Personal details
- Professions: Actor, Visual Effects, Casting Director
reference Mike Prosser, the guy behind the cult indie flick The Dividing Hour, has always been knee-deep in wild, offbeat storytelling. Born and raised in Oregon, he started acting and doing art projects before he could even drive, and his love for all things creepy kicked in early—thanks, Fangoria Magazine. By the time he hit middle school, Mike was already writing scripts, roping in his best friend for a scrappy horror anthology that owed a little too much to Heavy Metal and Creepshow. High school just fueled the fire. Prosser tackled everything from writing one-acts and directing stage shows to building gnarly props (yep, severed heads for Macbeth). He even snagged the Charles Trombley Award for a play that didn’t shy away from tough topics like teen pregnancy and suicide. Right out of high school, Mike landed at Will Vinton Studios as their youngest full-time sculptor, hustling on everything from the California Raisins to Michael Jackson's Moonwalker—he actually sculpted the only Mike Jackson likeness for the “Speed Demon” sequence. Then college at Southern Oregon cranked things up a notch, letting him write, direct, and act alongside future stars like Kim Rhodes and Ty Burrell. Mike’s never been the LA type, sticking to his Oregon roots and racking up writing credits—14 screenplays, a handful produced, and some even optioned internationally. His horror-drama Recovery is currently looking for distribution. He’s popped up in movies like Untraceable, Leave No Trace, and TV hits like Leverage and Grimm, all while juggling basically every job in showbiz you can think of.
referencennDid some wild sculpting work for Michael Jackson’s Moonwalker—yeah, that totally off-the-wall 1988 flick that mashed together music video weirdness, claymation, and whatever else MJ felt like tossing in. The sculptors really went to town, crafting those bizarre special effects and puppets you see when Michael morphs into a robot or a car (seriously, only in the ’80s). If you remember those freaky villain puppets or the claymation rabbit, that’s their handiwork too. Not just background stuff, either—these artists were building the props and creatures that ended up right in the middle of all the action scenes. Moonwalker’s a fever dream of a movie, no question, and the sculpting crew had their hands on all the wildest parts. Their work gave the film that trippy, surreal edge; it’s a big part of what makes Moonwalker so bonkers and unforgettable even now.
Konidela Ram Charan