Topics / Production
Make-up & prosthetics
111 commentaries in the archive discuss this, with 408 total mentions and 244 sampled passages below.
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SFX Maestro Christien Tinsley
So she was a combination of a fake body for the back hit and the stomach hit, and obviously those body parts. But then her arm was a physical effect where we had a prosthetic coming off of her shoulder and then an arm attached to it. And off camera, one of our on-set artists, Heather, was holding the arm up in place so as the knife
10:53 · jump to transcript →
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SFX Maestro Christien Tinsley
came through and gave its final swing. She just kind of let it go, and it looked like it was coming away from her body. And then prosthetic gag for the ax to the head, where we had the distorted eye. We sort of shifted her whole left side of her head over by about an inch or so, so everything looked really distorted, like the ax had separated the head there.
11:22 · jump to transcript →
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SFX Maestro Christien Tinsley
So this is one of the first days of shooting. Art the clown. His body there. That was a combination of both David in a neck prosthetic that we built and them digitally removing his head, as well as a full puppet we made with rod articulation to the arm. So anytime you were over the shoulder, the gunshot wounds coming through him, or...
14:22 · jump to transcript →
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This is the Lionsgate logo. I was waiting for the Trimark logo. This is Mark Jones. I'm the writer-director of the first Leprechaun, which I think we're watching. And next to me is... Gabe Barteles. I did the special makeup effects on Leprechaun. And he did a great job, and you're going to see his work, or at least part of his work, through the shadows. Do you remember where this...
0:07 · jump to transcript →
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Interesting because for, and it was only in Leprechaun 1, in designing the makeup, the prosthetics go through architectural changes. In the beginning, he's more passive. He's calm. The brow was sculpted with curvatures that arched like rainbows, and it was non-aggressive. And as the film went on, if you broke it down by act, by act two, the pieces got more aggressive, and by three, it's full on.
18:45 · jump to transcript →
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As the Leprechaun films went on, those nuances began to go away, which is I also think why one stands above the others, that those tiny details that seem to be pesky distractions really do pile up to a film that hits you at all levels. And the prosthetics was something we did.
19:14 · jump to transcript →
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Filmmaker Paul Davis
trumpet that was played backwards and they added reverb but the sound on this is is remarkable and and of course john was so enamored with it that he reused it in michael jackson's thriller along with some of the makeup appliances actually so can you see anything no
15:36 · jump to transcript →
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Filmmaker Paul Davis
apartment that she's in on her own, so she kind of made up that this character obviously came from a wealthy background. It's one of the greatest scenes in the movie. I remember asking Rick Baker about that makeup, because David Norton has always maintained that it was, you know, out of everything that he endures with the werewolf transformation, he always maintains that that makeup in the woods is
28:35 · jump to transcript →
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Filmmaker Paul Davis
was the most painful. And Rick never really understood that because it's literally like opera pancake makeup with dark circles around the eyes, contact lenses and dentures. And it turns out that it was actually the dentures and the contact lenses that were the most painful for David because he doesn't really wear contacts during the transformation. That's all him. Did you talk to the police?
29:05 · jump to transcript →
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director · 4h 13m 12 mentions
The Lord of the Rings The Return of the King (2003)
Peter Jackson Fran Walsh Philippa Boyens
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Peter Jackson Fran Walsh Philippa Boyens
We put a guerrilla crew together so that you could film it with Andy. We were trying to figure out all the different ways we could use the set, which was really a little gully, a rock gully. So we drowned it in rain, we dried it out and drowned it in light, threw some greenery in. We just tried to give it variation and also to show, obviously, passage of time. That was a huge make-up, wasn't it? It was enormous. He was in there for how long? I couldn't tell you. Hours and hours and hours.
5:06 · jump to transcript →
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Peter Jackson Fran Walsh Philippa Boyens
Not in the way that the Uruk-hai were. The Uruk-hai, we managed to get a lot of menace out of them in the Helm's Deep scenes and stuff, but we actually set aside some time during pickups, and we had Richard Taylor and his guys redesign the prosthetics of the orcs, redesign the costumes, and what you see in the finished Return of the King now is a combination of some of our old orcs, but a lot of the close-ups and featured characters are the new orcs that we reshot on pickups just to make them look a little bit more scary.
59:43 · jump to transcript →
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Peter Jackson Fran Walsh Philippa Boyens
Now, Gothmog is played by Laurence McCrory, who played Lurtz. When we decided to add an Orc character to Return of the King, we just thought, let's give it to Laurence. Let's get Laurence to do it again. And the wonderful thing with prosthetics is that if you have a great actor like Laurence, who is just so brilliant at pushing energy through that rubber mask, you can then create a completely different character for the same actor to play.
1:12:19 · jump to transcript →
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director · 2h 19m 11 mentions
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I told him, I want to destroy the images. I don't want to beautify them. I don't want to sentimentalize. I don't want to make them pretty. I want to destroy it. And this is what he came up with. And the third was, find a sound. You know, this should be a sound that, you know, everything is there to, you know, whatever it is, costume, makeup, production design, camera, VFX, music.
13:36 · jump to transcript →
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Again, I'm really into sound. Actually, I'm really into camera and I'm really into sound. And every technical aspect of the filmmaking process, as well as the emotional aspect, is again focusing on his face. And I love how he is caked in mud here. Look at the makeup, the wonderful makeup here. And this one slither of light on his eye. And I love how we're with him and he slowly turns his face towards us
27:21 · jump to transcript →
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So it was really important to take the audience on the journey, on his inner journey here. And again, wonderful makeup that just caked with mud. You know, these kids are becoming mud immediately. It's just only 20 minutes ago they were at home, right? And still sort of protected and like the foxes with their mom.
32:43 · jump to transcript →
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Len Wiseman
That's what my brother calls my bad-gas moment. This one here? Were you harnessed in? Insert sound effect there. - The extended version. You were way up in the tower, right? You were harnessed in? No, because eventually, I didn't. There was some... That's right. That was green screen. - No, it was just somebody else. Oh, okay. You refused. - I didn't. There were some shenanigans going on. Somebody made me feel unstable, and I wouldn't get on it. It is a bit bad-gassy-looking... - It is, isn't it? Now come think of it. We went up there. It ended up being Nicole. That first shot is Nicole. I can't believe she did that, jumped off. She did not. That's a rumour. I totally did it. Oh, I'm sorry. The funny thing is, so many people get fooled by that. That shot that's coming up, they do think it's me. I'm sure it was you. You did it a couple times, she did it once. That's not me. - There's you, in the hoodie. Oh, yeah, I'm brooding in the hoodie. Now, he's a potato farmer, apparently. - Really? He is, from Idaho. - Slash vampire? Yeah, apparently he is. My makeup artist was keen on him for a minute. Lovely strong hands. There he goes. But he didn't speak any English, right? - No. As did, like... Eighty percent of the crew didn't. Right. I mean, you barely spoke English. - I tried. Neither of you speak English. Thank you very much. - Okay. There I go. I really like how she did that. - Good knees on that. They're not my knees. - Those aren't your knees, no. This is where we just drenched you for hours. I was miserable. - The rain machines wouldn't work. I felt like they worked really well. I was soaking wet. All the people running up to you wearing 15 coats... I thought it was still cool that there were rain machines... ...and I was going to get wet. By the end, I was cursing water. I Kept falling there, slipping down. This is like-- Inside the subway was the very first week we did. Yeah, we did that fake set, right? - Yeah. Was that a fake set or a real set? - Wasn't it real? It was real. - No. You were there, weren't you? I was there. It was a subway station, but didn't we build something too? Well, yeah. It was actually... lt was a repair yard for the trains. Then we built that set around the train. - I knew I was on to something. There you go. - Here's love. Immediate love. - Damn it, I have a pimple. Do you? - You don't see that? I see it first. I thought we wiped that out. - No. Oh, my God, it was so tense. lt was so hot in that subway. Yeah, it was brutal. Boiling hot week there was in Budapest before it became arctic. And everybody's in these leather coats. This was the first thing we shot, right? - Yeah. Yeah, this was the second day of filming. The first day of shooting was you in the hospital. Then I came in with those horrible boots and tried to get your approval. Yeah, that's right. I remember I did not want to shoot that scene first. That moment I won't talk about. - No, neither did I. I felt like I'd had absolutely no preparation on firing the guns. They told me, "We're going to do a take." I said, "Oh, my God." Literally almost shook, afterwards. Felt like I'd drunk, like, 20 cups of coffee. I was worried I was gonna get in trouble, because it was a cheap movie. "You have one chance. We don't have money for another pillar." Like, "Oh, great." - You did great, though. No, there was all that stress... ...because we really didn't have a chance to re-squib things. He says, "No pressure, Kate, but we only got pillar with squibs in. The thing's going to be ruined if you mess It up." This sequence is still pretty much the same. Yeah, this stays the same. Here I go, panicking. I remember all this. You did an amazing skid. Did that make it? Yeah, it did. - That was fantastic. But I do grab her crotch, unfortunately. Right. I ass-grab her. - You did that in rehearsal too. She cried afterwards. Is that why? - Probably, it was real claw. She was terrified with this squib. She had never done one before. And she was horrified. - Yeah, she had a real sob after. There she is. I did not mean to. That was unintentional. They're all looking at it now. Remember when we were shooting that scene... ... for you peeking your head out, to get the reaction, I kept firing guns? Yeah. Yeah. I was asking you to do that, yeah. We ended up doing that the entire film. - Here I go. Ass-grab! She was really cute. Everybody was harassing her because of that. Really, everybody was harassing her. - Yeah. But not after my grubby hands got all over her. Oh, my stunt guys. Look. Hank, he's always the one who was, like, pulling. He was my favourite one to pull wires. - Oh, this is where you save me. Thank you for that, by the way. - Kind of a lady-boy.
