot in full daylight for most of the film, further complexifying the process.
At least one hundred digital artists — from animators, to compositors, to other technicians — worked on Starship Troopers to bring the extraterrestrial Bugs to life. Each animation sequence started with a series of low-resolution animatics. Digital scans of the maquettes (some of which were articulated) sculpted by Peter Konig and Martin Meunier provided the wire-frame of the models, which were then finalized. An exception to this was the Tanker Bug, who was created in Softimage by Blair Clark without going through the digitizing process. All models were then refined in Softimage, and set up with kinematic chains, which enabled them to be animated. Responsible for the color scheme and surface texture of the creatures were Paula Lucchesi and Belinda Van Valkenburg.
Two animation techniques were used by Tippett’s team. Standard key-framing animation was used for the most part, including the entirety of the sequences involving the Tanker Bugs, the Hopper Bugs and the Brain Bug. A considerable number of sequences involving the Warrior Bugs also used the Digital Input Devices (DID), a Tippett Studio invention first experimented in Jurassic Park and Tremors 2: Aftershocks, built by Merrick Cheney in the shape of the Warrior Bugs. The DIDs are small scale articulated models, which are fitted with motion sensors that transfer the movement applied on the DIDs to the digital models being animated.
For Starship Troopers, the DIDs were refined, and made “more sensitive.” Tippett told VFX HQ: “we’ve refined the DID since Jurassic Park, in the overall cleanup of the design. Craig made sure that the DID would be much more responsive to the animator’s movements… all of which was preparing for the massive amount of animation that was to be done on the DID for Troopers.” Two types of the devices were used: one, which functioned in real time, was used for quick background shots of the Bugs; the other was used for more complex and detailed sequences, and brought the animation process to a method similar to that of stop-motion animation. To link this second type of DID directly to Softimage, the effects team wrote a new hardware interface board and a specialized software. “Much of the way the bugs moved was dictated by Craig’s designs,” Tippett said. “We did a lot of animatics, and assigned the Bugs weights and the extent of its movements to come up with an animation design, to see how realistically these beings could move and run and attack.”
Another animation tool that proved crucial to render the scenes featuring swarms of Bugs was Dynamation (not to be confused with Harryhausen’s stop-motion technique), used in scenes such as the Tango Urilla carpet bombing. Software developer Doug Epps explained: “normally, Dynamation is utilized to generate things like smoke clouds or jet exhausts. But Dynamation also allows you to do procedural animation of points and particles — a capability that was critical in laying out the swarms. We knew we had to do hundreds, or even thousands, of Bugs in some shots, and we certainly didn’t want to have to hand-animate all of them. So we used Dynamation’s particle systems — tweaked with software written by Eric Leven and Darby Johnston — to generate dozens of little dots that we could then apply en masse to a plate. Dynamation gave each Bug its own radius and terrain maps and maximum velocity vectors, which allowed it to maneuver over the landscape of a given scene without hitting other Bugs or obstacles such as rocks. That process really saved us. We’d still be doing swarms if it hadn’t been for that software.” To differentiate the Warriors, specific animation cycles were assigned to each one of the ‘dots’, and some of the creatures were also slightly downsized or oversized. Hand-animated ‘hero’ Bugs were placed in the foreground, whereas less-detailed Bugs — called ‘Jacks’ — were positioned in the midframe and background. “We called them Jacks,” noted Danny Boyle, part of the visual effects crew, “because these particular Warriors were going to be tossed up into the air by the force of the explosions, just like a child’s set of jacks.”
The most complex sequence featuring Dynamation was the Whiskey Outpost attack, one of the first to be taken on. Epps recalled: “on any effects film, we like to get the big shots out of the way first. Anything you learn at the front of the schedule makes subsequent shots of the same nature a lot easier to accomplish. So we tackled the first two swarm shots in that sequence right away.” Nearly a dozen swarm shots was made for the sequence and carefully detailed to be as realistic as possible, such as dust or shell parts being blown off. “These elements were either CG or real elements filmed against greenscreen,” said Doyle. “The dust kicked up by the Warriors was a separately photographed element, as were a lot of the squib hits and gore effects you see on the Bugs.” The second swarm did not have to move in separate paths; as such, “instead of run cycles,” Epps said, “the animators set up ‘milling about’ cycles, which were inserted over the Dynamation-generated Bug dots.” Rendering time for the swarm shots clocked in an average of 60 hours per frame first, then 25-30 hours as the process was eased down.
