For the [[AP]]’s inaugural interview, we were lucky enough to shoot the breeze with Eden Small, a sculptor all Weta collectors have been familiar since the Sideshow Weta days. Read on to see what the man has to say about tweaking Legolas and Gimli, Hellgate, and the challenges faced on an ever-evolving Kong.

[[AP]]: Hi Eden, thank you for taking time out of your busy schedule to chat with us. How’s the weather these days in New Zealand?
Eden Small: The weather here has been great! Plenty of sunshine and a lot less wind than usual.

Speaking of your busy schedule, describe what a typical work day is like for you at Weta?

After a good strong coffee it’s a matter of arranging the relevant reference photos, getting tools out, and getting to work!

Are you yourself much into collecting? If so, what sort of things grace your shelves?

I am more of a collector of reference material that could be useful to future art work than any thing else. Anatomy reference, particularly in regard to animals is always something I find I can never have enough of. Also Led Zep Bootlegs.

Though one of the more challenging pieces to display in the LOTR line, we love your Legolas and Gimli on Arod statue. Was there a great deal of deliberation prior to settling on the final composition?

Thank you. That piece did change a bit from its original design. It was a challenge to have the dynamics of the figures as balanced as they needed to be, so there was a little, tweaking in the maquetting stage. An interesting note is that it was a last minute change to the sculpt to have Gimli grabbing the hood of Legolas’ cape to keep himself from falling off Arod as he leans heavily to one side to strike with his axe. This had another visual bonus for the piece of adding a touch of humour to it, and showed a developing trust between the characters.

As an effects house, it is very unique (and advantageous I imagine) that you guys are instrumental in creating the actual films from which the collectibles are often based. What special perks do you sculptors utilize in way of reference materials etc. when it comes time to create the statues?

On the Lord of The Rings collectables for example, having access to actual costumes, weapons, and life casts of actor’s faces is great for accuracy in the work. Also, on set photos can provide good reference when sculpts are being made as the movie they are based on is still being shot.

Let’s talk about the Templar statue from the Hellgate: London range; what differences did you find in working from a videogame property as opposed to film?

From a technical view point, the armour on the Templar was difficult to realise in clay. On a personal level, the guys from flagship studios came over from the U.S.A and were very inspiring and we collaborated with them on the poses of the pieces for the Hellgate: London range and this is something that was an added incentive that would not happen with movie product.

Can we expect more of Weta from the Hellgate: London franchise?

That would probably depend on the popularity of the current figures, but it would be fun to do some more work for Hellgate.

You guys are running a draw in which a winner will have their face sculpted onto a custom Templar Knight (details here). That is one of the coolest giveaway ideas I’ve seen. Will you be handling the duties?

It does seem like a cool idea to have your own head on a Templar cutting a swathe through some nasty zombies and I hope I am involved!

Looking back at your incredibly diverse oeuvre, which includes –in addition to what we’ve discussed: Gothmog on Warg, Kong vs. V-Rex, Returning Son, Zorro on Tornado, and an Elton John bobble! Is there one piece that stands out in your memory that you most struggled with? Most proud of?

The biggest struggle on a piece was Kong Vs V-Rex as Kong’s hair was at a stage in design which in meant it was constantly evolving. Which meant a lot of changes to the sculpt. Sometimes changing back to the original look. And then away from it only to come back again. Also, copying directly from the scannable maquette of the V Rex that was in the movie, meant that I had to do my best to ensure that all the beautiful hand sculpted scales on it, made the transition as faithfully as possible to the version I sculpted. Given the difference in size and deadline from the scannable to the collectable, that was demanding to say the least. I am proud of my work in that it can inspire some and hopefully accurately depict subject matter for others. As for any one piece, I do like the Legolas, Gimli, Arod sculpt too.

Any parting words for your fans out there?

Thanks for the appreciation of my work. It does mean a lot to know that people enjoy the pieces, and I hope to keep delivering for as long as I can.

• See more of Eden’s work- I know you want to see that Elton bobble
• Go to the interviews index