>> VISITING WITH HUELL HOWSER IS MADE POSSIBLE THROUGH A GENEROUS GRANT FROM... [CAPTIONING MADE POSSIBLE BY KCET PUBLIC TELEVISION AND FRIENDS OF NCI] Huell: I LOVE TO VISIT THE NATURAL HISTORY MUSEUM OF LOS ANGELES COUNTY.

THERE IS SO MUCH TO SEE AND DO THERE.

AND ONE OF MY FAVORITE EXHIBITS IN THE MUSEUM ARE THE HUGE EXHIBIT HALLS FILLED WITH DIORAMAS OF ANIMALS FROM AROUND THE WORLD.

THEY'VE BEEN A PART OF THE MUSEUM FOREVER, AND THEY ARE SO REALISTIC.

IN FACT, THEY CAPTIVATE YOU WHEN YOU STAND THERE AND LOOK AT 'EM.

QUESTION IS, HOW ARE THESE DIORAMAS MADE?

AND THAT ENDS UP BEING A QUESTION WITH A FASCINATING ANSWER.

[ELEPHANT TRUMPETS] Huell: OK, WE ARE STARTING OUR ADVENTURE HERE IN THE NORTH AMERICAN MAMMAL HALL, AND I AM STANDING HERE WITH ROBERT REID, WHO IS THE MURALIST FOR THESE DIORAMAS.

AND, ROBERT, WE'RE GONNA BE TALKING TO THE TAXIDERMIST LATER ON IN THIS ADVENTURE, BUT WE'RE STARTING OFF WITH YOU, BECAUSE NOT ONLY ARE THE ANIMALS IMPORTANT IN THESE EXHIBITS, BUT THE SETTING THAT THEY'RE IN IS IMPORTANT.

TELL US WHAT THAT'S ALL ABOUT.

>> WELL, HUELL, WHAT I TRY TO DO IS RECREATE AN ENVIRONMENT SO CLEANLY AND SO EXACTLY THAT PEOPLE FEEL THEY ARE REALLY STANDING OUTDOORS FOR THE AMOUNT OF TIME THEY SPEND LOOKING AT THE DIORAMA.

Huell: OK, WHAT ARE WE LOOKING AT RIGHT NOW?

THESE ARE GOOD OLD CALIFORNIA TULE ELK, AND THEY'RE STANDING WHERE IN CALIFORNIA?

>> THE TULE ELK LIVE IN THE CENTRAL VALLEY, AND WE'RE STANDING IN FOOTHILLS IN THE TAFT, BUTTONWILLOW AREA.

AND YOU SEE THE BACK SIDE OF THE SAN GABRIEL MOUNTAINS THERE IN THE DISTANCE.

THIS IS VERY DRY SCRUB BRUSH COUNTRY, AND-- WITH A LOT OF CONVOLUTED EROSION PATTERNS.

BEAUTIFUL.

ESPECIALLY IN EARLY MORNING OR LATE AFTERNOON LIGHT.

TO GET AN EFFECTIVE SENSE OF DEPTH-- WHAT I CALL ATMOSPHERIC PERSPECTIVE--I ALWAYS REDUCE AND MUTE THE CONTRAST BETWEEN THE COLORS, ADDING A LOT OF BLUE TOWARDS THE END OF THE PICTURE PLANE, AND THEN WARM UP AND INCREASE CONTRAST AS IT COMES FORWARD.

Huell: NOW WHAT DO YOU DO?

DO YOU GO TO THIS--DID YOU GO TO THIS SPOT AND TAKE A PICTURE, AND THEN WORK FROM IT?

>> WHAT I DO IS, IF IT'S AT ALL POSSIBLE, I'LL TRAVEL TO THE AREA, AND I'LL TAKE SEVERAL ROLLS OF FILM.

I'LL DO A PAINTED SKETCH ON SITE.

I'LL DO A LOT OF ANNOTATED DRAWINGS, AND I'LL COLLECT SAMPLES.

I'LL COLLECT SOIL SAMPLES, GRAVEL, ROCK-- Huell: LOOK AT THIS.

>> ACTUAL PLANTS.

Huell: SO YOU BROUGHT ALL OF THIS FROM THAT AREA.

>> YEP.

THAT'S WHY I HAVE TO HAVE A BIG TRUCK.

Huell: HA HA.

NOW, THIS-- THIS LOOKS TOTALLY REALISTIC AND YOU SAID THAT THAT IS PART OF THE GREATEST COMPLIMENT YOU CAN GET.

>> THE GREATEST COMPLIMENT I CAN GET IS WHEN PEOPLE DON'T SPECIFICALLY NOTICE THE BACKGROUND, BUT JUST ACCEPT IT AS REALITY.

I PUT SO MUCH TEXTURE AND DETAIL IN THESE PAINTINGS THAT I CALL IT "GIVING THE PUBLIC A MENTAL HERNIA."

THEY CAN'T FOCUS ON ANY ONE PARTICULAR ASPECT OF THE MURAL, SO THEY FOCUS ON THE OVERALL COMPOSITION.

Huell: SO THEY'RE LOOKING AT THE ENTIRE SETTING AND SEEING THAT IT LOOKS COMPLETELY REALISTIC.

>> AND IF YOU NOTICE, THERE'S NOT ONE AREA, NOT ONE SQUARE INCH, OF SOLID COLOR IN THESE MURALS.

EVEN THE SKY IS A VERY FINE SPATTER, AS THE SKY HAS A GRADATION GETTING TOWARDS THE HORIZON, THAT'S DONE WITH A SPRAY GUN, LIKE YOU'D PAINT A CAR WITH.

AND I SOFTEN AND BLEND EVERYTHING SO THAT EVERY SINGLE SQUARE INCH HAS GOT TEXTURE.