In the early encounter with the Plasma Bugs, the creatures are seen ejecting their deadly weapon into the skies of Klendathu. Layers of computer-generated transparencies were provided by the art department to render the translucent abdomens of the creatures, with the plasma projectiles rendered with RenderMan and Dynamation.
Another challenge was posed by the Tanker Bug’s lethal acid flow. Weiss recalled: “in designing the look of the Tanker spray, we looked at a lot of lava footage for reference. It wasn’t supposed to be lava, but it was meant to have that kind of consistency. We played around with Dynamation for a long time to come up with the final look.” The last detail was a layer of heat distortion to suggest the extreme temperature of the acid. Transparency layers were again used to portray the exploding Tanker, after Rico inserts a grenade in its damaged hide. Doyle commented: “you see all of these multicolored organs inside what is left of it. The art department used a separate, gutted CG Tanker model for that shot, showing its exposed innards as the Tanker rocks back and forth to a halt.”
The Hopper Bug was “one of the most challenging Bugs for the art department,” said Lucchesi, “because of its iridescent surface quality. It is beautiful to look at in the real world, but very difficult to replicate in the digital one. Our department worked with Doug Epps to come up with a custom, metallic surface shader. By applying that shader and experimenting with red-green-blue texture maps of varying degrees of intensity, we came up with a refractive quality on the Hopper’s body that was pretty successful. We used displacement to deform the surface so that light would catch certain areas of the wing more than others, giving them a wispy, delicate look. Then the compositing department blurred whatever enfironment was behind the wings to suggest their semi-translucent qualities.” Animating the Hoppers was considerably difficult due to the fact they had to be affected by small changes in wind currents during flight; as such, they made small course changes, in a manner similar to real flying insects. Tippett and Hayes initially estabilished ‘flight rules’ for the creatures: “when Hoppers decelerated, for example, they flared their wings out. When they dove, they adjusted the attitude of their wings. So there were definite rules — but other than that, the animation of the Hoppers was done mostly by feel.”
The digital Brain Bug was modeled by Martin Meunier and Merrick Cheney, and animated by Jeremy Cantor entirely by key-frame. The meat wave effect was achieved with procedural software shaders, written by Epps for RenderMan. Trey Stokes, part of the crew, noted that “the tricky part was making sure that the meat wave movement was adjusted to the overall animation of the Brain Bug, so that the wave didn’t change the character of the Bug’s animation. One way Jeremy approached that was purely procedural — he got in there and digitally grabbed the Brain Bug’s flesh and warped it all over the place. For the actual wriggling mounds of flesh, Jeremy used another shader, created by Doug Epps, called ‘Blorph’. If Jeremy wanted one of the Brain Bug’s cheeks to hit the ground and jiggle for a second, Blorph would allow him to do that. That piece of software, combined with the meat wave effect, gave the CG Brain Bug a convincing look of weight and fleshiness.”
When the Brain Bug is captured, it is dragged outside the nest inside an enormous net. The complexity of the sequence was due to the net itself, as explained by Lucchesi: “the CG net had to be close enough to the surface of the Bug that it wouldn’t look as if it was floating, but far enough away so that it wouldn’t appear that the net was going through the surface. We also had to be careful when casting shadows of the net onto the Brain Bug’s body so that they wouldn’t emphasize any contact problems.” Tippett added: “Jeremy Cantor, in particular, was great at finding just the right level of procedural and texture-based animation to make the CG Brain Bug look like he was encased in that net, while at the same time making sure that the Bug did not absorb the netting beneath the surface of its skin.”
The four-foot long Chariot Bugs — the carriers of the Brain Bug — were animated with the intention to impart the sense of being the worshipful servants of their master. Stokes said: “they adore the guy. We tried to suggest that by animating moments where the Chariot Bugs’ feelers are touching and stroking the Brain’s body. To suggest that they are also a form of bodyguard, we animated one to stand guard over a rifle that Zander has dropped. It is a subtle throwaway, but it’s there.”
