Life and Sculpture of Wah Ming Chang
David Barrow and Glen Chang
1989
pages 16 and 19: [Project Unlimited] fabricated the headdresses worn by Elizabeth Taylor in “Cleopatra,” one of which appeared on the October 6, 1961 cover of Life Magazine.
Famous, forgotten, well-known, and obscure visual artists of Chinese descent in the United States
…Other special effects on The Time Machine were handled by Gene Warren, Tim Barr and Wah Chang. A sequence they handled is the one showing the Time Traveller and his machine being entombed in rock as he continues to speed into the future, then later showing the rock melting away as a result of thousands of years or erosion…
Warren, Barr and Chang, who had formed themselves into the company called Project Unlimited, again worked for Pal on his The Wonderful World of the Brothers Grimm, a film which contained a lot of three-dimensional animation, as did Pal’s next film The Seven Faces of Dr. Lao.
Broadway & Hollywood: Costumes Designed by Irene Sharaff
Irene Sharaff
Van Nostrand Reinhold Company, 1976
page 86: mask for The King and I
page 95: For the film Can-Can
... The heads of the animals, birds, and insects were executed by Wah Chang, a sculptor with whom I worked on several pictures, whose talents included a wonderful sense of fantasy and a sense of humor which added greatly to this ballet. ...page 107: For the film Cleopatra
... Wah Chang executed the elaborate crown out of papier-maché. ...page 111: photograph of Elizabeth Taylor wearing headdress
Classic Movie Monsters
Donald F. Glut
Scarecrow Press, 1978
page 324: The Lost Island
An Illustrated History of the Chinese in America
Ruthanne Lum McCunn
Design Enterprises of San Francisco, 1979
page 124: credits and awards
Film Tricks: Special Effects in the Movies
Harold Schechter and David Everitt
Another Harlan Quist Book, 1980
pages 131 to 132:
In 1960 George Pal put time travel onto the screen in his adaptation of H.G. Wells’s The Time Machine. Pal’s special effects team of Gene Warren, Tim Baar and Wah Chang had to create the impression of a man traveling into the future and then faced the task of depicting a nuclear war and the post-holocaust world of 802,701 A.D. The Time Machine’s limited budget required that a great deal of ingenuity be employed….page 174: George Pal’s tom thumb (1958)…
Ingenuity also played a part in one of the effects for the nuclear war sequence, but an oversight made the initial results backfire disastrously. For this scene Gene Warren and Wah Chang had to come up with a blanket of molten lava to flow through the streets of London. The clever solution to the problem was to shoot the scene on a miniature street and use oatmeal as an inexpensive and realistic-looking substitute for the lava….
…a virtual army of toy wooden figures that spring to life whenever the grown-ups aren’t around. The Yawning Man is one of these, an endearingly dopey-looking character who can’t keep his eyes open and manages to stay awake only long enough to sing tom asleep. The figure, which was animated by Gene Warren, had a series of interchangeable wax faces sculpted by the marvelous special-effects craftsman Wah Chang.
The fabulous jewel-encrusted dragon that appears in the “Singing Bone” segment of Pal’s The Wonderful World of the Brothers Grimm (1962) was also designed and constructed by Wah Chang. This fire-breathing monster, which looks a hundred feet long in the film, was actually a three-foot model made of foam rubber over a fully articulated steel armature and brought to life by stop-motion artist Jim Danforth….
Who’s Who in California
Who’s Who Historical Society, 1981
page 96: Chang, Wah Ming
The Outer Limits: The Official Companion
David J. Schow
Ace Science Fiction Books, 1986
pages: acknowledgments, 67, 70, 71, 77, 81, 143, 153, 169, 171, 172, 173, 175, 215–216, 227, 228, 249, 310, 311, 316, 361
The Chinese Americans
William Daley
Chelsea House, 1987
page 81
Enterprise Incidents: The Second Star Trek Tribute Book
Schuster and Schuster, 1988
pages 56 to 63: “Wah Chang: From Disney to Star Trek”
Eight-page illustrated interview with Wah Chang, special FX designer who worked on the 1960s Star Trek and designed alien make-ups, the tricorder and the original Romulan ship from “Balance of Terror”.
...The special effects for The Outer Limits were by Project Unlimited, which also worked with George Pal on such films as The Time Machine and The Seven Faces of Dr. Lao. Projects [sic] Unlimited was founded by Gene Warren, Tim Barr and Wah Chang. “We were in from about the beginning of Outer Limits the first year,” Chang recalls….page 40:
“In the case of Outer Limits, as with most of these TV things, they were very hurried. We would get a rough script and in some cases a lot of the masks had to be fitted to the actor who was wearing it, so we’d have to take a life mask. Sometimes they wouldn’t cast the character until a week before they were going to shoot, so you’d be working day and night to get the thing done.”