1:15 · jump to transcript →
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Len Wiseman
There was discussion about adding a scene where... ...Kate's in front of a mirror with just a razor blade... -... just shaving her head. - Wow. The hair was becoming a problem. - That'd be cool. I think it'd be good, do the Sigourney Weaver... SO people can say you're ripping off Alien as well Matrix. That'd be great. - Brilliant. Do people say that? - Yeah. Oh, far too many, because it's a black suit. You know, what are we gonna put a vampire in, like, fuchsia? You know what? - Number two.... It'll all be pastels. Look, I warned her. I warned her, but she didn't listen. I should've told you sooner. - Told me what? Her human, Michael... ...he's not a human at all. He's Canadian. - I'm Canadian. What? Canadian? - No, not another Canadian! Jesus! - Get them out of the industry. Stunned. They'll kill you. That was the one I was terrified was gonna be in the preview. Was it ever in the preview? - The, "Who are you people?" Yeah. And it was. We knew it was. There's certain lines, when you're shooting, you know... ... they're gonna be used in the trailer. I Knew that when Kate was saying, "The war between Vampires and Lycans." That's right. And that was. - Yep. This looks complicated. This was a nightmare. - Walking with those things. Walking, there's guys on top that are.... The prop guys are trying to move that thing around on top to mimic him. He was so great. - He was so cool, man. Yeah, he was. - He was such a cool guy. Is. I guess he had the toughest makeup, right? He had six hours every morning. Leave us. But he was great. He was like the visiting rock star. He's so cool, man. We love you, Bill. - Bill, we love you. I wanted him to come to the premiere, but he didn't come. We wanted him to sleep over, and he wasn't interested. I was interested either. Werewolves. There we go, right in the trailer. I'm glad we did those flashes. It's always really difficult to have that scene where it's... "These are aliens," or "These are"-- - It's a tough scene. It's tough for the normal person. So you just kept that bewildered look... ...and I threw in some inserts there and really helped you out. Thanks, man. - You're welcome.
53:17 · jump to transcript →
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Len Wiseman
Because you're so cute. And Canadian. - You're Canadian and blond. I love that scene. - Really? Yeah. I think you did a great job. Oh, thanks. Thanks, man. Yeah, I was very happy with that. With both of you. That really is some makeup. My God. I felt so great on this movie. I had the shortest makeup call of everybody. All the boys had to come in before me. lt was so unusual. Well, I didn't, not until that last week. You were always having your nipples painted blue. No. - Had to get highlights. I don't have highlights. - Blond streaks. No, no, I don't do that. Remember I asked you? Early on, I thought that you did. Everybody does. - He does! I do not. - Please. Oh, my God. I swear to God, I do not. - I'm sick of this. And those are natural buttocks too, right? No, those-- That's fake. No, my ass Is fake, but my hair is real. - But his hair, I mean, come on. ls he--? What? No, that's a belt. - But he's basically in a skirt, isn't he? Yes. - I love that. You are so weird. You so don't look like a guy who'll design, like, a man-skirt. Yeah, it looks like he's got... I would wear a man-skirt. What's wrong with that? Without the makeup... - I do think people... ...when they meet me, they think I'll be some Goth with eyeliner. I did. I thought, especially with your name being Len Wiseman... ...I imagined you having a shoulder-length mullet... ...and a lab coat. Like, a white lab coat. Thank God I changed and got a haircut before I met you. Did you ever have mullet, Len? Do you like it right now? - Yeah. That's not a mullet, though. I had a mullet in high school. I didn't know I did, but I guess I did. Because it was behind you. - Yeah. I see pictures now and realise it's a mullet. You also thought I was Jewish. - I did not. Didn't you? - No, everyone else does. Why? - I thought you'd be about 52, though. Len Wiseman? - Len Wiseman. It's like a butcher's name. Maybe. What's going on here? What's happening? This is-- Thank you. This is another added scene. This was cut, again, for pacing. It just shows, again, that... ... she's involved in this plot, just helping it along its way... ...to get Kraven a bit more pissed off with Selene. That's a new shot as well. I always liked that shot... ...but couldn't fit it in. - You were in the position... ...of having to shave and shave stuff out of it, right? Yeah. I mean, we got down to where every second was counting. How long is the movie? Putting a stopwatch to us to take out things. I think it was-- Man, I don't Know. That's a new shot right there too. That's actually Nicole. Yeah, I don't recognise that. I don't remember being there. Where was I? Was I sick? - You went home and... You were never planned to be shot... ...because it was just gonna be a car pulling up... ...and then, since she was in the suit, we had her do the walk. It was cold in this set. - This set was cool. I love this. I really had a good time with it. You were sick. - You were very sick. We stopped one day and didn't film it and came back, right? No, we didn't. We were going to. We stopped, because you came down with pneumonia... ...and we ended up having to build this set on stage. Yeah. That's right. - All right. That was so fun, when we did it on the stage. Yeah, it was. So this-- Where was it? No, this was actually on location. Yeah. That was that freezing, freezing... This is when you were, like, coughing and hacking after each take. What are these for? Lycans are allergic to silver. All the women on the set walked past that tray. They'd be like, "Damn, I must get a pap smear." Why is my nose so red? You know, it's becoming a theme. - I think it really is. I look like a semi-coke addict or something. It was cold in there. It was cold, but I didn't know it. I didn't know. I'll get your back next time. - Please. Didn't I? Pull some hair out of your nose? That's why my nose is so red... ...because I kept getting her to pull hairs out of my nose. It's because you're so blond... ...and the way you had your head, it was twinkling. I really-- You know, I'm not good at cutting all that stuff. Somebody got ahold of it. Your eyes were watering up. Yeah. This is the same, right? Yeah. After-- There's a scene coming up after... ...oelene talks about her family and everything. The scene that we originally cut of... - Oh, yeah. ...ocott, when he's telling about how he got into... My back-story. Your back-story. Everything that builds and... I like that that was in Budapest. ...and kind of creates your character, we decided to cut. Did you put that back in? - We put it back in, yes. So we have the pleasure of it now? - We do. We should have some silence... - I don't think we need to. I think we can just talk over it and talk about how my nose... ...isn't red or something. - And it was-- It was a couple reasons. One, it was pacing, because this scene... ...it took a long time, and... - Scott, you were boring. People were kind of falling asleep, including Scott himself at the premiere. I wasn't even at the premiere. - Oh, even more committed. Well, I was at the premiere, but I left. A serious reason why we did cut it is... ...because it came right after Selene's back-story, and so it seemed like: "Here's my weepy story," and he's like, "Yeah? I've got one to top that." Actually, you were very good. Yeah, that's how it felt too. I mean, that's what it was. It was like, you Know, "Yeah'"-- - It was like a sort of AA meeting. "My name is Selene, and these are my problems." That's fine. There's his tunic. Look at that. What is that? You guys have a problem with that? - It's a man-skirt. He gave me the strength to avenge my family. Since then, I've never looked back.
55:50 · jump to transcript →
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director · 1h 42m 9 mentions
Len Wiseman, Brad Tatapolous, Brad Martin, Nicolas De Toth
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So like I said, we had a three wall set and because the walls are similar, you don't really know exactly where you're at. So I think you get away with it. And here's Marcus. So Marcus, so with Tony Curran, how long was his makeup process? Well, it took about four hours. I mean, you know, the beginning, then he sort of went down a bit. But I want to tell one thing here. The first time you're going to see his face, remember then?
13:45 · jump to transcript →
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that James Spader was riding on in the military facility. Yeah, in that I had my name there. So I'm sorry to, this is like makeup. What we just saw is, can't you tell? Yeah, different. This is actually the final design for him, for Marcus. Makeup. So the one first time you saw him was not quite there. That's the thing. I wonder if that caused any confusion. I was a bit worried about
19:56 · jump to transcript →
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because the makeup is quite different. You know, if people... I think it ties in. We never had any comments on it. This, again, miniature. See what I'm talking about with the water? Exactly. Just point out the flaws. That's what's good about this. Nice thing to do. Give me a moment. That set was really...
20:26 · jump to transcript →
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director · 1h 28m 8 mentions
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from the ear piercing to the metallic tendrils we later see attaching Max's gun to his hand and wrist. Debbie herself told me that having Videodrome follow her collaboration with Yeager felt to her like, quote, a very strong coincidence, unquote. Until I came into possession of Michael Lennox's call sheets for Videodrome, I assumed that the ear piercing we see on screen was real, but the call sheet for November 26th specifically calls for bleeding earlobe makeup.
16:58 · jump to transcript →
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Here we have a complementary masturbatory metaphor to the earlier one, which was penetrative. This one is receptive. When Max begins to scratch his itch with the nozzle of his gun, the rash suddenly ripens into a vagina of the viscera. This was a full-body foam latex appliance that covered the actor, who was ensconced within the sofa at a roughly 45-degree angle with only his head and arms exposed.
43:19 · jump to transcript →
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The engorgement of the appliance was achieved by a couple of EFX guys blowing into tubes behind the sofa. This scene was originally written to take place in Max's bathroom, in his bathtub, but I was told that the actor had some serious qualms about sharing bathwater with a live television set, even though it had been thoroughly waterproofed.
43:45 · jump to transcript →
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Gary Goddard
Tila, Man at Arms, He-Man, and we get kind of the scope of the devastation. And now we're going to meet Gwildor. That's Billy Barty. And Billy was a fantastic trooper. I'm not sure how old he was, but I'm sure he was in his 60s at least when he was doing this. And we bundled him up. We carried him around. He had to put on, you know, three and a half hours of makeup every morning. He did a great job.
7:00 · jump to transcript →
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Gary Goddard
Mike Westmore. He did a great job with the makeup. There's a great variety of things we had to do. We had a question in our, you know, we went through many, many versions of this skull to figure out, is it a real skull? Because again, it was a cartoon character before. Do we make it a real skull? If it's a real skull, it's a hard skull. Then it's like a mask and you don't get Frank Langella's performance. On the other hand, we used some very latex rubbery masks and they were too rubbery. They look almost comical. This is a
13:38 · jump to transcript →
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Gary Goddard
that Stuart Ziff created. It's gonna create the window right there. I wanted a kind of a prismatic effect in the air that you're seeing there, and now it's gonna join. You're gonna see it bend time there, it's bending time. And now it's opening up the doorway. And now they're gonna say, let's get through there. Mike Westmore, the Gwildor makeup, I wanted to get as much as Billy's performance as well.
