ANTHRAX Guitarist Explores Servo Magic Of Animatronics And Robotics In 'Blood & Guts'

April 2, 2013

The third episode in the second season of "Blood & Guts", the Nerdist YouTube channel web series hosted by ANTHRAX guitarist Scott Ian, can be seen below. Join Ian as he explores the servo magic of animatronics and robotics with Mike Elizalde and Brian Walsh of Spectral Motion (Hellboy, Fantastic Four, Robot Combat League, Lady In The Water).

When asked how his collaboration with Nerdist came about, Ian told Nerdist.com, "Just out of the blue, [Nerdist founder] Chris [Hardwick] hit me up and asked me if it was something I'd be interested in. He felt my personality was right for this. I guess the backstory on it would be that when they first came up with the idea for 'Talking Dead', I got a call about shooting the pilot, and my job was field reporter. What they did for my segment was send me out to the set of one of the webisodes, and then Greg Nicotero and his team made me up as a zombie and I got to be a walker. I had closeups and everything in the webisode. When it got picked up, they didn't keep me as field reporter — that position, I guess, wasn't something they were gonna move forward with — but Chris just kept it in the back of his mind. I can only assume that when Nerdist and Fangoria had the idea to do this show, Chris said I'd be the right guy to be going out and hosting these things because of the bit I did on 'Talking Dead'."

On the topic of his favorite horror make-up moments of all time, Ian said, "The first thing to pop into my mind is when Tom Savini gets torn apart in 'Dawn Of The Dead'. That scared me as a kid and I guess you could kinda say it stayed with me in a good way. The scene in 'Scanners' when his head blows up, that's a classic. Anything in 'Evil Dead' or 'Evil Dead 2'. I know I mentioned this, but I just watched 'Drive' last week and that scene where she gets her head blown off is straight out of an '80s horror movie. The movie's not necessarily slow, but very Michael Mann, '80s kinda pacing, very moody and all that — and then all of a sudden that hotel-room scene happens and you're just, like, 'Holy crap!' and then from there it's just 100 miles an hour. I was blown away with that movie."

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