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In 1995, Adam West asked Wally to create a new replica Batman costume for a
photoshoot he was going to do for the magazine "Adam West Remembers: 30 Years of
Batman." In order to create the cowl, Wally and make-up wizard David Miller took
Adam to Cyber FX in North Hollywood and had his whole head scanned. The
resulting data was input into the Cyber FX carving machine, and Adam's likeness
was produced in 1:1 scale in rigid foam. David Miller cleaned up the foam
master, and then cast it to make a mold. When the mold was finished, he made a
copy of Adam's headcast, and began sculpting the master for the cowl shell. In 2001, Wally had a fiberglass replica of Adam West's 1995 headcast created, including a lifelike paint job and glass eyes. He placed one of the cowls he created on the cast, and placed it in his main showcase in Planet Wallywood. Several years ago, Wally retired from appearing in his replica 1966 Batman costume. It was made from patterns taken from an original TV series Batman costume belonging to Mark Hardeman in San Francisco, and it was the most accurate replica ever created up to that time.
The mannequin was placed against a blank wall and a display was created around it utilizing various replica bat props. Engraved plaques describing the props were created and spaced out on the wall. Foamcore shelves were created to give the display an idea of dimensionality.
Faux stone panels was purchased from a company called Texture Plus, and was temporarily placed behind the mannequin to give Wally an idea of color contrast.
So, having just completed Wally's Andy Kaufman mannequin, Jim Ojala was called back to complete a new project. A head transplant of the Adam West bust onto the mannequin. Like the Andy Kaufman mannequin (Kaufmannequin?) it looked fantastic. Jim did a terrific job!
When the mannequin was delivered with its new head, Wally had his contractor Terry Crisp size up an area in Planet Wallywood for the dazzling new display!
Wally marked out areas on the wall behind the Batmannequin where the props would be attached. This would give Terry an idea of where to make the holes in the faux stone panels before they were attached to the wall.
The first two panels went up, and the shelving was placed in temporarily to see how it looked. Note the hole in the ceiling overhead where electrician Bob Mollison ran extra wiring for a lighting effect that would be added later.
The Batmannequin is placed in front of the display to get an idea of how it's shaping up. So far so good. The shelves would eventually be removed and painted gloss black, and the cabinet the Shakespeare bust is on would be painted gloss black as well.
The last panels are attached to the wall to complete the cave wall, the painted shelves are attached permanently, and the Shakespeare cabinet is painted black.
Again, the Batmannequin is placed in front of the cave wall to get an idea for spacing. A thin wood base will support the mannequin, with tiny adjustable pegs under his boots, so he won't fall forward or to the sides.
All of the signage is attached and the props are placed. The white box next to the Batmannequin is a thermostat. Eventually there will be a gold metal plaque on its face with Adam West's signature on it.
An overhead light fixture is given a red bulb to cast a red glow on the cave wall. A pin spot is affixed in front of the display to highlight the Batmannequin's face and chest.
Yet to come, wiring up the pin spot to a hidden switch on the Shakespeare
cabinet. Also, the ceiling leading up to the display will also be covered with
the faux stone paneling to create the illusion of a cavern. A digital sound
repeater will be installed in the Shakespeare cabinet as well that will play the
Batman theme at the flick of a switch!
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