15:13 · jump to transcript →
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director · 3h 29m 8 mentions
The Lord of the Rings The Fellowship of the Ring (2001)
Peter Jackson Fran Walsh Philippa Boyens
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Peter Jackson Fran Walsh Philippa Boyens
We had a forge and we sort of used to heat the swords up, hand them to the orcs who couldn't see very well. They were sort of waving these red hot bits of metal around and whacking them with hammers. But it's funny because things like that, you ultimately can't really figure out a good way to fake it. And you've got to use the real thing. And they, the foundry guys, were dressed up in orc makeup. That's right, yeah. The orcs themselves were the foundry workers that we dressed up as orcs. That's right. Lurtz is a character that we developed for the movie. He's not in the book. And, you know, the reason...
1:17:02 · jump to transcript →
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Peter Jackson Fran Walsh Philippa Boyens
Like this room is actually built inside the park. That's a real forest outside. And we were filming, and so I wanted Rivendell to have this very much indoor-outdoor kind of, very close to nature. And we didn't mention it earlier, but when we first see Ian Holm here in Rivendell, he has the second stage age makeup, which Weta designed.
1:47:02 · jump to transcript →
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Peter Jackson Fran Walsh Philippa Boyens
Is it the stipple makeup? It's the stipple makeup. Obviously because Bilbo doesn't have the ring anymore, his aging process has accelerated. I think you gave a million people a heart attack with a shot, Pete. Yeah, Ian does this so wonderfully well. He's just playing a character that hasn't really been able to finally give up the ring.
1:47:27 · jump to transcript →
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director · 3h 43m 8 mentions
The Lord of the Rings The Two Towers (2002)
Peter Jackson Fran Walsh Philippa Boyens
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Peter Jackson Fran Walsh Philippa Boyens
in the same time frame as it is here, as opposed to the book. Bernard, under hours and hours worth of makeup, I think that was a four or five hour makeup job that he had to go through. Again, a very memorable part of the book, Brad Dourif as Wormtongue is superb. He had to shave his eyebrows off. Not a lot of people really notice it, although it does give him a weird experience.
24:45 · jump to transcript →
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Peter Jackson Fran Walsh Philippa Boyens
Brad's problem is that he had to come down to New Zealand five different times during the course of two years to shoot his role, and his wife and child would say goodbye to him on each of these five trips with eyebrows, and he'd return home a few days later without any eyebrows. And it happened five times over two years. He's got a false nose in this makeup, hasn't he? He's got a prosthetic nose and some warts, I think. They glued on some warts and some moles on his face.
25:13 · jump to transcript →
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Peter Jackson Fran Walsh Philippa Boyens
actor at playing orcs that we use in all three movies playing different orcs. So there's often when an orc is delivering dialogue, whether it be in the first, second or third film, it's often Steven under different makeup. So he plays a lot of different orc characters and he looks different in each role because obviously he's wearing the prosthetics.
31:07 · jump to transcript →
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John Cameron Mitchell
going underwater. There's no stuntmen there. Covered in red makeup. There he is. Okay, he's not even, there's not even a trouble. He's dead. And in the script I said he has to be benignly and benevolently dead. And look at that. He had that beautiful expression on his face that helps James go where he wants to go or he thinks he should go. This was a, remember every time we had to do the flicker of the light was always a problem and we'd lose power and everything would fall apart. Yeah.
13:11 · jump to transcript →
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John Cameron Mitchell
Okay, so now I'm supposed to be drunk. That's why suddenly my face is covered in red makeup. Well, you got the red light all around you, too. I don't think... Peter Stickle's in the back. Peter Stickle, if you see him, he's the guy who plays the stalker. He's standing in the back. Some people don't notice.
23:07 · jump to transcript →
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John Cameron Mitchell
Which he actually has used menstrual blood as makeup in his shows. He loves the ladies. He loves women of color, especially. Yeah, and over 250 pounds. No, no, no. He's equal opportunity for women, but it's like he is the ladies' man.
25:29 · jump to transcript →
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writer · 1h 35m 8 mentions
Simon Barrett, Adam Wingard, Greg Hale, Timo Tjahjanto + 4
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No, because you actually see him leave. Maybe actually when he goes off screen after he shoots himself, he's actually cleaning up the floor. Okay, two things. I did actually consider having Collins quickly wipe up the floor before running out of the room after he blows his jaw off. Yeah, but there would be so much gore all over the floor. Well, that shot, I mean, remember also that shot was like a five-minute shot that had a lot of choreographed elements to it, and we did it again and again and again. By the way, Collins' makeup was actually burning his skin. He had an allergic reaction to it. It was the first thing we filmed. He had these burn marks on his face, and he's such a
5:04 · jump to transcript →
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She was younger and she was just such a trooper. I mean, she did not care about like the makeup or any of that stuff. And so we were just like, oh, let's just bring her back for VHS too. That door actually did just break too whenever I was shutting it. Like that was me actually reacting to it and just throwing that little piece away. And then we just ended up keeping it in because it was kind of funny. But actually like every time you see me lock that door, I'm actually just pretending to because that door doesn't actually work that way. There was no actual real lock on it or anything. This digital watch is a watch that I actually obtained as a product sample in a actual private investigation.
15:10 · jump to transcript →
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By the way, I don't know. He's a trooper. Yeah. That's vomit on his chest, too, by the way. It's kind of hard to tell, but it's supposed to imply sort of about how he kind of died in this weird state. I would think that maybe he was drugged by Hannah's character. Yeah. You know, like, while he was trying to rape her or something, you know. Yeah, clearly we're hinting at, like, some kind of backstory there. But, yeah, I mean, he sat around in his underwear, actually kind of, we were kind of like, can anyone get John a robe? And they're like, no, it will affect his makeup. And we're like,
20:11 · jump to transcript →
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Nia DaCosta
Take it. Pick it up! Too slow, pal. We had to re-record dear Connor's dialog a couple of times because of his Glaswegian accent, which I, you know, understand just enough. But I think for the average American audience, they were a bit confused. Shit! It was really fun to do that stab. I really like special effects, especially when they have to do with, like, cuts or blood or gore, I think it's really fun. And so this is... And I wanted also much of the blood to be practical. I really hate VFX blood 'cause it looks so fake. And so in this scene, we have mostly real blood, but then VFX to either clean up or to match certain things. But everything we do is like a rig. So when you see the blood spraying out, it's always or almost always real... well, not real blood, but like real red fluid coming out of a pump. And then right off-screen, there's, like, SFX artists, like, pumping away at this can full of, you know, fake blood. Sir.
4:10 · jump to transcript →
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Nia DaCosta
So, we had... This is really fun. We had some really great prosthetics in this film. And some of them you're seeing here as he takes those arrows out of his torso. And then we cut to a close-up, which is a completely fake chest plate that has blood pumping out of it, which is fun. So, that was all real. Which means...
12:45 · jump to transcript →
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Nia DaCosta
So that was a mix of VFX blood and, like, rigged, like, real fake blood that comes out of this, like, sort of tube around his neck, which is really cool. And then you see, little little on the bottom right, Jimmy Ink walking towards the Bone Temple.
31:31 · jump to transcript →
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And now you say he's a big producer. He is. I keep seeing that name. I didn't realize it's the same. Just before they shot this scene, I remember Ken coming into the trailer in makeup and asking someone to shave his rear end. And I remember being embarrassed the whole time we shot this. You and me both. I didn't want to be here.
48:46 · jump to transcript →
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The person we admire most in the world is makeup artist and creature creator Rick Baker. His wonderfully gruesome slime bladders and slobber tubes in American Werewolf in London won him a richly deserved Oscar. That is why we admire... I was so impressed with these two and the way they worked together in the show and both of them individually and then together. They took it to the woodshed themselves and worked it out. This has made me laugh a lot.
50:11 · jump to transcript →
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Yeah, it was. White, white pants, white shirt, white hat, white shoes. It was summer. Yeah, summer. I didn't have to think. We shot this sometime like September, October, as I recall. November, maybe. But I remember when the kids all get made up here. I remember that you shot that on purpose on Halloween so they could take the makeup home. Oh, I don't remember that.
56:26 · jump to transcript →
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director · 1h 43m 7 mentions
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Hoofless! Drew! Coming up with the designs for the way the Hoos ought to look was an interesting challenge for Rick Baker, who of course did the makeup designs for the Grinch and the Hoos.
4:22 · jump to transcript →
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It's important to mention that Jim Carrey was absolutely miserable every moment that he had to be in the Grinch costume. And yet he loved what Rick Baker had designed and loved being the Grinch. But everything about it was literally painful for Jim. The contact lenses that he had to wear, the bodysuit, the hours and hours it took to put on the makeup. And yet he never once said, let's simplify the look.
23:14 · jump to transcript →
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all improvisation on the day by the way not the entire speech but that last rant jim was amazing he'd call me in almost every morning as he was getting his makeup on go over what we were shooting i'd talk about the way we laid it out i talked about some questions that i might have or some ideas i'd have for new lines of dialogue or
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director · 2h 8m 7 mentions
Commentary With Kathryn Bigelow And Jeff Cronenweth
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Commentary With Kathryn Bigelow And Jeff Cronenweth
these actors come out of the reactor and they were obviously already in makeup and performing and yet I found myself imagining the real individuals and the real submariners who had volunteered to go into that reactor and try to do what they could to prevent a thermonuclear event and yet to their
36:06 · jump to transcript →
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Commentary With Kathryn Bigelow And Jeff Cronenweth
The very first sequence we did is Harrison in his old age makeup coming through the gates of that cemetery and walking up the pathway. And you could hear each crunch, each step that he made coming up and the breath was so thick out of his mouth. It was truly a magical moment, you know, as uncomfortable as it was.