...In the episode the creature is never seen head to toe in one shot but rather we see its face, then a glimpse of an arm, and a shot of its legs. The effect is quite weird. Because of the way it was photographed, the creature seemed like it couldn’t possibly be a man in a suit but seemed like it must be some sort of huge marionette. But Wah Chang has a photograph he took of the costume when it was finished and was being worn by the stuntman. The trick was that the stuntman had to wear the costume while crouching, with his hand supported by stilts.page 52:
“It was a very difficult thing,” Chang confirms, ”and it really took an athlete to wear this thing. That was worn by stuntman Janos Prohaska….We had a number of actors on Outer Limits who were not well-known at that time, like Robert Culp, who went on to become stars.”
...“The Invisible Enemy” is an effective episode about a spaceship crew on Mars investigating the disappearance of the previous mission on the planet….
Project Unlimited provided the effects, using a hand puppet monster made by Wah Chang….
The huge rubber heads of the Keeper and her cohorts were created by Wah Chang, a designer-sculptor with whom I had worked on The Outer Limits. He also created some unusual creatures that were kept captive, along with Captain Pike, in the Talosians’ “menagerie.” Wah would later become a source of other creatures and devices for Star Trek ...page 118:
Then I called Wah Chang and Gene Warren at Project Unlimited, the prop design and manufacturing house that had supplied The Outer Limits with many of its special props and creatures. They had designed and constructed the Talosians’ heads in the first pilot and would later create the Balok effigy for “The Carbomite Maneuever,” the salt-sucking monster for “Man Trap,” and the reptilian Gorn adversary fought by Kirk in “Arena.” In Star Trek’s second season, their most beloved creatures were the prolific, but cute, furry little critters in “The Trouble with Tribbles.”page 119:
Gene and Wah had a good working arrangement. Gene handled the business end of things, and Wah, an extremely talented sculptor, designed and fabricated whatever wild creatures or props were needed.
Wah Chang also designed and built the famous flip-open communicators used by Kirk and company when they beamed down from the ship to the planet below, and the medical tricorder used by Doctor McCoy….
I called a meeting with Wah Chang and Gene Warren. I struck a deal and gave them Matt’s detailed working drawings, and they departed, with Wah already planning how he would execute Matt’s phaser pistol design, in addition to building the two other props. He finished everything perfectly and made several beautiful hero models of all three props, and all the dummy mockups that I knew the show would require.page 120:
The studio’s prop makers complained to their union, and their union complained to the studio that the new props couldn’t be used; Wah Chang was not a union member. They insisted that we use only props built by union members at the studio.
…The union played hardball, so I decided to play hardball, too. “We didn’t hire Wah. He designed and built these things himself, independently of us.” (It was only a little fib. He had designed and built the “tricorder” and communicator props. But definitely not independently.) I continued, “And when we happened to see them, we liked them so much that we bought them outright, on the spot.”page 214:
…When creatures were required, outside specialists were consulted. Wah Chang designed and built the Gorns for “Arena.” They were green and resembled some aquatic creatures he had created for The Outer Limits. The full-body suits were made of rubberlike compound, but owing to their weight and limited flexibility, even stuntmen needed great endurance to wear them.page 215: photograph of Gorn costume
…I hadn’t told them that Wah Chang was crippled from the effects of polio. So Ed and Gregg could only watch and react in stunned sympathetic silence as Wah Chang made a stiff-legged torturous entry, both of his legs encased in jointed metal braces that had to be unlocked at the knees before he could sit. After introductions were made, Gene Warren unlocked Wah Chang and we all sat down.page 439:
…Wah Chang and I did all the talking. We discussed design, cost, and delivery date while Eddie and Gregg just sat there, listening.
When the meeting was over, Wah Chang straightened out the braces and locked them into place, a process that resulted in lots of metallic clicking noises. With Wah Chang’s legs now rigidly extended out in front of him, he needed help to rise. Gene Warren, in a well-practiced move, helped lift him to his feet. Wah Chang departed, the way he entered, clicking and clanking as he slowly strode, stiff-legged, toward the door. Braces locked at the knees, Wah Chang had to swing each leg from the hip. Throughout it all, Gene Warren stayed close, for support…
Wah Chang (Star Trek prop and creature designer-builder) worked on many other shows designing masks and headdresses for such major films as The King and I and Can-Can. Elizabeth Taylor wore one of his most spectacular creations in Cleopatra. Now retired from prop and costume making, he resides in Carmel Valley, California with his wife, Glen. He is widely recognized as an accomplished sculptor.
