Bede’s alumnus Matthew has forged a dynamic career in the film and TV industry, transitioning from a passion for drawing "dark and creepy characters" to working as a sculptor and model maker on major features, including House of the Dragon. We delve into the specific programs, skills and Bede's influences that shaped his unique path into creature and character effects.

After Bede’s, what specific courses or programs did you pursue (e.g., degree, vocational training, apprenticeships) that were most crucial in developing the skills needed for sculpting and creature/character?

After Bedes it was definitely a bit of a rollercoaster as I wasn’t sure exactly what I wanted to do or how to get there. I knew I was really interested in film/art and I spent most of my time in the creative department working on drawings or my photography. I was specifically very interested in drawing dark or creepy characters/monsters of my own design and concept, but never anything too physical like sculpture which is now my profession. 

I wasn’t quite sure about university so I took a gap year to think about my options and eventually selected the University of Hertfordshire to study character sculpting and mouldmaking techniques for film arts.

Although in hindsight I’m not sure if university is the right pathway to take for a career in the film industry, as there are so many avenues to go through, however, I did gain a great deal from that course and I was able to achieve my first job in the Greens department on the Barbie movie, thanks to the help of one of my lecturers.

It was a three year course during which time I focused on sculpting anatomy and portraiture as well as indulging in some of my own creative endeavours utilising the university's studio space. Although we were a little bit side swiped due to Covid and the first year in 2020 was full of restrictions.

After leaving the course I was headhunted by a polystyrene Sculptor in construction at Leavesden Studios and Worked on House of Dragon season two as a Sculptor for the first time in film and TV. This job was great but as it came to a close there was a huge film and TV strike that took place meaning that there was no work for the next year in the industry. 

This is when in our line of work you have to get creative and find an income through whatever means possible, using the skills that you have. Usually that means being a freelancer and taking any job you can get! 

In the time off film, I worked as a Heritage Home Site Plasterer and eventually as a Mould Maker, following that I worked with an independent company, on the south coast, as a Model Maker and Sculptor, basically making anything that they would ask me to and just making it work. You have to take risks when starting in any industry these days and sometimes that means, saying “I can do that” very confidently in a meeting and figuring it out later! 

After a year of earning as a freelancer I realised I needed to speed up the process of getting myself involved in the ‘Creature’ side of the film industry, which was where I had decided my future was headed! As this is the place where I could apply my love for monsters and aliens and those dark creepy characters I talked about earlier. 

So I took a course at the Iver Academy of Makeup Arts in Pinewood Studios where I was taught by Stuart Bray, in the hope it would propel me further in the industry. 

I ended up building a good relationship with the owner of the Iver Academy Elizabeth Tagg, who invited me to do a demonstration at Pinewood Futures Festival. Applying a joker prosthetic make up I had sculpted myself. 

This happened to catch the eye of a Lucas film employee who gave me the contact information for a creature effects employer. I didn’t hear anything for the next six months from them so in the meantime, I went back to construction sculpting where I stayed until I got a call, and was interviewed for, an incredible opportunity, working on a feature film, which is where I’ve been spending my time this year.

Can you describe the difference between working as a freelance maker/team lead and being a dedicated sculptor for major studios (Pinewood, etc.)? What are the key advantages and challenges of each path?

This is a very important question. Working as a freelancer is extremely tough and you have to build a lot of relationships with various companies to know that you’ll be able to make a wage and pay for all your expenses as well as treating yourself as a business. 

It’s a constant hustle, and when a job ends you never know when you’re next going to be employed and that can come with some anxiety especially when a lot of freelance companies don’t pay very well for creative workers which is a shame because our skills are very unique and we make some truly fantastic things. You have to be there because you love it!

Whereas being employed in film is very different. You know that you’ll be employed for maybe six months to a year, although it still comes with the knowledge that the film will end and there will be a break period but usually that work lifestyle is so intense that you’re ready for a break when the end of the film comes. Usually the hours are very early to very late and realistically you stay as long as it takes to get the job done. You work hard but the results are fantastic! And your craft is usually supported by a huge budget. 

Aside from artistic and technical sculpting skills, what "soft skills" (e.g., communication, teamwork, project management) have been essential for your success as a team lead and collaborator?