37:58 · jump to transcript →
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Commentary With Kathryn Bigelow And Jeff Cronenweth
And to see them and to see the old age makeup hold up in that kind of weather and then this color that your skin naturally turns when you're that cold, it just was a, what a great way to start. I was standing there and we were shooting the sequence and I remember, you know, Jeff and I were both feeling that, you know, things were going very well and I remember looking around
38:21 · jump to transcript →
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director · 1h 29m 6 mentions
Jeff Kanew, Robert Carradine, Timothy Busfield, Curtis Armstrong
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Oh, you poor bastards having to sit through this. Now, they told me they were going to put good violin over me, and you guys had to sit through me practicing. I remember that. And here's a semi-scripted, semi-ad-lib card game, which became a running bit between Booger and Takashi. Yeah, you guys made that up. That was improvised because once we were in the place, he just came through and told us to make up something. Yeah.
21:01 · jump to transcript →
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Whose idea was it to keep your glasses on in the shower? This little scene was not in the script, but it seemed that after this little spat in the shower, we needed a healing moment between our heroes. And so we just set up the camera and said, why don't you guys try to make up before you go to bed? And they ad-libbed this right down to that little tandem eyeglass removal.
21:58 · jump to transcript →
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The whole point, which I had at the time, which was Booger wasn't really a nerd, really, at all. He was the least nerdy of the bunch of them. He just couldn't find a home anywhere. So he had to live somewhere. So you guys, the nerds were the only ones who accepted everyone without question. Right. Without judgment. Here's a continuing. Yeah, this is, you know, we just keep doing these little things that we would make up. Okay. Here we go. When do I deal? Well, you've got to win a hand first. I told you we'd find a better place.
30:08 · jump to transcript →
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Richard Donner
Right. That was... When you look at John Forsythe behind that makeup, you think it's makeup, but it's not. He was quite old when we hired him for this role, you can see, and we changed it to fit his character. First, we thought he was young.
20:55 · jump to transcript →
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Richard Donner
That's not makeup. When you see him nowadays, cleaned up, that's makeup, and that's done by Burman. Tom Burman and his wonderful wife. That's one of the great makeup effects houses. A bit of a genius. He also did the upcoming character you'll see and all the little characters in the belly of the upcoming character you'll see, and went on to do a lot of wonderful things. He also went on to do, in Goonies for me, Sloth. A great big character. Tom and his company are really great.
21:20 · jump to transcript →
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Richard Donner
See, that's makeup. John Forsythe there.
42:43 · jump to transcript →
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Commentary With Author CG Paul M. Sammon
forecasting what's going to happen to him. He's looking at himself in the mirror and thinking, who am I? This was all shot, incidentally, in the River Oaks area, which was a nice part of Houston. Houston at that time was a very depressed city. So we were able to do a lot of things. This is the wonderful makeup by Stéphane Dupuis, the face of RoboCop unmasked. The idea was supposed to be that Robo, when he was first created, actually had his face skinned off.
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Commentary With Author CG Paul M. Sammon
like a mask, and his eyes and his lips were attached to a mechanism underneath. So that's why the skin goes over on the sides of the helmet. And Stephane Dupuy did this marvelous blending job, a Canadian makeup artist. And there on the left, you will see one of the first aspects of what one of my jobs was on the film. I was the CG supervisor.
15:43 · jump to transcript →
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Commentary With Author CG Paul M. Sammon
And, of course, it's all done with prosthetics. There was blood bags underneath the sheet, and all they had to do was cut through them, and you would get a line of fake stage blood. This actually has got some of the better dialogue that I think is in the film. Here's a very scary hack doctor. And there's the giggly saw.
41:57 · jump to transcript →
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E. Elias Merhige
Yes, places, everybody. May I have the chair, please? Count Urlach, you will sit here at the head of the table. Please. Very good. In this scene, the Count is reading the papers you bought him, and you are about to make a considerable amount of money. No, no makeup! Forgive me, Herr Doktor. Albin, clear the set.
29:50 · jump to transcript →
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E. Elias Merhige
Count, you're reading your documents. That's it. It isn't right. When he says it isn't right, he's referring to the hieroglyphs and the sigils that are on the document. And if you look closely at the back of it. I'd like some makeup. Well, you don't get any.
30:20 · jump to transcript →
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E. Elias Merhige
and he just felt the makeup was really bad. And he wanted to, you know, he would protest in the beginning about all of this, but then he just sort of moved into it. And I think worked with it quite brilliantly. And I think this scene with Willem and Eddie is just so wonderful. I can watch it a thousand times.
31:43 · jump to transcript →
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director · 1h 28m 5 mentions
Don Coscarelli, Cast Members Michael Baldwin, Angus Scrimm, Bill Thornbury
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Oh, man. Can we fast forward through this section? Derby. What inspired the derby in this scene? Yeah, I don't know. Where did that come up? Not me. Well, that was our Jack of All Trades costume designer, who also happens to be my mother and was also the production designer and makeup. She came up with that, I guess. Very An Souchant. Now, Bill, you wrote this song, didn't you? Yes, Michael, I did. Uh, we, uh...
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Don had approached me. We hadn't really talked about the tune. We talked about it this day, just before we shot it. And while they were setting the shot, I was sitting in the trailer with my guitar and Sheryl Quinlan was in there, who was a lovely friend and a lovely lady. Did my makeup, her makeup every day. And I remember just playing the tune. I only had eight bars.
16:39 · jump to transcript →
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is when you're making a film on such limited resources like we did, in terms of all the effects and the fact that we just don't have any kind of special effects team, whether that be makeup or prosthetics or rigging, you're so dependent on your actors and that's why you're so fortunate in the making of this film with Mike and Bill, Reggie and Angus, is that
27:43 · jump to transcript →
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director · 1h 54m 5 mentions
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Then I'll go out and figure out what sounds I want and go out with one recordist, often not even to the same location, and make up a soundtrack from scratch the way we make up the picture from scratch. Live sound isn't very good on a chase scene. Usually the length of shots is not very long at all. You can't sustain a chase scene in a long setup.
1:22:44 · jump to transcript →
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Well, to get a blood effect. And I've used it often. It came to me out of desperation when I did the French Connection. And the guy in the first scene, the undercover French cop, is shot in the face. We had elaborate makeup made for that guy. And the standard way to do it was you'd make a mask of his face.
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put a part of his face, and then there'd be these little monofilament wires, and on cue, when the guy's supposed to be shot, the makeup artist would pull away the piece of makeup, and blood would be behind it and spurt. And we had a great makeup artist on French Connection who tried to accomplish that, and it never worked. It always looked phony. And finally, just out of inspiration, a gift from the movie god,
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director · 1h 34m 5 mentions
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Good evening, everybody. Welcome to the blog. We're already off to a great start. I already regret inviting you. That was my blog voice. That's all I got. And next to Mark, we have makeup effects maestro, creature effects maestro, and all-around great guy, Tony Gardner. Hello, everybody. And we also have... This is like the dating game. I know. Door number three. And the man, the myth...
0:44 · jump to transcript →
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And this is acid, literally acid on a styrofoam countertop. Now, that was a rule. Like, who came up with the rules of the blob? By the way, the use of no score in this is masterful. Because when the reveal hits and the sting happens. There it is. There it is going up over his face. That shot. There's a makeup on him, but all that stretching is the real face. Yeah, there's a whole rig that he's in that's rolling across the floor. Look at that. When she's running up to him, she looks like miniature. Miniature.
26:31 · jump to transcript →
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So it was a warehouse, but it was all right. So watch this now, folks. This is just so interesting. I have to narrate this a little bit. So full scale set. Right. But when Jeffrey DeMunn and one of Tony's better moments with the makeup prop effects comes floating up, it's well set up in that you want these two to get together, but not this way. We anticipated. She's trying to call the guy to save her. And he ends up as blob bait on her phone booth. Then Eric Allard.
44:43 · jump to transcript →
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director · 2h 49m 5 mentions
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She's quite perfect to look at. She looks like a statue. And I thought it was good if you're going to get some French queen or princess, get someone from France. And she fit the bill perfectly. And no one could figure out who this guy was, this guy, the king. Because we actually doctored him with a prosthetic nose. And he's this fellow who used to be on all these TV shows in the mid-'60s.
16:57 · jump to transcript →
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I actually had to lose that shot in England. But it was a fine example of the makeup of Peter Frampton. Not the guitar guy, but his name is Peter Frampton. He won an Oscar for the makeup. But as you can see, I mean, look at that leg. I mean, it's... Everything. Everyone looked dirty and grubby and gritty. It was before the days of terrific hygiene.
52:58 · jump to transcript →
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Sit down. Stay a while. No one knew who this man was. He's pretty well disguised with leprosy makeup, which I guess was common back then. Sanitation wasn't what it should have been. I think leprosy was common in some of the more northern climes of Europe where the diet consisted of mostly seafoods, like fish.
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Oh, I remember when Gwen Stefani came out and someone called me on the phone and said, Lori, I love, I didn't know you were a singer. I love your music video. I said, what are you talking about? So all of that to say that Arianne and you and the makeup people and myself included created this, you know, and Jamie and everybody with Tank Girl. She had so many emulators. I mean, to this day, I still think Gwen Stefani
11:15 · jump to transcript →
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That battle armor, all that Ripper material that was designed by Stan Winston, I mean, just brilliant. It was funny. I was always in makeup for 900 hours in the morning, and then the Rippers were in makeup in another room for 900 hours in the morning. I never saw Ice-T and all those guys without their costumes on. No, for months, never. But they saw me in real life, right?
39:09 · jump to transcript →
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But I never would see them because I would have to get my hair taken out and my makeup off and then I'd have to go work out and I'd have to eat and I'd have to shower and I'd have, you know, you know how it was. So I never saw them socially. And then, you know, I'd see them a year later and they're like, you know, Ice-T's like telling me what's up and I'm like, oh, that's right, I worked with him. But he was a kangaroo. Yeah.
