The Twilight Zone (1959)

The original Twilight Zone's makeups were provided by William Tuttle, who by that point had been head of MGM Studios' makeup department for several years. Though most of his work had been beauty makeups, Tuttle had experience with the horror and fantasy genres, having worked on The Wonderful Wizard of Oz and The Picture of Dorian Gray under Jack Dawn.

On Twilight Zone, Tuttle collaborated with sculptor Charles Schram to create the various makeups, and sometimes the special props. The mannequin in 'The After Hours', (based on a lifecast of Anne Francis's face), the ventriloquist's doll in 'The Dummy' and even the spacemen miniatures in 'The Invaders' were Tuttle and Schram's work, not a propmaker's.

Tuttle's work on 'Eye of the Beholder' was some of his most difficult, as he had the task of applying makeups on several performers, rather than just one. Tuttle's method of makeup casting, as shown in 'The King of the Duplicators' featurette, required a lifecast (done in wax and plaster of paris) of the actor to be made.

This method however was not feasible for the episode; taking an individual life cast of each extra would take too much time and, more importantly, budget.

To solve this, Tuttle devised that the pig-like visages of the future humans (based on a sketch by the episode's director Douglas Heyes) would be foam latex appliances, made from three molding casts, creating a 'male' design and a 'female' design.

Tuttle had made a 'mass produced' makeup appliance for The Time Machine earlier in 1960, the same year 'Eye of the Beholder' was made, and the Morlok makeups do feel similar to the disfigured future humans.

Tuttle may have learned this workaround from Jack Dawn, who had also needed to make prosthetic appliances for several extras on The Wonderful Wizard of Oz, in particular the extras playing the flying monkeys.

Tuttle and Schram fabricate enlarged cranium prosthetics for the Venusians and Martians in 'Mr Dingle, the Strong'.

Originally, the third eye effect in 'Will the Real Martian Please Stand Up?' was intended to be a visual effect, rather than a makeup effect, but this proved unfeasible.

Tuttle developed a forehead appliance, and the fake eye was attached to a wire that went through actor Barney Phillips' hair. The idea was that the wire would be pulled, allowing the eye to roll as if it was a real one.

The makeup made for Richard Kiel as the Kanamit in 'To Serve Man' was intended to complement Kiel's already gaunt appearance, so Tuttle devised a large head appliance, implying the alien's intellect.

The Martian in 'The Fugitive' is a bit of a mystery; it is a full monster suit and mask rather than a makeup. Granted, Tuttle and Schram's duties did often go beyond 'makeup' on Twilight Zone, so perhaps they made the mask while the costume was reused.

(I've seen it suggested that all the components were reused, but that feels unlikely. Surely someone would have found the source by now, like all the myriad reuses of Robby the Robot from Forbidden Planet, who was reused on Twilight Zone!)

(On that note; the stopmotion brontosaurus footage in 'Odyssey of Flight 33', while filmed for the episode, was done with a model originally constructed for Dinosaurus, by Project Unlimited, the same effects artists who had worked on that film.)

Tuttle designed an eerie alien prosthetic mask for the episode 'Hocus-Pocus and Frisby', with no mouth, reptile-like nostils and a ridge connecting the eyes.

The uncanny androids in 'Steel' were realized as performers in stretched latex masks fitted with ping-pong balls for the eyes. The ping-pong balls were painted black and had holes drilled in so that the actor could see.

Tuttle's makeup design for the gremlin in 'Nightmare at 20'000 Feet' attempted to follow the description in Richard Matheson's original story, especially with the sunken eyes and squate nose. Grant Keate applied the makeup on the gremlin's actor Nick Cravat.

The costume itself was reused from MGM's wardrobe department, and the wardrober chose a fluffy suit. Matheson himself was disappointed and ridiculed the design in a June, 1984 issue of Rod Serling’s Twilight Zone Magazine, where he likened it to a 'surly teddy bear'.

Interestingly, Tuttle would devise a similar makeup for the yeti in The 7 Faces of Dr. Lao, made a year after 'Nightmare at 20'000 Feet' aired!

Tuttle and Schram also provided the grotesque facial prosthetics in 'The Masks', each one designed to resemble the masks the wore; the masks were also sculpted by Schram, keeping in line with the makeups.

It should be worth noting that the information about Tuttle and Schram's work on the series is from the thoroughly researched and very well-written Twilight Zone Vortex blog, who has done a far better job than I could when collecting information on the original Twilight Zone!