In this episode, I chat with model maker Jim Davidson about his journey from a dinosaur-obsessed kid in the 1970s to working on some of the most memorable practical effects sequences in modern cinema. Jim talks about discovering the work of Ray Harryhausen, and how seeing Star Wars at the age of 12 made him realise that visual effects could be a real career.
We get into how a chance meeting with future Oscar-winning art director Robert Stromberg led to his first break in the industry, and how that snowballed into working with the Skotak brothers on major productions. Jim shares detailed insights into the making of the nuclear nightmare sequence in Terminator 2: Judgment Day, including how the miniature buildings were constructed, destroyed, and reset using a combination of breakaway materials, air cannons and practical ingenuity.
We also talk about his work on Batman Returns, the realities of working in small, tight-knit effects crews, and the creative problem-solving that defined that era of filmmaking. A big part of the conversation focuses on the industry shift following Jurassic Park, when CGI began to replace large-scale practical effects. Jim reflects on witnessing that transition first-hand, and why he chose not to move into digital work.
There’s also discussion of his later work, including returning to stop motion for Creepshow, bringing things full circle back to the techniques that first inspired him. It’s a fascinating look at a very specific window in film history, from someone who was right in the middle of it. Topics Covered