Accompanying Tippett Studio’s digital effects was Amalgamated Dynamics’ wide array of practical creatures, ranging from animatronics to featureless props of dead creatures. One practical addition entirely designed and built by ADI (since it would not be brought to the screen digitally) was the Arkellian Sand Beetle — an insectoid, cockroach-esque alien species unrelated to the Monsters from Klendathu. The three-feet long, two-feet wide creatures are used during a biology lesson to be dissected (not in case, they were nicknamed ‘Dissection Bugs’ by the crew). Each one of the eight models was composed of 12 main parts, among which the head and legs — moulded in translucent skinflex, a more flexible type of urethane. The body was instead moulded in more common urethane. Among the props one was a hero Beetle, painted with acrylics and detailed with horse hairs (each individually ‘punched’ into the skin). Its insides were rendered with ultraslime, methocel and nylon — other than silicone organs. The internal structure was held together by a thin silicone membrane placed under the urethane abdominal shell, which was severed during filming to simulate the dissection. To create the effect of pressurized internal organs, a simple internal air bladder was inflated manually with an air rig.
Two full-size animatronics of the Warrior Bugs were engineered by George Bernota, and based on full-size sculptures by Steve Koch and Brent Armstrong. Their shell was moulded in fiberglass and painted; soft skinflex portions were the finishing touches, and covered jaw, wrist, elbow, and shoulder joints. Both were driven by a combination of pneumatic, cable and hydraulic mechanisms. ‘Snappy’ — nicknamed by the crew after its articulated jaws — was an insert upper-torso animatronic, detailed from the shoulder area to the head. The nine-feet tall puppet featured fully articulated front legs, arms, jaws and head, and was hydraulically operated for head rotation. In order to properly lift actors as certain sequences requested to, its internal structure was built in steel. A collision avoidance program also prevented the puppets to damage themselves.
Where Snappy needed only three puppeteers, the other animatronic — a full-body creature, nicknamed ‘Mechwar’, needed five. Measuring a total of 15 feet in length and 10 feet in height, Mechwar was able to perform a wide range of at least 30 separate movements. Its head was hydraulically powered — as was its thorax, which combined hydraulic, pneumatic and electrical systems. The jaws and arms were puppeteered with cables and hydraulics, whereas the legs were maneuvered via rods. Head, jaws, arms and the creature’s smaller parts (such as the eyes) were separately puppeteered. Interestingly enough, the controllers were custom-made small-scale armatures that corresponded, section for section, to the full-scale animatronic. Fitted with motion sensors, similarly to Tippett’s DIDs, the devices could transfer the movement applied to them onto the puppet. General body movement were provided with a simple support crane, built by John Richardson’s department and operated by eight crewmembers. It was attached to the Monster’s thorax to achieve upward, downward and rotational movement.
Numerous full-size models were constructed to portray dead Bugs. A total of 15 props portraying the deceased Warrior Bugs was built: five charred creatures and ten bloody carcasses, riddled with gunfire. Co-founder of ADI, Alec Gillis, said that “those were scaled-up from the maquettes, moulded in silicone, seamed, and cast out of fiberglass. We decided to do the full-scale Bugs modularly in order to quickly pop them together as needed, and each Bug was broken down into 34 separate pieces. We also made backup pieces, in case of location damage. With 34 pieces for each dead Warrior, multiplied by 15 dead Warriors, multiplied by backups, just manifacturing these things turned into a huge job.” Other minor creations were insert arms. Made of fiberglass and four-feet long, the appendages were maneuvered offscreen via handles on the shoulder end. The Bugs’ entrails were achieved with a combination of chopped latex and foam rubber scraps. The blood was instead methocel, tinted green, orange — in the case of the Tanker Bugs — or cream-like — in the case of the Brain Bug (the reason for the different coloring within the same species was not addressed — neither within the film nor by the filmmakers).
The painting process revealed itself to be far more complex than originally expected. Despite the fact the paint schemes had already been elaborated by Tippett Studio, ADI had to scale them up. Tom Woodruff Jr. commented: “it’s a different ball game when you’re interpreting the coloration of painted reference models into full-scale props. Once we applied the Warrior’s initial paint job to our magnified versions, it suddenly looked toy-like, just because of the immense size of our Bugs.” The final paint schemes were enhanced with a lacquer seal, then toned down and ‘aged’ using sandpaper, dust and other tools. The burned texture on the charred Bugs was obtained by cutting the models in selected areas, and applying liquid urethane — precolored with black tones — that “foamed up and gave the Bugs a crinkled, charred texture,” as told by Woodruff. “We also peeled back the Bugs’ exoskeletons and added bits of colored foam inside to give them a more charred appearence. Then we touched everything up with black paint.”