40:00 · jump to transcript →
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director · 1h 26m 5 mentions
Underworld Rise of the Lycans (2009)
Patrick Tatopoulos, Len Wiseman, James McQuaide, Richard Wright + 1
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Patrick Tatopoulos
So Dan was the art director on Lord of the Rings... ...and I met through a friend of mine, Gino Acevedo, the makeup artist. And we met and.... Since we already had a sense of what I wanted to see as a castle... ...came with some drawings at the beginning. Dan was perfect for that. Just took the drawing. As an art director, just became clearly someone that expanded the vision. But he's textured the style, you cannot recognise, I mean... Yeah, we were really lucky to get him. He was actually working on a different show when we got to New Zealand. And we thought maybe we wouldn't get him. But that other show had money problems... ...and shut down the production. And we were very lucky that he was able to step right into Underworld. Now, this was a scene that, at least, my recollection... ...when we originally sort of storyboarded it... ...wWe had a lot of werewolves in it, and then we couldn't afford them. So we went back and we begged Clint Culpepper... ...to give us about a hundred more werewolves. And he did. - Which he did. We also had to build this canyon right here. And I do think it makes a difference of just... Before, we were talking about doing a version... ... Which is just all within the trees. And, you know, Patrick, you and I talked a lot about... I liked the idea of you going from... There's a separation. You got the forest, and then this canyon, that then leads into... Leads into the meadow, yeah. Into the castle. Yup, and this castle, obviously, is a location that doesn't exist. So basically... - Neither do the rocks. What we had, it's basically like a golf course-looking... There was no rocks, nothing. It's very flat, very boring. And there was a lot of work to be done later on post and, you know.... The trees and the grass are basically all that were there. Yeah. The big crossbows. We only had one working crossbow, correct? Yes. - We still have it in storage too. We should take it out and play with it. We had a lot of, like, one thing working out of everything. We had one werewolf head mechanical. And we had to make it, you know, out of that stuff. So this wall behind. This is again basically the outside of the set. That set already, basically. - Yup. The whole courtyard and the little bit of the outside was built. We tried that shot right there, where the werewolf comes in. We tried that practically. And it just looked like.... Just dragging in a muppet. - A piece of rubber. Now, this is Rhona. - She is.
4:04 · jump to transcript →
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Patrick Tatopoulos
That, if anybody is interested... I called that on the day when I saw that bloody scar. That was actually the same one that Guy used for Singe. For Singe. When he gets busted by... - Exactly. When Viktor punches him in the crypt in number one. You see, if you never said that, nobody would have known. Now they... Hey, cost-effective. - That's right. There's a lot of recycling like this in makeup effect. If you're clever, you know... - Of course. I love this scene between them. - Yeah. And just the tension and, you know. And the next time you see them together... ...when they go in that room is one of my favourite moments. That one was like the little homage I wanted to make... ...at Murnau's Nosferatu. You know that creature that comes into that room. It feels like you don't know if he's gonna strike at him or stuff. And then we were really worried about this whole daylight. Forest daylight. Not Knowing what colour to get. We'd never gone outside before in the Underworld series at all. It just popped out and felt kind of, we had our... ...Xena conversations and worries. You know, with the combination of just... The costumes could only be but so different, you know. These guys are supposed to break out of prison and grab what they can... ...from the other soldiers. And then putting them in the forest. You know, Lucy Lawless comes in and it's all over. So we finally got, like a... Went with a bit more of a green stylized than normal daylight. That's the shot. What's funny is that Steven and Bill were actually very, very close friends. And they had dinner every night together... ...and in between takes they'd be sitting there talking to each other. And then get time to get back on the set. And then Bill would be bullying... I need to make a-- Oh, yeah, here. Just to make a little note, we haven't talked about the music here. Paul Haslinger was just... That was a challenging one. You don't wanna be too over-the-top with the music. Yet you wanna create a little suspense. And I think... He did the first Underworld as well. He did the first one as well. - Yeah. I love that. That was a... It's a perfect display of what Viktor is about and what he's like. And then Tannis' reaction to that I really loved. This was another shot that was vastly improved... ... after Clint fattened the visual-effects budget. Before it was like three guys standing around. It was seven guys. Don't be... - There was smoke, no flame. And no fire. It was nothing. The whole mountain behind Michael was CG.
47:34 · jump to transcript →
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Patrick Tatopoulos
Now, did his makeup get less? Because when he first appeared, his makeup is quite strong. Kind of white, cakey... - You know what this is? We shot pretty much... - In order? Yeah, in order. Not completely, but not far from that. And there was a sense like it was... Which I like. I like the way it got toned down. It's better. I like Bill's makeup at the end much better as well. lt was a little more theatrical at the beginning. Another scene that changed dramatically... ... from the way that we originally shot it. So here, basically, there is just a little piece of corridor... ...and the green screen at the end. Everything was done by... Duboi did all the cave stuff and the werewolves. This is a gorgeous shot, this one here. All the detail on all the wolves in the background. That's a shot that came first as a very blue shot. You know, It's funny how blue sometimes looks CG. We ended up turning and make it much more brown... ...and I think feels more real suddenly. But I thought it was great to be able to see that many wolves together.
50:55 · jump to transcript →
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Francis Lawrence
Here, we deal in psychological manipulation. You'll be trained to determine a target's weakness... Sparrow School was always one of the aspects of Jason's book that really intrigued me. It was one of the really, truly unique pieces of the story. And I always thought that it was gonna be a standout segment in the movie. But it was something that Justin and I had to really, kind of, develop out specifically. And it was fun to try and figure out what makes it hard for her, the kinds of horrible things you have to learn to do, but what specifically they would teach you that's not the obvious, right? Not just how do you put makeup on, how do you look sexy, how do you act sexy and, you know, walk in heels or something like that. It was the idea of having to get past what you might find disgusting to try and foo! somebody. But more importantly, to figure out the human puzzle, right? There's a great line that Justin came up with that every human being iS a puzzle of need. Find the missing piece, and they'll give you what you want. So that idea of really learning how to figure out the target, figure out what they need, and become what they need was really interesting, because that actually becomes the sort of, the objective for her later, as She Starts to target Joel. She has to really be smart, because she's not dealing with an amateur when she's dealing with Joel. Simon... I've been with this guy for three years. He is not going to deal with anybody... You can see here Joe! now. He's such a fantastic actor, I mean... He was my first choice for this role. I think he's probably one of the best working actors of his age right now. I've been a fan for a really long time. I mean, all the way back from Animal Kingdom. And he was in my friend Scott Cooper's movie, Black Mass. But what I always really like about him is that he feels really honorable and feels really honest, and I wanted those elements to the character. And I think he brought that in a big way. And it was really fun to work with him, too. He's just a good guy, and kind of gelled in with the group. Worn on the hands, after intimate contact... the subject will be traceable for up to six weeks.
31:56 · jump to transcript →
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Francis Lawrence
In the book, this portion of the story took place in Helsinki, but since we ended up shooting in Budapest, we just decided, "Why cheat Budapest for Moscow and Helsinki, "and why not just have the Helsinki part take place in Budapest?" So we decided to use Budapest for Budapest, which was nice and really fun. And this is Thekla, who's a Dutch actress, who read for the part of Marta and is playing Marta, obviously. But I remember seeing her reading for the part of Marta, and she was quite good, but Marta was described as being a little rough. And Thekla, to me... She is a very, very beautiful woman, and there's something very sophisticated about her, in a weird way. I don't even think I ever told her this, but there's something about her. When you see her in person, she feels like she could be part of a royal family or something. There's just something about her. So I actually asked her to read again. And she wasn't wearing a ton of makeup. But I just wanted her to sort of try and tone down whatever she had done in terms of, like, nice lighting and the hair and all this kind of stuff, and to do it again, because she couldn't be quite as beautiful as she really is. And then it was perfect. She sent me a new tape that was not quite as glamorous as the original. Usually two men on a girl. No relationships to speak of. That woman right there that we just tipped up from is Valentina, one of the costumers who has worked with us many, many times on all the Hunger Games movies. Again, another one of the cameos. And this is Douglas Hodge, who my casting director brought in. I think, yeah, Denise brought him in to play this role, and he just, I think, did a fantastic job playing Volontov.
50:44 · jump to transcript →
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Francis Lawrence
One of the things that we did a Iot, which is kind of interesting, and this is something that Alan Bell, my editor, is really good at, is he does a lot of tricks often in scenes like this where, you know, to maybe speed things up or pace things up he might do split screens and speed ramp either side, SO you can speed conversations up and things like that. What we ended up doing a lot here that he's also very good at is makeup augmentation. So, Jen's makeup artist did a great job, but we had decided sort of after the fact when you see the cut come together that she should have a little more bruising and a little more damage to her lip than she had on the day. And so we did a lot of digital wound work. And even this, that vomit there, that vomit is actually digital as well. That she kind of dry-heaved. But we decided that because she dry-heaved in the beginning in the movie that maybe she should actually vomit here. But we added that all in later. This now becomes another one of the tent pole moments in terms of Dominika's trajectory and what her objectives are. When the uncle comes in, and she corners the uncle in a way. And it's one of those moments where you really wonder what side she's working on. Jen just did a great job in this scene.
1:45:16 · jump to transcript →
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director · 2h 52m 4 mentions
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to actually turn black in front of the camera. And the way we did that is we put some special makeup that when a fine mist of water is sprayed on it, it would look as though the face was turning black from suffocation. I don't know if it worked, but it was very elaborate. We put the special makeup and we sprayed water while they were strangling him.
43:13 · jump to transcript →
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We had a very good makeup artist on the film, Dick Smith, and we really wired Al's jaw. I tried to make the notion of his suffering from a real punch from a strong man. Normally people get punched in movies and it's like the next day they're just talking. We really asked medical help as to what it would be like and we temporarily wired his jaw so he couldn't talk.
