The Filmumentaries Podcast

Ep 145 | Alec Gillis — Creature FX Artist (Aliens, Predator, Tremors)

The Filmumentaries Podcast

Show Notes

In this episode of The Filmumentaries Podcast, I’m joined by creature effects designer Alec Gillis, founder of Studio Gillis and co-founder of Amalgamated Dynamics Inc. (ADI) alongside Tom Woodruff Jr.Alec has spent more than four decades helping bring some of cinema’s most memorable creatures to life.

After beginning his career working under the legendary Stan Winston, he went on to contribute to films including Aliens, Predator, Alien³, Tremors, Death Becomes Her, Starship Troopers and many more.In this conversation we talk about how a childhood encounter with Ray Harryhausen’s Jason and the Argonauts set him on this path, the early days building stop-motion creatures in his parents’ garage, working for Roger Corman alongside a young James Cameron, and what it was like joining Stan Winston Studio during one of the most exciting periods in creature effects history.

We also talk about the eight-week scramble to build the Predator, working with David Fincher on Alien³, forming ADI with Tom Woodruff Jr., and how practical creature effects continue to evolve in an industry now dominated by digital tools.

This interview was recorded remotely, but I recently had the chance to visit Alec in Los Angeles while filming interviews for our upcoming Joe Alves documentary, where we spoke in person about his work on Jaws 3-D.

Topics discussed

• Discovering movie magic through Ray Harryhausen • Building stop-motion creatures as a kid • Learning the craft during the Roger Corman years • Meeting and working alongside James Cameron • Life inside Stan Winston Studio • Creating the Predator in just eight weeks • The production of Alien³ and working with David Fincher • Founding Amalgamated Dynamics Inc. with Tom Woodruff Jr. • Practical effects in the digital era • Mentoring the next generation of creature artistsSupport the Podcast

I hope you enjoy it.

This podcast is completely independent and made possible by listener support. If you’d like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning

Watch more on YouTube: Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentaries

All my links

More from The Filmumentaries Podcast

Oct 13, 2026

John Knoll is Chief Creative Officer at ILM and visual effects supervisor on The Mandalorian and Grogu, the first time Mando and Grogu have been on a cinema screen. He describes two forces pulling against each other. It had to feel like it came from the same group of people who made the series, which meant keeping the handcrafted approach — puppets, creatures in rubber masks, motion control miniatures, stop motion.

Sep 22, 2026

This one's a bit different. It's shorter, and it's about a film that doesn't exist yet. Christopher Jacobsen is an actor and filmmaker, and full disclosure, the brother of one of my good friends. He's trying to get a documentary made about Daragh O'Malley, who played Sergeant Patrick Harper in Sharpe.

Sep 7, 2026

Sean England has been at Skywalker Sound since 1993. He didn't arrive as a foley artist. He came in on the technical side, in the machine room and the transfer department, back when everything went to analog tape and film was spliced on a Kem. He calls those years his film school. He watched sound get made from one end of a picture to the other, then became a foley recordist, then a mixer, then went through the glass and became the artist.

Aug 27, 2026

Ep 154 — Wolf Kahler — Colonel Dietrich in Raiders of the Lost Ark

Aug 11, 2026

Brad Fiedel wrote one of the most recognisable pieces of music in film history, and he did it on a drum machine, a sequencer and a keyboard chained together with a computer ribbon cable, before MIDI was really a thing. The famous lurch in the rhythm is him hitting a button by hand and deciding the wobble was better than the fix. Years later Henry Mancini rang up wanting to record it with a big band, and the man writing the lead sheet couldn't work out the time signature.

See all episodes →