THAT WAY, IT SETS UP A VISUAL VIBRATION, AND PEOPLE TEND TO JUST ACCEPT THAT AS REALITY.

Huell: LET'S GO TO YOSEMITE.

AND I FEEL LIKE I'M IN YOSEMITE HERE.

THIS IS ABOUT AS REALISTIC AS IT GETS.

>> THIS IS A BEAUTIFUL PAINTING.

YOU SEE THE HALF-DOME IN THE DISTANCE THERE?

Huell: YEAH?

>> ONCE AGAIN, THAT ATMOSPHERIC PERSPECTIVE MAKES YOU FEEL THAT THAT IS SEVERAL MILES AWAY.

Huell: AND I'M LOOKING AT THIS WATER.

NOW, THIS IS NOT A PHOTOGRAPH.

THIS IS PAINTED?

>> THIS IS PAINTED.

AND IT'S DONE WITH A VARIETY OF VERY SPECIAL TOOLS.

FOR EXAMPLE, THERE ARE BRUSHES THAT THE BACKGROUND PAINTERS MAKE THEMSELVES, TYPICALLY, THAT ARE USED SPECIFICALLY TO PAINT WATER REFLECTIONS.

THERE ARE TOOLS USED SPECIFICALLY TO DO BARK ON TREES.

THERE ARE TOOLS SPECIFICALLY TO DO BRANCHES.

I HAVE A TREMENDOUS VARIETY OF SPECIAL IMPLEMENTS THAT ARE DIRECTLY BUILT FOR A PURPOSE.

Huell: SO THIS IS A REAL ART FORM, TO DO THESE DIORAMAS.

THIS IS NOT JUST SIMPLE ART.

THIS IS VERY COMPLEX AND SPECIFIC SKILL THAT YOU HAVE.

>> IT IS.

AND ALSO, THE ARTIST HAS TO OVERCOME ARCHITECTURAL OBSTACLES FROM TIME TO TIME.

FOR EXAMPLE, THESE DIORAMA BAYS ARE CURVED, SO THAT WHEN YOU SEE A TREE THAT APPEARS TO BE A FOOT WIDE, IF IT'S TOWARDS THE SIDES OF THE COMPOSITION, IT'S ACTUALLY 12 INCHES VISUALLY, BUT 18 INCHES WIDE PAINTED.

BECAUSE YOU'RE SEEING IT FROM THE SIDEWAYS PERIPHERAL VISION, SO THE ARTIST ACTUALLY HAS TO STRETCH IT HORIZONTALLY FOR IT APPEAR CORRECTLY TO THE VIEWER.

Huell: SO WHERE DO YOU GO TO LEARN A SKILL LIKE THIS?

>> I WAS VERY FORTUNATE IN THAT I'VE BEEN COMING TO THIS MUSEUM SINCE I WAS A SMALL CHILD.

AND I'M ABLE TO GO RIGHT UP TO THE PAINTINGS AND EXAMINE THEM AND READ THEM LIKE A BLUEPRINT.

EACH TOOL LEAVES A CERTAIN SPECIFIC FOOTPRINT, AND YOU CAN SEE WHICH LAYER OF PAINT WENT OVER THE PREVIOUS LAYER OF PAINT AND HOW THE NETWORK WAS BUILT UP TO CREATE THE ILLUSION OF REALITY.

Huell: BUT CAN YOU GO TO AN ART SCHOOL AND LEARN THIS?

HOW TO DO SOMETHING LIKE THIS?

>> IN THE PAST, THAT WAS POSSIBLE.

BUT TRADITIONAL SCENERY ISN'T BEING TAUGHT ANYMORE.

IT USED TO BE THAT IN THE FILM INDUSTRY, THERE WAS A LOT OF STAGE SET AND BACKDROPS DONE, AND IT WAS TAUGHT IN THE MAJOR ART SCHOOLS, BUT NOW IT PRETTY MUCH HAS TO BE LEARNED BY HANDS-ON EXPERIENCE.

Huell: AND YOU HAVE BEEN HERE HOW MANY YEARS?

>> I'VE BEEN HERE 25 YEARS.

Huell: AND YOU ARE FOLLOWING IN A VERY LONG AND PROUD TRADITION HERE AT THE NATURAL HISTORY MUSEUM.

>> THERE'S BEEN SOME TREMENDOUS ARTISTS THAT HAVE GONE BEFORE ME, AND I REALLY RESPECT ALL THEIR WORK AND AM VERY GRATEFUL FOR THE OPPORTUNITY TO GET RIGHT UP TO IT AND STUDY EXACTLY HOW IT WAS DONE.

Huell: NOW THAT STARTED EARLY ON, WHEN THE MUSEUM OPENED.

>> THIS GOES BACK TO THE 1920s.

IT'S A LONG HISTORY OF DIORAMA PAINTING, AND I'VE GOT THE ADVANTAGE OF BEING ABLE TO GET INSIDE EACH ONE.

IF I HAVE A QUESTION ABOUT HOW TO RECREATE A CERTAIN ENVIRONMENT, I JUST GO ASK THE EXPERTS FROM THE PAST.

Huell: WOW.

AND A LOT OF THESE PEOPLE WHO STARTED OFF HERE, YOU SAID WENT ON TO DO THINGS IN THE MOVIE INDUSTRY ITSELF.

>> YES.

HANSON PUTHUFF IS A PARTICULARLY GOOD EXAMPLE BECAUSE HE DID SOME FILM BACKDROP WORK, AND THEN HE DID SEVERAL DIORAMAS HERE IN THE NORTH AMERICAN MAMMAL HALL.

