Cox is renowned for being one of the most talented practical effects experts in Australia, having won an Oscar for creating the animatronic sheep, puppies, mice and dog in Babe. He also won an AFI Award for the mechanical crocodile he produced for Rogue.
His interactive show, How to Make a Monster: The Art and Technology of Animatronics, first opened at the Queensland Museum during Christmas in 2004, which quickly became the second most successful exhibition ever staged in Australia (after Tutankhamen).
The following year, it was shown at Sydney's Australian Museum in 2005, where it also received rave reviews. Since then, it has been the top three exhibition at almost every other venue it has visited, and the number one show at most, including its tour of the U.S. in 2008 and 2010. The latest version of the exhibition set sail for the U.S. again in February, which includes a tour of Canada for the first time.
Cox and his team have changed the show to meet the specific needs of the 10 museums and science centres it will visit in these countries. These changes also reflect how the art form has evolved over the years.
The new show features the latest technology used to make modern day monsters. "For example, we reveal how we made the Pteranodons and baby Ankylosaur for a 2012 sci-fi series, which involved using 3D printing technology to manufacture the maquettes from digitally sculptured files," says Cox.
"We also illustrate the making of the Megalania, highlighting the relationship between puppet and performer. Additionally, we demonstrate how important the performance is in making these creatures believable."
The main feature characters include some of Cox's proudest creations, such as the creatures and animatronics from Pitch Black, the crocodile from Peter Pan and practical effects from Inspector Gadget 2.
"The exhibition also provides a history lesson about how the creatures have evolved to achieve their specific skill sets," adds Cox. "On top of that, we teach people about how many 'normal' skills can be applied to create extraordinary practical effects. These techniques include fibreglassing, mechanics, electronics, wig-making, dressmaking and painting."
About half of the exhibits designed for these events will be interactive. For example, people will be able to touch the alien guts from Pitch Black, puppeteer the giant crocodile from Peter Pan and run Inspector Gadget into a stop sign.
"Audience members will also be able to become a lighting technician, manoeuvre mermaid tails and manipulate a number of the creatures," adds Cox. "We have gone out of our way to explain the science of animatronics by removing the skins from a number of the creatures, so that you can get an inside look at the steel, wires, cables, servo motors, hydraulic cylinders and much more.
"This allows people to understand how they are assembled to create the bones and muscles that make movements possible. Maths, chemistry, physics and anatomy all play a crucial role in the creation process. People will also learn about the creative design and artistry that goes into these practical effects."
Cox says he expects the exhibition will work just as successfully in the U.S. and Canada as it does in Australia because the art of animatronics is universally appealing.
"The exhibition is popular with everyone from four year-olds to 84 year-olds. It brings in the illusive 18-24 age group, who are normally difficult to attract to museums, art galleries and science centres but are keen to see what happens behind the scenes of films."
Sadly, Cox is disappointed that practical effects, such as animatronics, are being used less often these days due to the advances in CGI. As a voting member of the Academy of Moving Pictures Arts and Sciences, he regularly feels annoyed when only the CGI artists get a mention in the workflow, with the practical effects teams getting overlooked.
"Saying that, some directors still enjoy the realism of a physical creature, especially for close-ups, or where there is interaction between the actors and the creature," adds Cox. "But I don't know if we will ever get to make 25 animals again, like we did for Racing Stripes."
Some of the highlights of Cox's career have included seeing his animatronic turtle leave real turtle prints on the sand in Nim's Island, and having a baby Ankylosaur break out of its shell on Terra Nova.
Despite the current challenges, Cox now works in other industries that require his effects experience. For example, his team was commissioned recently to create a number of large public art pieces, as well as prototypes for motorbikes and race cars. Cox was also employed to work as a designer and sculptor for the new Justice League ride at Warner Brothers' MovieWorld."
Having a flexible skill set means that Cox's team has been able to adapt in the changing business environment. But with the exhibition continuing to be a huge success, Cox is keeping the profile of animatronics alive in the minds of Hollywood filmmakers and new practical effects artists.
The latest exhibition opened at the new Telus Spark Centre in Calgary in February. It will also visit Regina and Edmonton in Canada, before heading to a number of other venues in the U.S.
This article first appeared in IF Magazine Issue #151