Soft skills is a really important point, and communication is one of the main factors that drew me towards a career in the art as you will end up collaborating and working alongside some really amazing talented artists all striving to improve each other’s work. This collaboration and sense of community can create such a fantastic environment for creativity. I think people really don’t take into consideration how important it is to be a kind and approachable person, these are skills that can take you a long way, especially in an industry where you have to sell yourself constantly, sometimes only having a few minutes to do so.

And when you are running a team, you need to be someone that everyone feels like they can approach and talk to about anything, and never lose your cool when things aren’t going right.

What specific moments, subjects, or projects at Bede’s first ignited your passion for theatre and prop design?

At Bede’s, I did a lot of work in Theatre Studies helping out with behind-the-scenes lighting and stage creation. I also have to owe a lot of my interest to Mr Hammond in ceramics class and introducing me to clay at even though the way I sculpt now is very different to the ceramic skills that I learnt there, it did give me a feel for dimension and creating a 3D objects as opposed to 2 dimensional drawing.

Were there any specific teachers or members of staff who particularly inspired or supported your creative goals while you were a pupil here?

I think I was lucky to have so many helpful teachers at Bedes who really pushed me to make some great work. In the art department, Mr Turner, Mrs. Excell, Ms Harris and Mr. Hammond too were all fantastic influences. 

As I said before, social skills were such an important part of my development too and I feel like I really got a lot from my teachers in Stud such as Mr Jones and Mrs O’Hara. At the end of my time at Bede’s, saying goodbye to these teachers was genuinely like saying goodbye to friends.

I’d also like to mention Mr Krauser who I believe has since moved to another country. He was my Mathematics teacher and he put in so much work to help me with my maths lessons! I’m not particularly gifted with numbers and he really showed me that you can accomplish anything if you’re willing to try and he really put in a lot of time for me.

How do you feel your engagement with subjects like Art, Design & Technology, or Theatre/Media Studies at Bede's prepared you (or didn't prepare you) for the immediate next steps after leaving?

I think leaving school prepared for the world is something that you don’t see very often in general. Life is messy and will throw all sorts of obstacles at you, and you never know what is just around the corner. So you need to roll with the punches. I think Bede’s really helped me grow socially and learn how to work with people and I’d say that’s one of my biggest skills. When I was at Bede’s there was always an opportunity to try out something new, all you had to do was ask, whether it was Legat, Drama, Sports or Zoological, you could really try your hand at anything and I really believe I’ve taken that mentality to my life and know that I can give anything a go!

If you could give one piece of advice to your younger self at Bede’s, knowing what you know now about the industry, what would it be?

Looking back, I didn’t take my art seriously for the longest time but the moment something switched in my brain and I realised that this is what I love and that if I sit down and just work on making the things I want to make, the career I love will surely follow. People see your passion and your energy and they will give you opportunities.

The hardest part as an artist is proving to yourself that you’ve got what it takes and that your work will never be good enough. And a lot of the time doing art feels a lot like being unproductive, but it genuinely feeds your soul and is one of the best things in the world. So if there’s something that you love, just dedicate yourself to it, go all in, experiment and have fun. Don’t take life too seriously, you can always try again and make as many friends as you can along the way. 

Any advice for current Bede’s pupils?

You make your own luck, don’t worry about the bigger picture, just keep making all those small little steps toward the end goal and rest will fall into place.

Matthew's journey from drawing "dark and creepy characters" in the creative department at Bede's to sculpting fantastical creatures for major productions like House of the Dragon is a powerful testament to the value of persistence, adaptability, and passion. His path is a blend of university training, constant freelancing and strategically acquired vocational skills. Highlighting the dynamic, often uncertain, nature of the film industry. Yet, his commitment to his craft, buoyed by the strong foundation and supportive relationships formed at Bede's, allowed him to continually pivot and seize opportunities, proving that when you dedicate yourself to what you love, the career will follow. For current Bede's pupils, Matthew’s ultimate advice rings true: "You make your own luck." By focusing on those small steps, cultivating valuable soft skills, and diving headfirst into creative endeavors, any goal, no matter how ambitious, can be realised.