THEN HE WENT ON TO BECOME A CO-FOUNDER OF THE CALIFORNIA ART CLUB AND A VERY, VERY WELL-KNOWN EASEL PAINTER.

Huell: SO THIS IS SERIOUS STUFF WE'RE TALKING ABOUT HERE.

>> I TAKE IT VERY SERIOUSLY.

Huell: WOULD YOU FEEL, UH, OFFENDED IF I SAID THAT I'VE BEEN IN THIS PLACE MANY, MANY TIMES AND NEVER, UNTIL TODAY, REALLY PAID AS MUCH ATTENTION TO THE MURALS AS I HAVE TO THE ANIMALS THEMSELVES?

>> MOST PEOPLE DO PAY ATTENTION TO THE ANIMALS.

EVERY ONCE IN A WHILE, I'LL OVERHEAR A COMMENT.

AS I'M WORKING, I'LL HEAR PEOPLE NOTICE THE BACKGROUND.

AND I'VE HEARD A LOT OF BIZARRE EXPLANATIONS, TOO.

ON THE MORE PARTICULARLY REALISTIC ONES, I ONCE HEARD A MAN TELL HIS FAMILY THAT THEY ROLLER PHOTOSENSITIVE EMULSION ONTO THE WALLS AND THEN TAKE A PROJECTOR AND PROJECT THE IMAGE ON AND IT TAKES.

AND HE WAS TELLING HIS KIDS THIS, AND HE WAS VERY CONVINCED THAT WAS TRUE.

Huell: HA HA!

WELL, I GOTTA TELL YOU, I HAVE A NEWFOUND APPRECIATION NOW WHEN I COME IN HERE AND LOOK AT THESE.

EVERYTHING FROM THE CLOUDS TO THE LEAVES ON THE TREES TO THE REFLECTION ON THE WATER TO THE WILDFLOWERS IN THE BACKGROUND.

THIS--LET'S STAND OUT OF THE WAY AND GIVE A GOOD SHOT OF IT--THIS GIVES YOU THE IDEA OF BEING IN YOSEMITE AND SEEING THE BEARS OUT HERE BY THE WATER.

THIS IS SPECTACULAR.

AND VERY REALISTIC.

NOW IT REALLY GETS INTERESTING, BECAUSE WE'RE GONNA GO BEHIND THIS BOARDED-UP AREA IN THE BACK OF THE MAMMAL HALL TO LOOK AT A-- WELL, OBVIOUSLY, ROBERT, THIS IS A DIORAMA WORK-IN-PROGRESS.

WHAT ARE WE LOOKING AT OVER HERE?

THAT IS A... >> THAT'S A JAGUAR.

AND THIS IS ONE OF 4 DIORAMAS THAT I'M WORKING ON RIGHT NOW.

THIS WILL BE IN THE SIERRA MADRE MOUNTAINS BETWEEN ARIZONA AND MEXICO.

Huell: NOW I DON'T SEE ANY MOUNTAINS THERE.

>> WELL, THIS AT ONE TIME WAS AN UNDERWATER DIORAMA.

AND IT'S GONNA BE CONVERTED TO A DRY, DESERT, MOUNTAINOUS, OAK AND PINE WOODLAND, FOREST DIORAMA.

Huell: NOW ARE YOU WORKING FROM A PICTURE?

FROM A SET OF PLANS?

WHAT ARE YOU WORKING FROM?

>> I'M WORKING FROM EVERYTHING I CAN GET MY HANDS ON.

Huell: HA HA.

>> OVER HERE, YOU SEE A BLUEPRINT SHOWING THE OVERALL CONFIGURATION OF THE DIORAMA AND 2 BASIC REFERENCE SHOTS.

AND THEN, THE TAXIDERMIST IS GOING TO GO TO THE ACTUAL SPOT WITH HIS BIG TRUCK AND COLLECT SOIL, ROCKS, DEAD SNAGS, ANYTHING THAT WILL HELP GIVE AN ABSOLUTE IMPRESSION OF THE AREA.

Huell: SO PEOPLE WHO SEE THIS FINISHED DIORAMA WILL THINK THAT THIS IS THE REAL THING.

THIS IS JUST SHOWING US HOW FAR IT HAS TO COME BEFORE IT'S COMPLETED.

>> THERE'S A LOT OF WORK THAT'S GOING TO GO INTO THIS ONE.

Huell: YEAH, THIS IS ABOUT AS BASIC AS IT GETS.

ALTHOUGH, I GOTTA TELL YOU--WHAT KIND OF ANIMAL IS THAT AGAIN?

>> THAT'S A JAGUAR.

Huell: THAT JAGUAR LOOKS ABOUT AS REAL AS IT CAN--THAT'S THE REAL THING RIGHT THERE.

>> YEAH, THAT KEEPS KIDS OUT OF MY HAIR WHILE I'M WORKING ON IT.

Huell: HA HA!

ALL RIGHT, NOW, LET'S WALK BACK HERE BECAUSE LOOK WHAT WE GOT.

THIS IS THE WORKSHOP AREA BACK HERE, AND THIS IS VERY INTERESTING BECAUSE NOW--THERE'S LOS ANGELES OFF IN THE BACKGROUND.

THIS IS A DIORAMA THAT'S A LOT FURTHER ALONG AS FAR AS ITS DEVELOPMENT IS CONCERNED.

>> THIS ONE WILL BE FINISHED TODAY OR TOMORROW.

Huell: WOW.

AND THIS IS L.A.'S BACKYARD.

AS YOU CAN SEE, IT'S GOT CHAPARRAL AND THE L.A.-BUNKER HILL SKYLINE.