“A Story Without a Sob About Tad”
…Nature took away from Tad the physical strength to enjoy sports when she gave him his genius. But whether it is baseball or boxing, tennis or track, he is in the spirit of every event he sees. And he is so generous he wants both sides to win.
I ask Tad if he ever gets to the fights any more.
“No, that’s impossible for me now, but I’ll tell you how I see them.”
“Boy,” he called.
A Chinese lad, probably seventeen or eighteen, came in. “I want you to meet one of my boys. The other [Wong Hong Kee] is in China getting married. He goes to every fight at Madison Square Garden and then comes home and fights them for me. I get them almost as well as if I were there.”
Then I learned from Mrs. Dorgan about the boys and I also learned another side of Tad and Mrs. Dorgan—Tad is so famous under his cartoonist’s signature that few people know his name is Thomas A. Dorgan; his initials form his public signature.
“I have been immensely interested in mission and other welfare work all of my life,” Tad’s wife told me, “and our Chinese boys didn’t have any home when they were babies, so I brought them home and Mr. Dorgan and I have given them a chance. We have educated them and we are just as proud of them as if they were our own.”
Then Tad took all the sob out of this part of the story by interrupting, “Yeh, the boys beat us playing mah jong and we beat them playing pinocle, so it's fifty-fifty.” What a lesson Mrs. Dorgan could give some women in motherhood and wifehood!Wong Hong Kee returned from China on March 26, 1928. Below is a transcription of form M 149:
“Funeral Service for Tad Is Private”
High Mass Requiem Held for Cartoonist at Great Neck
Body to Lie in Mausoleum
Funeral services for Thomas Aloysius Dorgan, cartoonist, who was known to the world as Tad, were held today with a solemn high mass of requiem at St. Aloysius’s Church, Great Neck, L.I. The Rev. Joseph K. Doyle, assistant rector, officiated.
The body will be placed in the chapel at Cypress Hills Cemetery and later in the mausoleum there when it is completed.
The funeral services were quiet, as had been Tad’s wish, and were attended only by relatives and a few close friends. They included his mother, Mrs. Anna Dorgan; his widow, two Chinese boys, whom he had adopted, and his brothers and sisters and their families.
The brothers and sisters are Joseph, Dorgan, advertising manager of a Knights of, Columbus publication; John (“Ike”) Dorgan of the Madison Square Garden personnel; Edwin Dorgan, of the circulation department of the New York Journal; Dick Dorgan, a cartoonist; Mrs. John Tierney, Mrs. Robert Hurliaman, and Miss Alice Dorgan. Another sister, Mrs. Smith of Orlando, Fla., was unable to reach Great Neck in time for the services.
Duck and Spensi
The two boys were Wong Ho, whom Tad called Duck, and Wong Hong Kee, whom he named Spensi. Duck is twenty-one years old and Spensi twenty. Spensi received his name when Tad attempted to teach him to say “Springfield.” “Spensi” was the closest he could come to the pronunciation.
Duck was Tad’s “outside man.” He was interested in boxing, baseball, and all other sports, and when there was an important fight or game, it was Duck whom Tad sent as his personal representative.
Duck was always provided with a ringside seat for every boxing match of importance, and he had a wonderful memory. When he returned home, he would give Tad the fight blow for blow. It was from the verbal pictures brought home by Duck that Tad drew his sport cartoons.
How Tad Followed Baseball
When it came to baseball, Duck was forced to take notes to record everything that happened. When he returned to Tad’s bedside—Tad was an invalid for seven years—he would have pockets bulging with notes on box-scores, batting averages, and the actions of the many plays. He kept each player’s record up to the minute with the dispatch of a sporting editor, and when he arrived back in Great Neck, he would have the day's batting records already entered into the seasons averages for each, player.
Spensi was the “home boy,” He was more interested in obtaining sporting fact, for Tad than in the sporting facts themselves. He stood faithfully at Tads bedside during ring battles and ball games, keeping the radio tuned to the point where reception was beat. Spenai was also a good man at the telephone and brought “inside information” on sporting events by wire.
The two Chinese lads were adopted by the Dorgans nine years ago. Tad and Mrs. Dorgan educated them and wherever they went the two boys went, too. At hotels and on trips there were “Tad’s boys” and members of the family. Tad had no children of his own.