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I accepted these three things from Marlon. So I then called up Marlon Brando and suggested maybe it'd be nice if I did like a little makeup test or something. I could come over your house and, you know, he said to me, all right. So I got some of my friends from San Francisco and I had heard that Marlon Brando does not like loud noises. That's why he wears earplugs often. He doesn't like all that loud shouting on the set and everything. So I said to the fellas who were going to go with me and, uh,
1:34:53 · jump to transcript →
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The weight of the sky is just something indescribable. I mean, it's a magic place. It really is New Mexico. I'd never seen real cowboys, and I mean, these cowboys were nothing like the film cowboys. They were skinheads with tattoos and rings through their noses and ears, and they would dance with their spurs on. We went to a nightclub, and a makeup artist came with us. His name was, was it Justin?
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makeup artist, and his wife, Marilyn, this gorgeous wife that he had. He was sort of a slightly fey young man. And a cowboy came over to us and he said, how long are you all in town? And he hid behind me and said, just the week. It's just as an old village in England in the medieval times, immediately someone comes in.
25:56 · jump to transcript →
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Some of the makeup took several, well, not several hours, a couple of hours. It wasn't bad. I think the wig could have been improved upon, but that's hindsight. The main problem was because of an early start to get the makeup on, I couldn't even begin to go out drinking with the English crew the night before. Nobody's a freak. What do you see in the cards?
53:16 · jump to transcript →
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director · 1h 30m 4 mentions
A Nightmare on Elm Street (1984)
Wes Craven, Heather Langenkamp, John Saxon, Jacques Haitkin
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I remember the guy that was up on the big condor, the big light tower, was always worried he was going to get shot at. What a brilliant tackle! What the hell are you doing here? Came to make up, no big deal. You my home? Of course. Oh, what's that? Intense, huh? I still have this.
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You wake up, you think you're safe, and then it gets worse. How many minutes is this? It seems like it's already been about 10 minutes long. I'm already scared. This sequence also was the first to be censored in the film. I wonder why. I don't know. These people are so sensitive. That was a pretty bad prosthetic, actually. I know. Oh, see, that, to me, was brutal. Yes. That's awful. Now, here we're in...
17:02 · jump to transcript →
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She was never quite satisfied with her makeup, so she would usually go and fiddle with it after the makeup and hair were done with her, so we never knew quite what she would look like when she got to the set. Did she do anything after this? I know she was in The Driver, which I enjoyed immensely. Yes. It's hard to actually imagine that John and...
19:18 · jump to transcript →
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director · 2h 10m 4 mentions
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and all these prosthetics on my face. And they had 35 seconds to get them off so that I could then be 30. And then they had 40 seconds to get them back on. And by the time we'd done two dress rehearsals, they'd taken all the skin off my face. I had the one hand that was made up old and the other hand that was made up young. So when I had to do a fight with this hand that was made up old, would I use the left hand?
22:33 · jump to transcript →
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180 visiting journalists, all of whom wished to do an in-depth interview with me. At one point I said, we can make up our mind what we're going to do. We can just do publicity or make a movie. There's no point in having the publicity unless we've got something to show for it. At the end of the day, I really didn't have time.
1:02:16 · jump to transcript →
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Bizarin sent along his gorillas to help you make up your mind. They have. I'd sell everything and live in a tent before I give up.
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director · 1h 56m 4 mentions
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And that's how you find out he was buried alive. This man was buried alive. And he left a message. You do have to admire how well he carved in that coffin. It must have had long fingernails or something. It's very well done. Now, this shot... I always debated because if you look real close at that mummy... ...and then the one that later on comes alive, the coloration isn't correct. It's because that one was a prosthetic and the one later on was...
56:27 · jump to transcript →
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...a difficult task, and in fact the tone of the picture... ...is probably the single biggest editorial challenge. And that scene, really, I think that was one of our home run scenes. Sort of that was what we were aiming for. That's a prosthetic hand there, popping through there. Not CG, not everything is CG... ...although a lot of the work in this picture is, or the majority of it is. Fort Brydon, Cairo, we got that name.
1:08:18 · jump to transcript →
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This shot was also photographed day for night, or actually day for eclipse, I guess is what we really call this. This shot was originally not intended to be an effect shot. It is now an effect shot at the end when the mummy is revealed behind Jonathan. That's now digital makeup that was there originally. We were just gonna go with the makeup that was there and we decided that it needed to be enhanced. This was a fun scene.
1:17:08 · jump to transcript →
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director · 1h 59m 4 mentions
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horrendous life. And you see how Jimmy has highlighted the scars on the bridge of his nose and his eyebrow. Jimmy said, the character is a survivor. I want to show what he survived. I want to show that he has not lived through this unscathed. He's not Superman. And I want to show this guy's vulnerability without giving away what is truly vulnerable about him. And so he brought in pictures of this bullet hole scar. And he worked with the makeup department
41:39 · jump to transcript →
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And boy, he paid for it. It was easily 90 degrees on that set. Man. Because there were the big lights outside to simulate the sun. Everything was so hot. And Ryan said, Ryan's like, it's too hot in here. Let me just do this without my jacket. I said, Ryan, you get glass in your arm later. And he said, you know, I talked to the makeup guy and I think, you know, and I didn't have any time to see a test. Right. I just said, all right, I'm going to take your word for it. Take off the jacket. But boy, that better work. Yeah. Because I hate all that prosthetic crap.
1:37:23 · jump to transcript →
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for about seven minutes. That's a fun recording session. By the way, here's a shot. This whole scene, this whole transition that Benicio goes through in this scene, this was one situation in which I realized that no writing, no dialogue was ever going to get us through the transition that this character has to go through. And I simply told Benicio, take all the time you want to make up your mind to leave.
1:42:20 · jump to transcript →
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Danny Boyle and Alex Garland
The prosthetics, those two bodies are prosthetics, which are just dazzling. The prosthetic guys, what they're capable of now is incredible, really. They're very unnerving things to be with when you're in the same room as them. They're so real. This was something we invented later. This wasn't in the original script, and Alex wrote this when we inserted it. We wanted to kind of connect with him more emotionally at that point, to feel his loss more, really, so that you're more...
23:56 · jump to transcript →
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Danny Boyle and Alex Garland
bit of psycho i suppose where you get rid of someone who you think or hopefully think is going to be a key player the next minute they're gone mark see look it's the shower scene isn't it there's a longer version of that which is pretty unwatchable i have to tell you um again the prosthetic guys can just do anything now it is very scary they can almost do anything and convince you somebody's arm is being chopped off
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Danny Boyle and Alex Garland
the realities of Life Without Water. We did have a long sequence in here, which I don't think has made it into the deleted scenes, because it's just bits, really, where he actually cut all his hair off and shaved his beard, which were real at the time. And, of course, it being a film, we had to go back later and make a wig for him, because we had to pick up some stuff that was shot before we cut his hair. And Sally, our makeup designer, did a great job to coordinate all that.
36:57 · jump to transcript →
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Which is fine when you're dealing with an animated character, but a little less comfortable if you're... See, I said let's go for it, but then Gail was like, no. We just didn't have enough of a body makeup budget to cover the bruises. Yeah, no, that would have just been really impossible. Good child. We've intercepted information that will allow us to penetrate his security. Of course, right here, the incredible, incredible Fran McDormand.
12:48 · jump to transcript →
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Shane Paish, who designed the makeup. It's a tricky thing with a character like this to get away with, you know, her and the animated being pretty much made up and definitely having a look, but also not making it ridiculous and not letting it kind of take over the film or the character. They all did a really great job. I have to say, I think that the team of Enzo and Shane
41:00 · jump to transcript →
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are the best hair and makeup team I've ever worked with. And I'm going to second that, but I might be just biased. I'm not. They're definitely the easiest. Yeah, definitely so creative, but also they make it so easy. And, you know, when you work these long hours, the last thing you want to do is sit in a chair for two hours or three hours. And they're so understanding of that.
41:29 · jump to transcript →
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director · 1h 51m 4 mentions
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something I wanted to do practically. I didn't want to do the CG version of it. I wanted to go old school, prosthetic, build a wire, put it in his hand. And a lot of people thought that this was silly. There were a few things in this movie that, you know, when you're coming up with new ideas, you're like, oh, so he's just going to talk into his hand? Yeah, that's going to be a bit ridiculous. And I thought, but it's not unlike a secret agent, you know, when he's pushing. Hello, I'm Len Wiseman, director of Total Recall. And we are watching the director's cut, which I'm
36:28 · jump to transcript →
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And that said, I think... This is in the red light district. This is the same set where he's crossing by the club. That's why it's got a lot of lights and things, and we put different doors up and such. That was the nightclub where he just talked to the three-breasted prostitute. This, again, was a prosthetic piece,
37:55 · jump to transcript →
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And then we did Melina's, Jessica's ponytail is the only part that's CG so that her ponytail would float around as if it was in zero gravity. And then Colin's gun is also CG if you go back through there and it's flopping around in CG so that, you know, just have those few elements that are floating that bring it to life. And this one we shot Kate, just a little information here. It was a screw up and they put the prosthetic on the wrong hand. And so this whole shot, this whole sequence is flopped so that
1:36:44 · jump to transcript →
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with the cast and the crew. How much of a crew was there, first off? Let me ask you that. It was the most minimalist crew that we could get away with with a full IA deal. They allowed us not to have a hairdresser, not to have a makeup artist. These were, like, major, major concessions. But we had, instead of having one of the small production units...
1:06:54 · jump to transcript →
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I don't know about you, but sometimes you just find that the lighting or exposure or something makes it very difficult for the flesh tones. But nobody wore makeup in the picture. I think that pancake makeup stands as a barrier between the actor and the audience. And so I got everybody to get a little bit of a tan, and we didn't have any makeup.