AND WHAT WE'RE TRYING TO SHOW IS THAT WHEN PEOPLE BUILD THEIR HOMES IN THE FOOTHILLS, THERE ARE CERTAIN INTERACTIONS THAT ARE BOUND TO HAPPEN WITH THEIR INTRUSION INTO NATIVE HABITAT, AND THE NATIVE HABITAT'S RE-INTRUSION INTO THE HUMAN ENVIRONMENT.

Huell: NOW YOU'VE DONE THE--THE MURAL IN THE BACKGROUND HERE?

>> I HAVE.

Huell: THIS IS YOURS?

>> MM-HMM.

Huell: SO THIS--THIS IS THE VIEW OF L.A. THAT YOU'VE PAINTED UP HERE AS A MURAL.

NOW WHAT IS ALL THIS?

YOU'RE ACTUALLY WORKING ON THIS AS WELL?

>> THIS IS THE FOREGROUND MATERIAL, AND I USED THIS SO THAT I HAD EXACT REFERENCE.

FOR EXAMPLE, IF I'M GOING TO BE PAINTING A TREE, THEN I NEED TO HAVE THE EXACT COLOR OF THE LEAVES THAT YOU SEE IN 3-DIMENSION TO MATCH FOR THE 2-DIMENSION.

WE'RE ALWAYS LOOKING FOR A SEAMLESS TRANSITION BETWEEN FLAT AND MODEL.

Huell: AND HERE ALL OF YOUR-- THESE ARE ARE KIND OF YOUR WORK PICTURES BACK HERE.

PICTURES OF TREES, PLANTS, SHRUBS, AND THEN THIS IS THE IDEA OF WHAT THE FINISHED DIORAMA IS GONNA LOOK LIKE.

>> WE ALWAYS WORK WITH SKETCHES AND MODELS TO SHOW EVERYONE INVOLVED EXACTLY WHAT THEY'RE GETTING INTO.

THERE'S A LOT OF TERRITORIAL EXPERTISE THAT GOES INTO THESE BECAUSE THESE ARE EDUCATIONAL TOOLS.

SO, IN PASSING THE BLUEPRINT BY EVERYONE INVOLVED, THEY CAN SAY, "WELL, THAT PLANT WOULDN'T BE AT THAT PARTICULAR GROWTH-STAGE-- Huell: YEAH, AND THAT ANIMAL WOULDN'T BE UP THERE.

THAT ANIMAL WOULD BE DOWN HERE.

OR THIS PLANT WOULD BE OVER HERE.

OH, LOOK.

HERE ARE MORE PICTURES OF--OF THE WHOLE AREA HERE.

SO THERE'S REALLY A LOT OF RESEARCH.

>> A LOT GOES INTO IT BECAUSE I'M NOT GOING TO BE SATISFIED UNLESS IT'S AN ABSOLUTE FAITHFUL RENDITION OF ANY SPECIFIC ENVIRONMENT.

Huell: SEE, I DON'T THINK ANY OF US WHO VISIT THIS MUSEUM REALIZE HOW COMPLICATED AND HOW MUCH WORK GOES INTO MAKING THESE THINGS AUTHENTIC AND REAL AND AN EXPERIENCE THAT WE CAN ACTUALLY PUT OURSELVES INTO.

>> AS A MATTER OF FACT, THEY'RE SO LABOR-INTENSIVE, THAT EVERY SINGLE LEAF THAT YOU SEE ON A TREE IS CUT OUT AND MOLDED AND AIRBRUSHED BY HAND.

Huell: WOW.

>> ATTACHED TO A WIRE AND THEN DRILLED INTO A NATURAL BRANCH, WHICH IS THEN INSERTED INTO A TREE TRUNK WHICH MAY EITHER-- DEPENDING ON SIZE--BE A NATURAL SPECIMEN THAT'S BEEN FLAME-PROOFED OR AN EXACT MOLD, LIKE THIS OAK HERE.

Huell: NOW THAT'S TAXIDERMY.

RIGHT?

>> THAT'S ANOTHER AREA.

I HELP OUT WITH THE MODEL MAKING, BUT THE TAXIDERMIST IS A TOTAL EXPERT IN THE ANIMALS.

THAT'S OVER MY HEAD.

BUT I WILL WORK WITH THE BACKGROUND AND ELEMENTS OF THE FOREGROUND.

Huell: NOW WE'RE REALLY GOING BEHIND THE SCENES.

WE'VE COME UP TO THE FOURTH FLOOR OF THE MUSEUM TO MEET--ROBERT, I GUESS THIS FELLA IS YOUR ARTISTIC PARTNER IN ALL OF THIS.

>> FOR 25 YEARS I'VE WORKED WITH THIS MAN.

Huell: ALL RIGHT.

AND HERE HE IS IN HERE, STANDING IN FRONT OF... A BUNCH OF ANIMALS, WHICH IS APROPOS FOR YOUR JOB.

YOUR NAME, SIR, IS... >> TIM BOVARD, HUELL.

Huell: AND YOU ARE A TAXIDERMIST.

>> I'M A TAXIDERMIST.

Huell: WHICH MEANS YOU DEAL WITH ANIMALS.

>> ANIMALS, BUT ALSO, OF COURSE, FOR THE MUSEUM, I DEAL WITH PLANTS AS WELL, BECAUSE WE HAVE TO DO A WHOLE FOREGROUND THAT'S GONNA WORK WITH ROBERT'S BACKGROUND TO TELL THE STORY WE WANT TO TELL.

Huell: ALL RIGHT, LET'S START OFF THOUGH BECAUSE THESE ARE MORE INTERESTING THAN THE PLANTS RIGHT HERE.

WHAT ARE WE LOOKING AT?

NOW THIS IS WHAT'S GONNA BE PART OF-- >> PART OF L.A.'S BACKYARD.

