Stanley Winston (April 7, 1946 – June 15, 2008) was an American visual effects supervisor, make-up artist, and film director. He was best known for his work in the Terminator series, the Jurassic Park series, Aliens, the Predator series, Iron Man, Edward Scissorhands and Avatar. He won four Academy Awards for his work.
Winston, a frequent collaborator with director James Cameron, owned several effects studios, including Stan Winston Digital. The established areas of expertise for Winston were in makeup, puppets and practical effects, but he had recently expanded his studio to encompass digital effects as well.
Stan Winston was born on April 7, 1946, in Arlington, Virginia, where he graduated from Washington-Lee High School in 1964. He studied painting and sculpture at the University of Virginia in Charlottesville from which he graduated in 1968. In 1969, after attending California State University, Long Beach, Winston moved to Hollywood to pursue a career as an actor. Struggling to find an acting job, he began a makeup apprenticeship at Walt Disney Studios.
In 1972, Winston established his own company, Stan Winston Studio, and won an Emmy Award for his effects work on the telefilm Gargoyles. Over the next seven years, Winston continued to receive Emmy nominations for work on projects and won another for 1974’s The Autobiography of Miss Jane Pittman. Winston also created the Wookie costumes for the 1978 Star Wars Holiday Special.
In 1982, Winston received his first Oscar nomination for Heartbeeps, by which time he had set up his own studio. However, his ground-breaking work with Rob Bottin on the science fiction horror classic The Thing that year brought him to prominence in Hollywood. Between then, he contributed some visual effects to Friday the 13th Part III, in which he made a slightly different head sculpt of Jason in an unused ending.
In 1983 he also worked on a short-lived TV series Manimal. However, Winston reached a new level of fame in 1984 when James Cameron’s The Teminator premiered. The movie was a surprise hit, and Winston’s work in bringing the titular metallic killing machine to life led to many new projects and additional collaborations with Cameron. In fact, Winston won his first Oscar for Best Visual Effects in 1986 on James Cameron’s next movie, Aliens.
Over the next few years, Winston and his company received more accolades for its work on many more Hollywood films, including Edward Scissorhands, Predator, Alien Nation, The Monster Squad and Predator 2.
In 1988, Winston made his directorial debut with the horror movie Pumpkinhead, and won Best First Time Director at the Paris Film Festival. His next directing project was the child-friendly A Gnome Named Gnorm (1990), starring Anthony Michael Hall.
James Cameron drafted Winston and his team once again in 1990, this time for the groundbreaking Terminator 2: Judgement Day. T2 premiered in the summer of 1991, and Winston’s work on this box office hit won him two more Oscars for Best Makeup Effects and Best Visual Effects.
In 1992, he was nominated with another Tim Burton film, Batman Returns, where his effects on Danny DeVito as The Penguin, Michelle Pfeiffer as Catwoman and in delivering Burton’s general vision for what was an increasingly Gothic Gotham City earned him more recognition for his work ethic and loyalty to what was an intrinsic ability to bring different directors’ ideas to life.
Winston turned his attention to dinosaurs when Steven Spielberg enlisted his help to bring Jurassic Park to the screen in 1993. The movie became a blockbuster and Winston won another Oscar for Best Visual Effects.
In 1993, Winston, Cameron and ex-ILM General Manager Scott Russ co-founded Digital Domain, one of the foremost digital and visual effects studios in the world. In 1998, after the box office success of Titanic, Cameron and Winston severed their working relationship with the company and resigned from its board of directors.
Winston and his team continued to provide effects work for many more films and expanded their work into animatronics. Some of Winston’s notable animatronics work can be found in The Ghost and the Darkness and T2 3-D: Battle Across Time, James Cameron’s 3-D continuation of the Terminator series for the Universal Studios theme park. One of Winston’s most ambitious animatronics projects was Steven Spielberg’s AI: Artificial Intelligence, which earned Winston another Oscar nomination for Best Visual Effects.
In 1996, Winston directed and co-produced the longest and the most expensive music video of all time, Ghosts, which was based on an original concept of Michael Jackson and Stephen King.
In 2001, Winston, together with Colleen Camp and Samuel Z. Arkoff’s son, Lou Arkoff, produced a series of made-for-cable films for Cinemax and HBO. The five films, referred to as Creature Features, were inspired by the titles of AIP monster movies from the 1950s — i.e., Earth vs. the Spider (1958), How to Make a Monster (1958), Day the World Ended (1955), The She-Creature (1956), and Teenage Caveman (1958) — but had completely different plots.
In 2003, Stan Winston was invited by the Smithsonian Institution to speak about his life and career in a public presentation sponsored by The Lemelson Center for the Study of Invention and Innovation.
In 2004, he expressed great disappointment when director Paul W. S. Anderson did not come to him for the creature effects for Alien vs. Predator, seeing as how he designed the Predator and the Alien Queen. “They’re like my children to me,” he stated
Stan Winston died on June 15, 2008, in Malibu, California after suffering for seven years from multiple myeloma. A spokeswoman reported that he “died peacefully at home surrounded by family.” His special effects still live on through his studio Stan Winston Studios, now renamed Legacy Effects, continuing to work on films after his death such as Pandorum, GI. Joe: Rise of the Cobra, Avatar, Enthiran, and Shutter Island thus continuing his legacy.
Cool new posters for Star Wars Identities: The Exhibition.