1:31:49 · jump to transcript →
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And sometimes, in spite of that fact, it looks like somebody's wearing makeup, and that always annoys me. And I don't know why that happens. Sometimes it's just a combination of things. Yeah, the balance of the light inside and out. You know, I pretty much shot all of Rudy's screenplay. I think maybe, you know, two or three scenes were cut out before we began shooting. But...
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I don't think she found it fun in the end coming at 6 o'clock or 5 o'clock in the morning to have her makeup applied. This is Paul Bowne, is that right? Correct. And that's Doo-Doo, Paul Murray, who is an old college friend of mine and we made the antagonist together. And, yeah, Phil Davis. Phil Davis, he'd just done Mutiny on the Bounty with Mel Gibson.
31:24 · jump to transcript →
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Yes, he designed the Max Hedren mask. In fact, Christopher Tucker was also involved behind the scenes on the creations of the creatures. I think he did all the moulding and the prosthetics work. So Peter and his team designed it, created it, did all the sculpting, and then the actual manufacturing...
1:09:08 · jump to transcript →
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of the prosthetics was done by Christopher Tucker, who did The Elephant Man. Yes, absolutely, yeah. I think Peter Lytton had worked on a film called Don't Open Till Christmas beforehand as well, kind of a Christmas-themed slasher movie, which is magnificently tasteless for a British film. Was that Dick Randall? Yes, that's right, yeah. Yeah, Dick Randall, yeah. I met Dick.
1:09:35 · jump to transcript →
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director · 1h 39m 3 mentions
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does an absolutely beautiful job. And as I said, the conditions were very, very, very hard to make this. This is the famous watermelon line. And they worked very, very, very hard. And she's in almost every scene. And it was exhausting. And she was a real trooper. She was absolutely wonderful. Make up to you every night. Make up to you when you think about it. I want a picture of everything. All right, cause, cause, cause, cause, cause I'm a love man.
18:36 · jump to transcript →
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The last morning after the wrap party, Emil said, we don't have enough for the teaching sequence. And we woke Jennifer up, and she was such a trooper. She came out. She did these things. It was just Emil, Kenny, Jennifer, and the camera. Even the makeup department wasn't up yet, which is why we have some sequences from the back, because I was standing behind her holding the makeup case. And Emil was absolutely right. We didn't have enough, though. It's so hard to tell. And I remember waking Jennifer up.
34:36 · jump to transcript →
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such care. Now, I sent Cynthia back to makeup four or five times in this because I said, remember, she has just come from really serious, annihilating surgery. And finally, you've got to get the makeup off her. And finally, they said, that's what she looks like without makeup, Eleanor. And the fact is, Cynthia with no makeup at all looks so radiant that she looks like she's going to a ball. So we finally had to paste her face down.
51:31 · jump to transcript →
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cast · 1h 36m 3 mentions
The Garbage Pail Kids Movie (1987)
Lead Mackenzie Astin, Katie Barberi, Film Programmer William Morris
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This makeup knew that I was still, after we broke up, I was in my sadness. They got me the Polaroid of you in the tub. They snubbed that to me, and I still have it to this day. Incredible. Incredible. And I believe illegal if you carry it across state lines. I haven't, though. I mean, it's complicated.
21:32 · jump to transcript →
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stuff that gets scooped in there and then you add water and stir? Well, no, yeah, that was part of the process, but they also had, remember slime? Remember that toy slime? Yes, yes. My job was very specific, William. My job was to cut up the pieces of sponge, of sponges that they used on actors, like the makeup department, that had been colored with food coloring to resemble different pieces of semi-digested food.
1:09:27 · jump to transcript →
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And that's what I'm talking about. Like they were very, they were very well organized. Phil was at the head of that. Everybody, all of the, all CG, I mean, I'm sorry, all animatronics, all art, all makeup, all wardrobe, they all kicked ass. They were all very good at their jobs. They all worked very hard on a very small budget. Everybody did their very, very level best on this project.
1:34:25 · jump to transcript →
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director · 1h 24m 3 mentions
The Naked Gun From the Files of Police Squad! (1988)
David Zucker, Robert Weiss, Peter Tilden
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You just tell them what it is? You say you'll get it to them, you'll get on the pages, and by the time they get there to make up, it's too late. So that's what happened to Bob Costas in Basketball. He was so appalled. It's a version of Ropa Dopa. Did Hausman live to see the movie in the premiere? I don't think so. I don't think so. A lot of physical comedy. Pretty good.
33:19 · jump to transcript →
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Because in the early days, we used to all have these... Mark's brother's life? Plungo, Checo, Skepto. I was Checo, Jerry was Plungo, Jim was Skepto. Mine was the only one that stuck. There was a lot of testing that went on with the exact makeup that Leslie needed for the... That's right. Big laugh for the pistachios. All through this. Big laughs. Lots of laughs. It was tricky because...
43:19 · jump to transcript →
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Because the Mariners were nothing then. They made us take the Mariners. To get the Angels, we had to take the expansion team. Did you have to pay for the team, or is it promotional for them? Well, they actually gave us, I don't know, like 200 season tickets to the Mariners game, which is the equivalent at the time of 20 cents, or worth 20 cents. But we gave them away to charity. We wanted to use the Brewers, and they wouldn't let us. Go figure. But we were able to use real teams, because otherwise you'd have to make up fake teams and...
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Film Stephen Prince
Inari was associated with agriculture and fertility, and her fox messengers were all white. But foxes might also be mischievous or malevolent, taking possession of human beings. They can be changelings, shapeshifters, which is how Kurosawa shows them here with human bodies and makeup resembling masks that points to their deceptive character as depicted in numerous stories and plays.
5:56 · jump to transcript →
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Film Stephen Prince
the transitions blocked by her flowing hair, until she becomes visibly a demon. The character is played by Meiko Harada, who gave an extraordinary performance for Kurosawa as the vengeful Lady Kaida in Ran. The demon face that we see at the end of her appearance in this segment required a makeup session lasting nearly three hours.
39:59 · jump to transcript →
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Film Stephen Prince
Underneath the George Romero zombie makeup, Private Noguchi has a familiar face. He's played by Yoshitaka Zushi, who played Chobo, the feral child in Redbeard, and who also played Roku-chan, the simple-minded boy in love with trolleys in Dodeskaden. He also makes small appearances in Ran and Matadayo. As I mentioned, Kurosawa escaped military service, so it's interesting that his I character in this dream is a soldier.
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director · 1h 56m 3 mentions
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because his head was in a different place, and we ended up by going back and re-shooting the first day, the second day. And the second day, he kicked right in. He really had a handle on who Drexel was. He managed to get the voice of the character he was referencing in New York, and his mum at the end of each take would applaud. His mum was in her 80s. She was this little darling English lady. So it was a strange set, Gary storming around with that makeup and that hairdo and a shotgun in his hand, and...
21:22 · jump to transcript →
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...and happy families is the sofa. The sofa is what tied the scene and gave me my hook... ...and gave me the tone of the scene. And there's Patricia relaxing on Christian's shoulder sitting on the sofa. It was funny. My relatives came to the set and I was shooting this scene... ...and Patricia had all this prosthetic makeup on her face... ...where she'd taken this beating from Virgil here. And my sister-in-law came to me quietly... ...about an hour after they came to the set and said...
1:28:54 · jump to transcript →
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My God, what happened to Patricia? She looks terrible. Yeah, so obviously the makeup guy had done a good job. Floyd, you sure that's how you get to the Beverly? Yeah, man, I'm positive.
1:29:23 · jump to transcript →
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director · 2h 17m 3 mentions
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But that's not what it really is. She ages with makeup. And so she read the script, and she was signed on in a second. She just completely got it. Now, it's interesting that the character of young Forrest came to us very serendipitously in that this young boy saw an open casting call.
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shows his talents in so many different ways. The way he could just pick up ping pong. I don't know if he played ping pong hardly at all in his life, but just after no time at all, he was playing like an expert. I remember we were in the editing room and we were playing with the three songs here that make up this sequence, these three Doors songs.
59:00 · jump to transcript →
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No particular reason, I just kept on going. The running sequence was really the most complicated sequence to incorporate to shooting this movie because we had to create a timeline for Forrest taking this extraordinary run, crisscrossing the country a number of times. And he went through a whole evolution of his hair and makeup and wardrobe and found characters along the way that followed him.
1:53:11 · jump to transcript →
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director · 1h 54m 3 mentions
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My Question Initially To Jean-pierre Was
I think this is one of my favorite scenes, this thing in the med lab, where Ripley goes in and finally discovers what her true origin is, and where the audience discovers it, too. I think the reason I like it is because it's such a... Because we had a lot of creative freedom in coming up with the look of these alien clones. That was a big deal, to be able to go in and design all seven of these things, and have each one be so different. There was a lot of research into birth defects, as well as all the physical alien attributes that we would combine in various ways. We really wanted to get a feeling of pathos out of each one of these sculptures, so that you would see the pain and the torture that the evil corporate scientists had put these poor ghastly creations through. We had some great artists working on these, too. Jordu Schell was really key to the designs. Chris Cunningham did conceptual work on it as well. Steve Wang sculpted. Steve Koch. Mike Smithson did a great job sculpting as well. Mike Larrabee was painting. Didn't he paint all these? Him and Jim Hogue? Beautiful. These are all made out of translucent silicone. So many layers of skin to give them the right levels. The set design is just beautiful in this scene, too. Also having these things in these tanks of this badly-colored liquid is... It's made it very cool. Then the number seven clone, which was great, because Sigourney is so willing to stick her neck out and go through the grueling rigors of makeup, and she's OK making herself look bad. This was a mechanical body, with a silicone skin, that was grafted onto Sigourney. She was coming up through a slant board, through a hole in the table. Tom and I applied the neck makeup, along with Linda DeVetta, Sigourney's makeup artist. I really love the breathing mechanism on this in particular. The tube of liquids coming out of her body, there was some discussion as to whether or not we could get away with that. But look at her. And she sells it so well on both sides of this scene. Then we had to torch the actual one, didn't we? We built a stunt one for the fire gag, but, because it was so close in frame, we looked at it with Jean-Pierre and he said: "I know you want this for your display room, but it's gotta be in the foreground." So we said "Yep, you're right." And there it went. - That's it. We did get it back. It kinda turned into like an overcooked marshmallow. Luckily, for the rest of this scene, we got to make blow-up dummy copies of all of these clones. Look at her go. What impresses me about Sigourney is that she's... Look at the emotion there, while she's firing a big-ass flame-thrower. You know? It's really... She really makes this series, I think.