AND WHAT WE'RE LOOKING AT THERE ARE ANIMALS THAT ARE NATIVE AND ANIMALS THAT ARE NON-NATIVE.

SO-- Huell: OK, THIS IS A-- >> THIS IS A NON-NATIVE, RIGHT?

THIS IS A HOUSECAT.

OK?

SO A FERAL CAT WHICH IMPACTS THE WILD BIRD POPULATION.

AND THIS CAT IS ACTUALLY GONNA BE CATCHING A SCRUB-JAY IN THE DIORAMA.

Huell: AH!

SO YOU'VE GOT A WHOLE LITTLE STORY GOING HERE.

>> SO WE'RE GONNA HAVE DOMESTIC CATCHING WILD.

Huell: AND WHAT'S THIS?

>> AND THIS IS A NATIVE BOBCAT.

LOCAL BOBCAT.

AND IT'S GOING TO BE SCRATCHING ON THE OAK TREE.

CHARACTERISTIC BEHAVIOR OF CATS IS THE SCRATCHING THEY DO AND SCENT-MARKING.

THAT'S WHAT THIS BOBCAT IS GONNA BE DOING ON THAT LARGE OAK TREE.

Huell: SO YOU SET THESE ANIMALS DOING THINGS-- >> RIGHT.

Huell: IN CERTAIN POSITIONS... >> YES.

Huell: AND BEFORE WE GO ANY FURTHER, BECAUSE I KNOW THERE ARE LOT OF PEOPLE OUT THERE WHO ARE WONDERING--COME ON OVER HERE WITH ME, BECAUSE WE WANT TO TALK ABOUT THESE ANIMALS HERE-- THEY'RE WONDERING WHERE THESE ANIMALS COME FROM.

>> [CHUCKLES] A LOT OF PEOPLE ARE CONCERNED ABOUT THAT.

AND TODAY, MOST OF THE ANIMALS THAT I WORK ON ARE WHAT WE CALL SALVAGE SPECIMENS.

Huell: WHAT DOES THAT MEAN?

>> SO THAT MEANS THEY'VE DIED AT A REHAB CENTER, THEY'VE BEEN HIT ON THE ROAD-- Huell: YOU HAD A NAME FOR THAT.

>> D.O.R.

Huell: D.O.R.

>> D.O.R.

DEAD ON ROAD.

AND A LOT OF PEOPLE WHO TRAVEL WITH ME DON'T BELIEVE IT WHEN I TELL ;EM THAT I'M GONNA STOP IF I SEE A GOOD ROADKILL.

THEY DON'T BELIEVE IT UNTIL THE BRAKE LIGHTS GO ON.

BUT I DO PICK 'EM UP, OK?

AND WE REUSE 'EM.

Huell: NONE OF OF THESE ANIMALS HAVE BEEN, YOU KNOW, ABUSED IN ANY WAY OR-- >> ABSOLUTELY NOT.

Huell: THESE ANIMALS WERE ALL DEAD BEFORE YOU GOT THEM.

>> THEY WERE.

Huell: OK. >> THEY WERE.

Huell: NOW THIS ONE FOR EXAMPLE.

I'M INTRIGUED BY WHAT WE'RE LOOKING AT HERE.

>> SO THIS IS LIKE WHAT I STARTED WITH WITH THAT BOBCAT, OK?

SO THIS IS A BOBCAT.

THIS IS A D.O.R.

BOBCAT.

Huell: ON THE SIDE OF THE ROAD.

>> ON THE SIDE OF THE ROAD.

AND YOU CAN SEE IT'S GOT SOME HOLES.

Huell: UH-HUH.

>> AND I SKINNED IT AND THEN SALTED IT AND THEN EVENTUALLY TANNED IT.

SO NOW IT'S LEATHER.

Huell: UH-HUH.

>> AND IT'S VERY DURABLE.

AND WHEN I GET READY TO MOUNT IT, THEN I'M GOING TO SOAK THIS SKIN IN WATER AND MOUNT IT OVER AN ARTIFICIAL BODY.

Huell: NOW WAIT A MINUTE.

THIS IS--I CAN UNDERSTAND THIS FOR A LITTLE BOBCAT.

>> CORRECT.

Huell: WHAT ABOUT THOSE HUGE WALRUSES I SAW?

>> THE SAME-- Huell: AND SOME OF ELEPHANTS AND--THERE'S NOT EVEN ROOM IN THIS OFFICE FOR THESE--IN THIS BUILDING FOR THOSE THINGS.

>> WELL, THE BIG ROOM YOU WALKED BY EARLIER WAS THE MAIN TAXIDERMY STUDIO.

BUT THOSE ELEPHANTS WERE ACTUALLY DONE OFFSITE AND THEN BROUGHT IN IN PIECES.

AND ELEPHANTS ARE DONE A LITTLE DIFFERENTLY THAN SMALLER ANIMALS.

AT LEAST BACK WHEN THOSE WERE DONE.

AND THE TECHNIQUE THAT THEY USED ON THOSE IS A DIFFERENT TECHNIQUE.

Huell: HAS THIS CHANGED OVER THE YEARS-- >> ABSOLUTELY IT'S CHANGED.

WELL, TAXIDERMY--THE CORE OF MODERN SCULPTING-TYPE TAXIDERMY WHERE YOU SCULPT THE FORM-- Huell: WAIT A MINUTE.

WHAT IS THIS RIGHT HERE?

>> SO THIS IS A SMALL BOBCAT.

Huell: IS THIS REALLY A BOBCAT THAT'S JUST BEEN SKINNED?

>> WELL, NO.

LET ME JUST PULL OFF A LITTLE BIT OF CLAY HERE, HUELL, AND YOU CAN SEE UNDERNEATH IS THE SKELETON.