Defied Handicap Seven Year
Tad was kept in bed for seven years with “a bum ticker.” as he termed his weak heart, but through these many months of illness, he remained “game” and cheerful and dally drew his cartoons that brought mirth to millions.
With the words of a physician ringing in his ears that he “might die at any minute,” he kept his pencil working. From his cartoons phrases were picked up which became a part of the native American dialect. “Yes, we have no bananas,” “Drop that wheelbarrow,” “Bonehead,” “Solid Ivory,” “Applesauce.” “Whaddaya mean ya lost yer dog?” “The first hundred years are the hardest,” are expressions of his which became favorites of casual conversation and stage patter.
Tad was game, and it was his gameness that made him the cartoonist that he was. When he was but a boy, he lost all of the fingers of his right hand but one in an accident. He learned to draw with his left hand, and it was through his cartoons he gave the public the explosive humor of his keen wit. Through the seven years of the illness that kept him confined to his bed the greater part of the time, he never lost his sense of humor. His optimism sparkled through the pain of his illness, and his pencil drew on, despite the handicap of almost entire physical disability.The Brooklyn Daily Eagle (New York), May 5, 1929:
“Sportsmen Honor ‘Tad’ at Funeral”
Great Neck, L. I., May 4—Funeral services for Thomas Aloysius “Tad” Dorgan were held in his home at 17 7th st. here today. At the request cf his widow only 40 intimate friends and members of the family were present.
The service for “Tad,” who died on Thursday after an illness of nearly nine years, was conducted by the Rev. Joseph E. Doyle, assistant rector of St. Aloysius Church, Great Neck. Though Mrs. Dorgan had requested that no flowers be sent, living rooms of the house were filled with floral tributes from friends of the sport world. Interment was made in the receiving vault of Cypress Hills Abbey.
His two adopted Chinese boys, Wong Ho, 21, and Wong Hong Kee, 20, whom “Tad” considered members of his family, were also present.The Pittsburgh Press (Pennsylvania), May 5, 1929:
“Friends Escort ‘Tad’ to Grave”
Jack Johnson Among Those Who Mourn Cartoonist.
By the United Press.
New York, May 4.—The funeral of “Tad” as T.A. Dorgan, cartoonist was known was held today from the Dorgan home on Long Island. About 40 close friends attended the private services. They included Jack Johnson, former heavyweight champion; “Philadelphia Jack” O’Brien, fighter; Jack Doyle, head of the National Billiard Assn.; Gene Buck, song writer, and former associates in the newspaper profession.
In the procession to the cemetery “Duck” and “Spensi,” two Chinese boys the Dorgans had adopted several years ago, rode with the mourners. They seemed heartbroken.
“Duck” in the years that Tad had been confined to his home, had been the cartoonist’s “eyes.” He had a ringside seat at every important sporting event. His memory was remarkable and it was his duty to return home and describe each happening and each thing he saw to Tad, who later used this afterward in his drawings.
Spensi’s work was that of looking up material and obtaining data. He pored over sporting records and provided Tad with all the varied information he required. Duck’s real name was Wong Ho and Spensi’s was Wong Hong Kee. “Duck” is 21 and Spensi is 20. The names of “Duck” and “Spensi” were given them by Tad.Century, Autumn 1929:
“Tad for Short”
Cartoonist and Phrase-Maker, a Victim of Circumstance
…Many of Tad’s admirers have wondered how he kept in touch with the sporting world and continued to draw pictures for eight years after he was confined to the house. Tad had two Chinese boys whom he and Mrs. Dorgan adopted years before. After his heart attack in 1920 Tad began to train one of these boys—“Duck,” he called him—to go out in the highways and byways of sportdom and gather material. So “Duck” went to all the baseball games and prize-fights, billiard matches and sport jamborees, acting as eyes and ears for Tad. He would come back from a fight and reenact the battle blow by blow, for even under the most exciting conditions he didn’t lose his head. One of the most thrilling things I have ever listened to was “Duck’s” description of the Dempsey-Firpo fight. It was his careful analysis of the blow that sent Dempsey out of the ring that enabled Tad to make a superbly realistic drawing of an event he had never seen.Wong Hong Kee was counted on line 36 of the 1930 United States Census. The head of the household was Dorgan’s wife, Izole M., whose mother, Nana L Messaros, also lived there at 17 Seventh Street, North Hempstead, New York. According to the census, Wong Hong Kee’s relation to Izole was a servant, not a son.