From KCRW in Santa Monica, I'm Claude Brodesser Ackner, and this is The Business.

So you still want to do the show business, and you think that you got what it takes.

I mean, you really got a rap and be all at, but prepare yourself for the brakes. Check it out.

This week on The Business, for the past 30 years, the legendary Stan Winston has built some of the scariest and most memorable

film effects by hand. But are digital effects

rendering Winston's old-fashioned movie magic

obsolete? Or

indispensable? Hold my calls, please.

It's the business from NPR. Stan Winston moved to Hollywood in 1969 to become an actor, but a detour into the makeup department at Disney would be where he'd find his genius.

Winston went on to win a handful of Emmys for his work in the 70s for makeup on epic TV shows like Roots and the autobiography of Miss Jane Pittman.

In 1984, his career took a turn for the

terrifying when he created the makeup and effects for The Terminator, the film that would launch

the careers of both director James Cameron and actor Arnold Schwarzenegger. The rest, as they say,

is movie history. His studio did the makeup for Tim Burton's Edward Cisorhands, the terrifying predator character,

and the awe-inspiring dinosaurs in Jurassic Park. For practical, that is, non-digital,

makeup and special effects, Winston is the go-to guy. So, we went to the Winston Workshop in the San Fernando

Valley. The cavernous workshop of the Winston Workshop in the San Fernando Valley.

The cavernous workshop of the Winston Studio is a hobbyist's dream. A doll's head the size of a Buick sits on top of a cabinet and seems to be overseeing a small army of young men carving

wood and styrofoam, blowing the shavings off themselves with compressed air.

Everywhere you look, there are parts from creatures you recognize, and many for movies coming soon to a theater near you. We even saw the amazing new suit of armor for the upcoming

Iron Man, but it's so super secret, they erased our memories before we left the workshop. In one

corner, there's a case filled with nothing but glass eyes, for people, for dinosaurs, and for pigs.

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