Huell: A REAL SKELETON.

>> A REAL SKELETON.

AND OVER THAT SKELETON-- Huell: OH, MY GOSH.

>> OVER THAT SKELETON, I HAVE PUT CLAY.

Huell: CLAY.

>> TO REPLACE THE MUSCLES AND SCULPT EXACTLY THE BODY I WANT FOR THE POSITION OF THE ANIMAL.

Huell: AND OVER THAT YOU PUT-- >> AND OVER THAT-- Huell: THE SKIN.

>> WE'RE GONNA PUT THE SKIN.

NOW, BEFORE I DO THAT, I'M GONNA MAKE A MOLD OF THIS CLAY SCULPTURE-- Huell: MM-HMM.

IS THAT WHAT THIS IS?

>> AND THIS IS A FINISHED PIECE.

Huell: MM-HMM.

>> THIS IS A FINISHED PART.

SO I'M GONNA MAKE A MOLD, AND FROM THAT MOLD THEN, I CAN MAKE A LIGHTWEIGHT-- Huell: OH, WOW.

IT'S VERY LIGHTWEIGHT.

>> SO IT'S 4-POUND DENSITY URETHANE FOAM.

VERY LIGHT.

THIS HAPPENS TO BE A COMMERCIAL ONE THAT I BOUGHT, AND I'M GONNA CUT IT UP.

AND THIS IS AN OPOSSUM.

OK?

WHICH IS GONNA BE IN THE GROUP.

A POSSUM.

Huell: YEAH, THAT IS A POSSUM.

>> AND IT'S GONNA BE CUT UP, AND I'M GONNA ALTER THE POSITION INTO A WALKING POSE.

ACTUALLY, IT'S GONNA BE CLIMBING UP IN AN AVOCADO TREE.

Huell: YOU DON'T HAVE ANY TROUBLE GETTING POSSUM.

>> NO, POSSUMS GET HIT A LOT.

YEAH.

THEY'RE NOT ALWAYS IN GOOD CONDITION, BUT I CAN ALWAYS GET A GOOD POSSUM.

Huell: WHAT IS THIS THING?

>> SO THIS IS TO SHOW WHAT WE USED TO PUT THINGS ON.

MOST OF THE ANIMALS DOWNSTAIRS ARE ON PAPIER MACHE OR BURLAP AND PLASTER.

Huell: AH, THAT'S THE OLD WAY OF DOING IT.

>> YEAH.

SO WE MADE STILL-- WE STARTED WITH A SCULPTURE, MADE A PLASTER MOLD, AND FROM THAT, WE'D MAKE THIS HOLLOW, LIGHTWEIGHT MANNEQUIN.

AND THAT'S WHAT I STARTED OUT DOING WHEN I WAS WORKING ON TAXIDERMY IN THE SIXTIES.

Huell: YOU'VE BEEN DOING THIS A WHILE.

>> I HAVE BEEN.

I STARTED WHEN I WAS NINE.

Huell: IT'S GOTTA GET-- OH, LOOK OVER HERE.

WHAT IS THIS OVER HERE?

LOOK AT THIS LITTLE... >> THIS IS AN ISLAND FOX.

Huell: OH, FROM OUR CHANNEL ISLANDS.

>> YEAH.

AND ONE OF THE NEW DIORAMAS WE'RE GONNA DO IS SAN NICOLAS ISLAND.

Huell: CAN I PICK THIS--NOT THE FOX, BUT THE WHOLE THING.

>> YOU CAN.

Huell: WOW.

>> SO THIS IS ALSO A DEAD ON ROAD.

PICKED UP BY THE NAVY ON SAN NICOLAS ISLANDS.

Huell: SEE, YOU MAKE THESE THINGS LOOK SO MAJESTIC, TOO.

>> WELL, WE'RE TRYING--I'M TRYING TO CAPTURE THE ANIMAL, YOU KNOW, AND THE REALISM OF IT.

AND...YOU KNOW, SOME OF THE GRACEFULNESS OF THEM.

Huell: OH, BOY.

>> AND THEIR CHARACTERISTICS.

JUST LIKE US, RIGHT?

ALL PEOPLE-- Huell: IF YOU WERE WORKING ON ME, I WOULD WANT YOU TO GIVE ME A NICE-LOOKING-- >> THAT'D BE DIFFICULT.

Huell: VIEW.

YOU KNOW, POSE.

>> YEP.

Huell: FOR POSTERITY.

>> WELL, I DON'T DO PEOPLE, SO YOU'RE SAFE.

Huell: HA!

BUT YOU DO BIRDS.

>> I DO A LOT OF BIRDS.

Huell: AND I LOVE THE WAY THE BIRDS ARE ALWAYS IN FLIGHT, WITH THEIR--WITH THEIR WINGS OUT.

WAIT A MINUTE.

WHAT'S THIS UP HERE?

>> WELL, THAT UP THERE IS AN ORANGUTAN .

AND THAT'S JUST THE HEAD.

AND THAT WAS DONE YEARS AGO, BEFORE I STARTED WORKING HERE.

Huell: IS THAT FROM A ZOO OR-- >> IT'S FROM A ZOO.

Huell: SO WHEN ANIMALS DIE IN A ZOO, THE ZOOS KNOW TO DONATE-- >> ABSOLUTELY.

Huell: THE BODIES TO MUSEUMS.

>> L.A.

ZOO.

SAN DIEGO ZOO.

THEY REGULARLY GIVE US SPECIMENS, AND THOSE THEN END UP IN OUR DIORAMAS.

AND THEY'RE USUALLY EXCITED TO SEE THAT THEY'RE GONNA GET USED THAT WAY AND GO BACK INTO AN EXHIBIT WHICH IS, OF COURSE, TELLING ABOUT THAT ANIMAL.

