Puphedz.com Backstage Photo Archive
Backst age

Brillig Productions

Join the Puphedz Navy!!

Puphedz Wallpaper

Box corner line box corner
Backstage Photos
This archive contains backstage photos of the Puphedz crew as they work on the show. Click any thumbnail below for a larger, pop-up view. When done viewing, close the window to avoid overtaxing your system.
box corner line box corner
The Kitchen Set—October 2000
Construction commenced on the next part of the Puphedz project: the Kitchen set. Many scenes will be shot in this set, including the opening of the episode. Here are some early shots as the set is being dressed. Props were constructed by Paul and Kristina Francis.

Fango Booth.Mark on backdrop Udo and Killer Udo, Jurgen and Killer Udo and Killer Puphedz Navy

Jurgen and Larchbottom Stove Stove stove table table

Fangoria Weekend of Horrors—August 2000
Promote, promote, promote. August 2000 found the Puphedz folks out doing the horror film convention circuit. The Fangoria Weekend of Horrors, held in Pasadena, CA placed THE PUPHEDZ project squarely in the eyes of the likes of Director John Landis (AN AMERICAN WEREWOLF IN LONDON) and Effects Makeup Guru Rick Baker (MEN IN BLACK). Even actor Udo Kier graced our booth with a surprise visit (awesome!). Plus, diehard fans of the genre provided invaluable feedback (enthusiastic and positive!) on the project.

Fango Booth.Mark on backdrop Udo and Killer Udo, Jurgen and Killer Udo and Killer Puphedz Navy

Jurgen and Larchbottom

Building The Puphedz Cart—October 1999
This is where it all began. The cart proved to be a tedious endeavor and is only used for shooting one time. The only live action in "PUPHEDZ", the cart will be pulled by an actor and used to begin and end each episode.


Shooting The Puphedz Cart—February 2000
The crew converged on El Mirage dry lake bed near Victorville, CA to shoot the beginning and ending sequences. The lake bed proved ideal for several reasons, but primarily facilitated the pulling of the cart. Rough terrain would have made mobilization near impossible. Shooting started with gray, overcast skies. The weather cleared and the final segment was filmed.

Tree foreground miniature.Jim Kundig dresses foreground miniature.Jurgen Heimann and Ryan Vaniski dress foreground prop.Actor Clay Martinez suits up with help from FIRST LAST.Ryan Vaniski and Jurgen Heimann position the cart prior to shooting.The group shoots the cart.

Clay Martinez pulls cart while Mark Leins grabs footage.The final set up for the day.Biodegradable blood trail.

The House Exterior Set—October 1999
An exterior set of the house was needed for the trailer and for some main and transitional elements within the first episode. Built by eye from Jürgen's conceptual sketches, the house contains no right angles. Jürgen, Jim Kundig and Ryan Vaniski built the stage and house set over the course of four to five weekends. DP Mark Leins prelit the set with three different looks: morning, late afternoon/dusk and night.


The Killer's Bedroom—May 2000
Not a whole lot to shoot in this set, but what was filmed proved an exercise in patience and endurance. The puppet had to walk in one of the shots, so rods were fitted to the legs. A gantry was built, spanning the set overhead to allow puppeteering from above. The real challenge: Puppeteering with only three people.

BedroomBedroom DoorGuitar and AmpRyan gluing floor planks.Jurgen with moon.Mark on backdrop

Mark lighting bedroom.Ryan detailing bedpost.

The Hallway—May 2001
This set, built forced-perspective, was only about four feet in length. Numerous scenes were shot here with three of the four puppets. “Wild” walls and a ceiling piece were constructed to facilitate camera placement. Shooting with a wide-angle lens helped to further enhance the perspective.

Ryan Building HallwayRyan Planking Hallway FloorPaintings in the HallwayJürgen detailing hallway wild wall

The Heart—February 2001
The Old Man’s heart, or rather, the Tattle-Tale Heart set, although fairly self-contained, had a lot happening on it. Constructed mostly of foam, it had animated devices which needed to be operated during shooting. This required four puppeteers. The bellows apparatus (Old Man's lungs) was driven by a Makita. The Heart consisted of air bladders to make it beat as well as control cables for other movements.

The heart set.Detail of the heart under construction.Close up of the heart.Close up of the bellows mechanism.The Old Man's stomach.The Heart the final lighting set up.

The Fireplace—January 2001
Imagine that: A whole set created for just one gag. Actually, there were three for the complete sequence, but only these images are available. The Skinny Cop, while searching the House, climbs up on the roof, peers down the chimney, falls in and winds up in the Fireplace.

The Skinny Cop with soot makeup.The Fireplace set.The Fireplace during filming.Close up of the Skinny Cop and Swordfish.





copyright © 1999-2003
Brillig Productions, LLC
all rights reserved
Puphedz is a trademark of Brillig Prods, LLC

puphedz webmaster