Were you the sole person who created them all or were other people involved?
No, there were three other people involved in the production, I dealt with the design and sculpture of the
doll, and oversaw the artistic process. A friend who works in costume, Marie Kirkby, made the tiny waistcoats
and aprons, and worked out the pattern for the fur covering. Simon acted as project manager, with Sean helping
out with sourcing the packaging, and helping to assemble, package and deliver the finished product.
Were you given a blueprint or did you come up with design yourself?
There were no designs as such, I was given a link to watch the Triple Trouble video and decide how to take it.
It could have been stylised more, but I wanted to make it look as true to the Sasquatch in the video as
possible. I made a real scale drawing, which was approved by the Client, and then I began sculpting.
Were prototypes made first?
Not a full prototype no, but Rowleys were sent the master for approval before it went into production.
Were moulds created? What was the process involved in making one?
As with a lot of these things, it was cheaper to get professional mould makers in on the process, as they are
set up for repeat work and do this kind of thing all the time. We all agreed to have them made in resin in the
end, as we had considered vacuum forming which would have been less weighty, but less detailed and possibly
very fragile. There wasn't an awful lot of money in the pot, so other processes were rejected as too
expensive. I think we took the job on really, because we are all fans of the Beastie Boys and were excited
about doing something with their name attached to it!
How long did it take to make one? (or the whole lot?)
It was quite a lengthy process. In all there were eight pieces of fur cut to cover each Sasquatch. Each piece
was hand cut and stuck onto the resin figure. The aprons and waistcoats were all hand cut and sewn and then
fine detailing like the eyes were added. I can't remember how long it took in total but it was definitely a
number of days with four people working flat out.
They are really quite heavy. Are they solid?
Yes they are really heavy, we could have hollowed them out (by boring out with a drill) later in the process,
but time was marching on. In hindsight this may have been preferable, but you live and learn!
Are they all identical?
They are identical in that they all came from the same mould, although the resin was tinted during the making,
so the colour varies a little on each batch. Apart from that, for my own amusement I painted the eyes looking
in different directions!
Was the size specified or chosen for a reason?
We were asked to make them 12 inches tall.
Did you put together the complete package (including the tube and background sheet)? And the numbering?
Yes, we created everything except for the card and sticker design, which was handled by EMI's designers. Simon
organised the printing and sticker production. Sean and Simon finished assembly in the factory where the
Perspex tubes were produced on their way up to a London logistics company where the figures were being shipped
to various places around the world that day. The ends of the tubes are rough because the factory hadn't noted
their request for them to be polished; one consolation though was that somebody had processed the wrong
invoice, saving them a few hundred pounds. It was a race to finish packaging and get out of there before
Are there exactly 70? Were there any more made that were un-numbered?
Originally, Rowleys had requested a larger number, around 150 I think, but because producing an original
product was going to cost much more than something off the shelf, the number had to be reduced to 50. We
decided to produce more because it was the only way we could make it profitable. We knew it wouldn't go down
well but it seemed like a good idea at the time! We were asked to number the figures 01/50, 02/50 etc. but
because we had been left the task of hand numbering and we were delivering on the final deadline day we
numbered them 01/70 and so on knowing it would be too late to change it. It simply meant we had a few
genuinely numbered figures to sell ourselves. In hindsight though, maybe a non-numbered figure would be worth
And finally, were any other ideas considered / rejected?
The only thing that we can think of would be ideas around packaging. Simon and Sean discussed how it would be
packaged. They knew it should have a window so that the figure could be seen. Cardboard was rejected because
it wasn't going to be hard wearing enough, eventually Simon suggested a clear plastic tube which evolved from
thin flexible plastic to solid Perspex once we realised how heavy the figure was going to be!