Huell: AND IT'S AN EXHIBIT WHICH TEACHES AND INFORMS AND EDUCATES AND SHOWS THAT ANIMAL AT ITS VERY BEST.

>> IN ITS NATURAL HABITAT.

AND THAT'S THE THING WE CAN DO THAT ZOOS CAN'T DO BECAUSE, OF COURSE, THE LIVE ANIMALS WILL DESTROY THE HABITAT.

MY ANIMALS ARE MUCH BETTER TRAINED, AND THEY DO NOT DESTROY THE HABITAT.

AND SO I CAN PUT LEAVES IN, PLANTS IN AROUND THEM AND RECREATE A VERY REALISTIC SCENE, SO IT'S ALMOST LIKE IF YOU STEP THROUGH THAT GLASS, YOU'D BE THERE.

Huell: YEAH, AND THAT'S WHERE ROBERT COMES IN.

BECAUSE HE'S WORKING WITH YOU TO TAKE YOUR ANIMALS AND PUT 'EM IN FRONT OF HIS MURALS AND HIS SETTINGS, SO THAT TOGETHER WHAT YOU HAVE PRODUCED IS ABSOLUTELY DEAD-ON.

>> CORRECT.

AND IT HAS TO BE A TEAM EFFORT.

BECAUSE THAT BACKGROUND AND FOREGROUND HAVE TO WORK TOGETHER.

THERE HAS TO BE ITEMS IN THE FOREGROUND THAT LEAD YOUR EYE INTO THE BACKGROUND.

SO YOU SEE IT AS A UNIT.

YOU DON'T SEE 3 DIMENSIONS AND 2 DIMENSIONS.

YOU SEE IT ALL TOGETHER.

AND THERE'S TRICKS TO THAT, AND ROBERT AND I ALWAYS WORK OUT WHAT ARE GONNA BE ELEMENTS.

THERE MIGHT BE A GULLY.

IT MIGHT BE TUFTS OF GRASS.

IT MIGHT BE LOGS.

IT MIGHT BE ROCKS.

THAT ARE GONNA CARRY FROM THE FOREGROUND INTO THE BACKGROUND TO CREATE THAT REALISTIC ILLUSION THAT WE WORKED SO HARD TO CREATE.

Huell: WELL, AFTER WE FINISHED OUR INTERVIEW WITH TIM, AND BEFORE WE WERE LEAVING HIS LAB HERE, HE SAID, "WAIT, WAIT.

WE STILL GOTTA TALK ABOUT THE LEAVES."

>> THE LEAVES.

AND--BELIEVE IT OR NOT, SOMETIMES IT TAKES MORE TIME TO DO THE PLANTS FOR THE DIORAMA THAN TO DO THE ANIMALS.

Huell: BECAUSE YOU SAID THERE ARE-- >> BECAUSE THERE CAN BE TENS OF THOUSANDS OF LEAVES IN EACH DIORAMA.

Huell: AND YOU MAKE 'EM RIGHT HERE.

>> AND EACH ONE IS MADE BY HAND, ONE AT A TIME.

Huell: WHAT DO YOU DO?

POUR, UH... >> I MAKE PLASTER MOLD FIRST.

Huell: OH, MY GOSH.

>> AND SO THIS PLASTER MOLD HAS BEEN MADE OF COAST LIVE OAK LEAVES, ALL RIGHT?

WHICH IS THE NATIVE LIVE OAK.

AND THEN OVER THE TOP OF THAT, I VACUUM DOWN A SHEET.

AND ON THAT ARE ALL THE OAK LEAVES.

AND THEN EVERY ONE OF 'EM GETS CUT OUT... Huell: OH, MY GOSH.

>> AND CUT OUT.

AND THEN PAINTED SO THAT YOU END UP WITH THESE VERY REALISTIC--AND THE NEAT THING ABOUT OAK LEAVES--IF YOU FEEL 'EM, THEY EVEN FEEL LIKE REAL OAK LEAVES, RIGHT?

THEY GOT THAT PRICKLY TEXTURE TO 'EM.

Huell: NOW THIS GIVES THE TERM LABOR-INTENSIVE-- >> IT'S EXTREMELY LABOR-INTENSIVE.

AND ONE OF THE WAYS WE CAN DO IT IS THAT I GET VOLUNTEERS IN THE MUSEUM.

OUR DOCENTS AND OUR SERVICE [INDISTINCT] TO HELP CUT LEAVES.

Huell: DO THEY KEEP COMING BACK AFTER THE FIRST TIME THAT YOU GET 'EM IN HERE?

>> THEY DO.

SOME OF 'EM REALLY ENJOY IT.

Huell: HA!

>> THEY REALLY ENJOY IT.

Huell: NOW THIS REALLY POINTS UP--I'M GLAD YOU CALLED US BACK IN TO TALK ABOUT THE LEAVES-- 'CAUSE THIS POINTS UP AS MUCH AS ANYTHING HOW PERFECT AND HOW MUCH LOVE AND HOW MUCH CARE AND HOW MUCH DETAIL GOES INTO EVERY ONE OF THESE DIORAMAS.

>> IT DOES.

AND FOR ROBERT AND I WHO BOTH LOVE THE NATURE AND SPEND TIME OUT IN NATURE, DOING IT AND TRYING TO RECREATE IT, THAT'S ABOUT AS MUCH FUN AS YOU CAN HAVE.

Huell: AND WHEN YOU GET THROUGH, DO YOU STAND BACK IN THE CORNER AND WATCH AS SCHOOL KIDS COME THROUGH AND GET KIND OF A QUIET SATISFACTION OUT OF WHAT YOU'VE ACCOMPLISHED?

