Editing Patterson–Gimlin film (section)

====Other special effects artists====
* [[Rick Baker (makeup artist)|Rick Baker]]. Famed Hollywood creator of Harry (from the movie, ''[[Harry and the Hendersons]]''), Rick Baker, told Geraldo Rivera's ''Now It Can Be Told'' show (in 1992) that "it looked like cheap, fake fur," after seeing the subject in Patterson's filmstrip.<ref>Perez(1992), 21</ref> Baker said that John Chambers had "a crappy walkaround suit," that he sold as "a gag to be played on the guy that shot it [the film]".<ref>Mark Chorvinsky (summer 1996), "The Makeup Man and the Monster: John Chambers and the Patterson Bigfoot Suit," under the heading, "Howard Berger: An Earlier Account" (http://www.strangemag.com/chambers17.html {{Webarchive|url=https://web.archive.org/web/20150714211847/http://www.strangemag.com/chambers17.html |date=July 14, 2015 }})</ref> Later on, Baker's studio stated in a fax, "He no longer believes this [that Chambers made the suit] is true."<ref>Mark Chorvinsky (summer 1996), "The Makeup Man and the Monster: John Chambers and the Patterson Bigfoot Suit," under the heading, "Back to Baker" (http://www.strangemag.com/chambers17.html {{Webarchive|url=https://web.archive.org/web/20221031230105/http://www.strangemag.com/chambers17.html |date=October 31, 2022 }})</ref>
* Ellis Burman. The Guenettes ([[Robert Guenette|Robert]] & Frances) wrote of him, "I also spoke to Ellis Burman of Burman Studios in Hollywood, creators of all kinds of strange creatures, including a fake Bigfoot for a traveling 'pickled punk' carnival exhibit. Burman denied his company created the Patterson Bigfoot, but did say he could duplicate it—but for more than $10,000 in total costs."<ref name="Guenette, 117">Guenette, 117</ref>
* [[John Chambers (make-up artist)|John Chambers]]. [[Academy Award]]–winning monster-maker John Chambers is most famous for his innovative flexible masks in ''[[Planet of the Apes]]'' (1968). In a 1997 interview in a nursing home with Bigfooter Bobbie Short in her nurse's uniform, he denied rumors that he had created a costume for the Patterson subject, saying "I'm good, but not that good."<ref>Coleman (2003), 99–100</ref><ref>''NASI newsletter, ''January 1998</ref><ref>''The Track Record ''newsletter, November 1, 1998</ref><ref>Transcript, 10/27/97: https://web.archive.org/web/20021208083704/http://www.n2.net/prey/bigfoot/</ref>
:Some time before 1976 the Guenettes reported that, in answer to their questions, "He concluded that if the creature is a man in a suit, then it is no ordinary gorilla suit. It is not something they bought or rented in a store; it would have to be something tailor made. He also felt like it might have been made out of real animal fur."<ref name="Guenette, 117"/>
* [[Janos Prohaska]]. After viewing the Patterson–Gimlin film with [[John Willison Green|John Green]],<ref name="Green (1978), 129"/> costume designer and ape-suit mime [[Janos Prohaska]] (noted for his work in the late-1960s television programs ''[[The Devil in the Dark|Star Trek]]'' and ''[[Lost in Space]]'') concluded the film's subject looked real to him. When asked if he thought the film was faked, Prohaska replied, "I don't think so ... to me it looks very, very real." If the film was hoaxed, Prohaska thought, it was remarkably realistic and sophisticated, and the best costume he had ever seen, and the only plausible explanation was that someone might have glued false hair "directly to the actor's skin".<ref>Meldrum, 157–58</ref>
:However, film critic David Daegling speculates that the same effect could be had by gluing the hair to a set of tight but expandable, waffle-design long johns.<ref>Daegling, 146–47</ref>
* [[Chris Walas]]. [[Academy Awards|Academy Award]]-winning "makeup artist Chris [Walas] in the BigfootForums [site] (in 2004) presented a theory that the arching hip line represents the overlap line between a fur costume leggings section and the torso section. ... "<ref>Munns, 252</ref>
* [[Stan Winston]]. Academy Award-winning film special effects supervisor and makeup artist Stan Winston, after viewing the PGF, said "it's a guy in a bad hair suit, sorry!" He also added that "if one of my colleagues created this for a movie, he would be out of business." He went on to comment that the suit in the film could have been made today for "a couple hundred dollars" or "under a thousand, in that day".<ref>TV series ''Movie Magic'', which aired from 1994 to 1997.</ref>
* "Barry Keith" (pen name), "an experienced make-up and costume artist," accused "the Hollywood costume industry" of making "bravado claims of how easy such an event would be to fake". He said that their "cheats and shortcuts" are not detectable in "Patty".<ref>"The Patterson–Gimlin Film: What Makes a 'Hoax' Absolutely Genuine?", ''Relict Hominoid Inquiry'', 1:93–114 (2012), {{ISSN|2165-770X}}, a university-hosted online magazine edited by Jeff Meldrum, at http://www.isu.edu/rhi/pdf/Keith_rev.pdf {{Webarchive|url=https://web.archive.org/web/20150723045602/http://www.isu.edu/rhi/pdf/Keith_rev.pdf |date=July 23, 2015 }}</ref>