For the scenes were Rico is seen on the back of the Tanker Bug, ADI constructed two fiberglass shells, sculpted (in green foam) as well as painted by Bob Clark. They were joined together to form the back plate of the Tanker Bug. The actor was attached to the shells with thin wire tethered to a belt. To portray the wild movements of the Tanker as Rico tries to penetrate its hide with gunfire, a twenty-feet long tractor was installed beneath the shell through a system of metal supports, hydraulic rams and a gimbal. Two crewmembers puppeteered the shell.
The most complex task for ADI was building the close-up animatronic of the Brain Bug. Since the full body would only be brought to the screen digitally, only the head of the creature was built; it was 12 feet tall and 10 feet wide. The creation of the animatronic started with a full-size sculpture — in green foam and clay — by Bob Clark. The face of the Brain Bug was sculpted separately in clay and other materials by Steve Koch. The head was moulded in separate pieces of fiberglass, which were joined together to form the underskull. The structure was then covered with foam latex skin — again casted in pieces due to the sheer size of the animatronic. The face was instead moulded in skinflex and positioned over the complex articulation mechanisms. Gillis commented: “Craig Hayes did a remarkable job designing that face. It was detailed with long, thin, paddle-like appendages near its mouth, called feeder claws. It had eight eyes and a huge, vertically slitted mouth. All of those things had to be replicated in the full-size puppet. We made the feeder claws out of fiberglass, operated by radio control mechanisms. The eyes were cast of high-gloss urethane, misted with a silicone oil during filming to make them reflective and alive. The sphincter-like mouth was also made of skinflex. We attached air bladders on either side of the underskull, which could be manually operated by little hand bellows to make the Brain Bug look as if it was pulsating.”
The practical version of the ‘meat wave’ effect was designed by David Penikas. He built a eight-feet long and two-feet wide endless conveyor belt system, which followed the curvature of the Bug’s upper skull and was installed under the skin. Two rollers with gripping servomotors were placed on the creature’s brow area and on the back of the head, connected by the belt — which was covered with crescent-shaped pillows. A motor equipped with a speed controller produced the rippling effect by running the conveyor belt, whereas the pillows damped its actions. The creature was also supposed to express emotions through its bodily language. “One of Paul Verhoeven’s big concerns,” Woodruff said, “was that we be able to get a variety of expressions out of this face. That was one of the difficult challenges, to make it not only look fearsome but fearful as well.” Five puppeteers controlled the Brain Bug’s movements from inside the animatronic itself.
The Bug’s proboscis (or palp) was puppeteered with cable mechanisms. Yuri Everson, part of the ADI crew, recalled: “we made a number of triple-jointed, cable-controlled palps, operated from inside the puppet head, through what looked like a little t-shaped motorcycle handlebar.” The exterior of the proboscis was moulded in translucent vacuform and then airbrushed. For the scene where Carmen severs it, a pre-cut tip was attached with superglue, and a hollow tube was inserted — to pump colored methocel, which simulated the creature’s blood spurting out.
The brain-sucking effect seen when the Brain Bug kills Zander was a collaboration between ADI and Kevin Yagher Productions, which provided the gore effects of the film. Technician Bryan Blair commented: “working alongside ADI, we did that in two stages. For shots where it’s obviously actor Patrick Muldoon looking horrified, we came up with a mohawk-type wig for him, with a fake silicone wound attached to the top of it. ADI took off the top of one of the hollow vacuformed palps and attached it to our fake wound and hair appliance. At the same time, we’d hidden flexible, hollow plastic tubing, about an inch in diameter, under Patrick’s hair. That tube trailed down behind his back and into a plastic bucket, where we’d deposited this sausage-like rope of silicone ‘flesh’ that was attached to a string and drenched in stage blood. We ran the string out the opposite end of the tubing and into ADI’s hollow spike. On ‘action’, Patrick started to grimace while I pulled the string, yanking the sausages up through our hidden tubing into the translucent spike, making it look as if Zander’s brains were being sucked through the palp.” The sequence was completed with two puppet heads of Zander, respectively simulating his pain as the palp pierces his head, and his death.
Ultimately, Starship Troopers presented an array of groundbreaking effects that carved their place in Creature Feature history, and inspired generations of films after them; no film before had tried such a massive quantity of creature effects. “I’m exhausted,” Tippett said. “But it worked out pretty well.”
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