>> OH, ABSOLUTELY.

THE PUBLIC, WATCHING THEIR REACTION, WATCHING THEM TRY AND FIGURE OUT WHAT'S IN THE GROUP, MAYBE SEE A HIDDEN ANIMAL OR JUST SAY, "WOW!

I DIDN'T KNOW THAT THEY WERE THAT BIG!"

OR "I DIDN'T KNOW THEY LIVED IN THAT AREA."

Huell: OR "LOOK AT THOSE LEAVES."

>> YEAH.

EXCEPT MOST OF 'EM, OF COURSE, JUST THINK THOSE LEAVES WERE DRIED.

AND THEY'RE NOT JUST DRIED.

THEY'RE ACTUALLY REPLICAS THAT WE PAINTED AND DETAILED, SOMETIMES 4 OR 5 COLORS OF PAINT, TO GET 'EM JUST SO YOU'D PICK 'EM AND YOU'D THINK THEY WERE REAL.

>> SO WHAT WE'RE GOING FOR IS HAVING THE COYOTE AND THE CAT AND THE L.A. CITY SKYLINE AS YOUR MAJOR DOMINANT COMPOSITIONAL ELEMENTS.

SO THE VIEWER'S EYE WILL ROLL RIGHT OFF OF THAT TO THE CITY.

SO THEY GET THE IDEA THAT--BANG!

YOU'RE JUST IN THE FOOTHILLS OUTSIDE OF L.A. >> RIGHT, 'CAUSE IT'S THIS WHOLE CONTRAST OF CITY AND WILD TOGETHER.

AND FOR A LITTLE BIT OF THE CONFLICT THERE, RIGHT?

BECAUSE WE'VE GOT THE COYOTE RUNNING OFF WITH THE DOMESTIC CAT, AND SO THAT'S REINFORCING THIS WILD AND URBAN ENVIRONMENT THAT'S SO MIXED IN L.A. AND THEN THE OAK TREE AND THE CHARACTERISTIC PLANTS THAT ARE HERE.

THIS OAK BRANCH IS GONNA RUN RIGHT ALONG THE WINDOWSILL WITH A RACCOON LAYING IN IT.

AND THEN WE'LL HAVE THIS AVOCADO TREE WITH AN OPOSSUM CLIMBING UP TO GET THE--TO GET THE AVOCADOS.

AND THE LITTLE BIRD FEEDER WITH SOME ENGLISH SPARROWS, AND OF COURSE, THE BOBCAT SCRATCHING ON THE BACK OF THAT SIDE OF THAT OAK TREE.

AND CALIFORNIA QUAIL AND ALL THE NATIVE ANIMALS-- Huell: YOU ALL REALLY GET EXCITED ABOUT THIS, DON'T YOU?

>> OH, THIS IS ABOUT AS MUCH FUN AS WE CAN HAVE, HUELL.

>> AND WE'VE GOTTA--WE'VE ACTUALLY GOTTA BUILD A REPLICA OF A CORNER OF A NEW HOME.

SO WE'LL USE--WE'LL HAVE A PIECE OF WINDOW AND SOME RAIN GUTTER AND A BIRD FEEDER.

AND A REGULAR BACKYARD FENCE HERE, SO YOU GIVE THE VIEWER THE IDEA THAT THEY'RE STANDING IN A BACKYARD, LOOKING OUT ONTO THE CHAPARRAL.

Huell: BOY, YOU DON'T MISS A THING.

>> GOT TO HAVE ALL THOSE DETAILS IN THERE TO CONVINCE THE PUBLIC.

Huell: WHO ENDS UP FINDING OUT WHAT THE OTHER ONE'S LEFT OUT?

>> [LAUGHS] Huell: YOU ALL [INDISTINCT] ON EACH OTHER, AREN'T YOU?

>> WE ARE.

IT'S BACK AND FORTH.

IT'S BACK AND FORTH.

WE ALWAYS DO IT THAT WAY.

'CAUSE THE FOREGROUND AND THE BACKGROUND, IF THEY DON'T WORK TOGETHER... WE MIGHT AS WELL NOT DO IT.

>> SO BEFORE I GO TO PAINT A PLANT, LIFE-SIZED IN THE DIORAMA BACKGROUND, I GO TO TIM TO GET THE MODEL OF IT.

AND HE GIVES ME ON OF HIS TEN THOUSAND LEAVES TO MATCH THE COLORS FROM EXACTLY, AND I'LL TAKE IT DOWN THERE, PUT THE PAINT ON THE LEAF ITSELF, WATCH THE PAINT DRY TO SEE IF IT DRIES LIGHTER OR DARKER, 'CAUSE IT'S REALLY CRITICAL, THE EXACT SHADE.

WE EVEN HAVE A COLOR ENCYCLOPEDIA WITH TEN THOUSAND KINDS OF GREEN.

Huell: THE LEAVES KEEP COMING INTO THE PICTURE, DON'T THEY?

>> THEY DO.

AND THEY ARE VERY IMPORTANT.

[HUELL LAUGHS] >> WE CAN'T STRESS THAT ENOUGH, HOW IMPORTANT THEY ARE.

Huell: SO THE NEXT TIME YOU VISIT THE NATURAL HISTORY MUSEUM OF LOS ANGELES COUNTY, AND YOU'RE LOOKING AT THOSE MAGNIFICENT AND VERY REALISTIC DIORAMAS, YOU'LL KNOW THE STORY BEHIND 'EM.

THE STORY OF DEDICATED PROFESSIONALS LIKE ROBERT AND TIM AND ALL THE OTHER STAFF MEMBERS WHO WORK VERY HARD TO ENSURE THAT THEIR DIORAMAS ARE THE VERY BEST THEY CAN BE.

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