57:43 · jump to transcript →
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My Question Initially To Jean-pierre Was
Has anyone other than me broached the idea of... of peeing when we were stuck in that pool for two weeks? Did you pee in the water, Leland? - It was kind of an honor system. I never broke it. - It's five years later. On the record, I never peed in the pool. I'm never gonna speak to any of these people again. Did you pee? I never peed. There were times when we were in there for an hour and a half, two hours. Under our costumes were wet suits. - I didn't pee. It wasn't that I was uncomfortable peeing in the pool, but in my own wet suit. So you did pee? - No. Not for the sake of the pool. For the sake of the suit. That's a little makeup where we had to put Gary into an appliance to show his face all eaten away by acid.
1:15:55 · jump to transcript →
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My Question Initially To Jean-pierre Was
This shot was a complicated one, to be able to get inside the mouth. There he is. Oh, look at that. Oh, it's beautiful. Birth is a lovely thing, isn't it? It's a miracle, really. - And that's the end of me. It started with the camera in my throat, pulling it out, and then reversed the film. Oh, is that how they did it? - Yeah. This scene was gonna be shot upside down. All these cocooned humans were actually upside down above a pool of blood and guts and alien goo that was quite liquid. As we drew closer to the end of the shoot, which pretty much happened chronologically, Ripley was supposed to be upside down on the wall, free herself and wind up on the floor. The reason is it became too complicated and too costly to turn the set into a liquid set. It would have had to be waterproof and that cost too much money. But the whole idea is the queen was lying in that pool of goo. All you saw was her belly just stick out of the water and she gave birth like that. Ripley fell into the pool, freed herself and then battled a few aliens. But there were all kind of logistical problems. If the actors were hanging upside down, you'd have had to have had swiveling panels on the walls so you could relieve them from that position every few minutes. So it was just too costly to build. When you have some close-up on Sigourney, the set was unfinished, and she had to imagine exactly what's happened in front of her. I remember we worked exactly like for a silent movie. I spoke with her. "And now the newborn moved, and now the queen is going to die." And she listened to me. It was pretty funny to make. Pitof made all this, this scene with the newborn. So this is the birthing of the newborn. The concept behind the newborn was to show a creature whose genetic makeup had been as affected as Ripley's had been, but in the opposite way. Instead of it being a human tainted by alien DNA, it's an alien that's been tainted by human DNA. Even down to the eyes. The big concept change on this was to show an alien creature that had eyes. So much has been made of the fact that these things don't have eyes and there's no way of telling how they're aware of what's going on around them. But because this thing had been tainted, Jean-Pierre's feeling was that the eyes would be a great way to lock that whole idea in. A rather momentous event in the Alien saga. This was a big day. We had 30 puppeteers to do the queen and the newborn. The newborn was completely hydraulic. I think we had ten puppeteers on the newborn and maybe another ten on the queen. We had another handful inside that egg sac. I think it was 30 puppeteers. - I guess it was 40. Yeah, 30 or 40. I had five cameras. It was a crazy day. Pitof, you directed most of this. We did some stuff with Sigourney like this over-the-shoulder stuff, but then everything else was broken down into pieces. You told me the story of Sigourney when she acted with gorillas. Exactly. She made a film with gorillas and she knows you have to avoid to look on the eyes of the beast as always and she looks on the side. Was that an accident? I don't remember if it was something that was directed or... Sometimes we'd get weird little lurching movements. I can't remember. Oh, there's that tongue.
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director · 2h 10m 3 mentions
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prosthetic baby, a mechanical baby, which was made up by the team who also did my prosthetics for Mason Verger and Krendler. Because that always became a big problem as to how the heck do I have this baby because the baby's involved in a shootout. You know, it's very easy for that to slip by in people. In fact, when we were editing and planning, I kept having to remind myself that
10:31 · jump to transcript →
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I'll decide for you, if you'll permit me. Just make up. You don't need to see that much. It's painful just to watch it. Oh, those guts, you mean? Oh, it went to the butcher shop. Sheep, I think. Now, immediately people don't scream and go, oh, my God. And I originally had it here, the guys, security guys downstairs, one says, students.
1:18:58 · jump to transcript →
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And this is always the moment which is, I think people think, you're not going to do that, are you? And then we did. And there it is. That's real. I mean, organic. It's not prosthetic. That's sheep's. Which is the part of the prefrontal lobe, which they say is the seat of good manners. And the brain has no feelings in it. There's no, at the front, there is no nerves. There's no nerves.
1:58:42 · jump to transcript →
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director · 2h 3m 3 mentions
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Now, if you notice, in the previous sequence and this whole sequence, every time our actors are outside, it's not raining. Whenever they're inside, it's raining. And that's mainly because I didn't want to take the time to have to redo everybody's hair and makeup between takes. So when they're inside the house, it's pouring rain. As soon as they come outside, it stops raining. When they're in the car, it's pouring rain. When they get outside, it stops. It just saved us a lot of hair and makeup time.
34:41 · jump to transcript →
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all special effects shadow work and stuff like that. This is another one of these duplication shots. It's photographed out in the desert in Morocco. A lot of the hills that you see in the background have been added in. The horses are shot in multiple passes to make up this giant army. And of course the animation of the scorpion shadow in the foreground.
1:39:29 · jump to transcript →
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on the spur of the moment. Now we're... We go light. How do you know? I remember Rachel's makeup person running up and putting lip gloss on. I'm like, she's dead. She's dead. Need that lip gloss. I think it's interesting in a scene like this where John Hanna had to, you know, carry Rachel and take after take. Now, Rachel's obviously very light, but nonetheless, very impressive for John doing that.
1:41:33 · jump to transcript →
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director · 2h 1m 3 mentions
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You can see the tattoo on her arm has had the lady's breasts blacked out. It's going to go down well in America, that kind of thing, yes. I think it was make-up, wasn't it? Again, her humour. She's there. She's still there underneath, you know. The way she comments on Justin Timberlake's record title is brilliant. Such a shame she wasn't there. I think, you know, she would have got to meet Tony Bennett that much earlier.
1:26:01 · jump to transcript →
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sort of doing selfies and looking at herself. That photo booth on her laptop. Yeah, exactly, photo booth. That's what I was thinking of. But again, she's looking directly. Under the beehive and under the make-up, that's actually what she really looks like. I think that's the thing. It's just the power of a close-up, isn't it? There's so much other footage that we saw, which is much darker, and there's a lot more going on, but there you just see how vulnerable she really is. And we're back to her eyes again, and she's actually looking in the mirror there, really, isn't she, if she's using that photo booth thing? It's just actual Super 8 footage shot by Blake Wood, her friend.
1:35:49 · jump to transcript →
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She is, you know, she's a Jewish girl from North London. And I think that idea of there was an image, there was an image, and we really wanted in this film to remove the beehive, move the make-up and get to the heart of who she really was underneath it. And this is what Amy really looks like. I think that was an important thing for all of us to understand and to get across to the audience. And another moment where you don't really see moments like this in too many films, do you, really, where it's just a shot of some sand. But...
1:38:16 · jump to transcript →
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director · 2h 43m 3 mentions
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a long, long time. This is all happening, so Shea Whigham is wearing a wig here, because he was playing G. Gordon Liddy. I didn't even realize that until you said it. It's the most terrible. It's one of those things where people just don't notice. Yeah, and they had the hair and makeup, this is not to make very clear, they had three days to get a wig ready, and they were mortified, and I said, don't worry, we'll fix it. This was an interesting thing, where you added the Rome really at the end, because. Just so that you, well, we originally had a shot that showed it. Yes.
46:24 · jump to transcript →
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Hair and makeup are done with Hayley, all of which is very subtle. And the wardrobe on Hayley. The wardrobe is sensational. And all of it is just playing to her strengths. And it wasn't until much, much, much later that we found the music. Do you remember? Oh, my word. The music in the nightclub. Yeah. We originally had a track which the dancers had choreographed their movements to.
1:19:10 · jump to transcript →
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Great cinematography is relying on great production design, and great production design is relying on great locations. And costume design, hair and makeup, it's all working together to make the image you see. And it's a really important thing to remember that when you're looking at the work of one sensational person, one sensational performance, one sensational credit,
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Before Nosferatu. I mean, that must be a bigger thing than what everybody said. London After Midnight, at the time, was not thought of as one of the better Browning Cheneys. Although it was the biggest hit. Well, I mean, there's been rumours of its rediscovery over the years and various rules, and obviously they've all come to nothing. But my sense is that the reason that survives is because of the stills that were left behind. And Cheney's make-up is pretty remarkable of all his creations. Yeah, and...
6:06 · jump to transcript →
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And again, let's talk a bit about Carol Borland. I actually had the pleasure of meeting her towards the end of her life at one of these conventions. And she still wore that hairstyle. She still had the same hairstyle. She still had the dark makeup. It was the year before she died in, I think it was 1994. And she had some interesting stories to tell. I mean, God knows where her career went after this film. It is, because...
35:07 · jump to transcript →
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scholar · 1h 32m 2 mentions
The Night of the Hunter (1955)
Second-Unit Terry Sanders, Film Archivist Robert Gitt, F. X. Feeney, Preston Neal Jones + 2
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Now, of course, we're leading up to the most famous image in the picture. And once again, we're going to hear the waltz in a totally different arrangement. And it was shot in a tank using a dummy. And they very carefully made a face mask of Shelley Winters, a makeup man named Maurice Siderman, who had worked with Cortez and Wells on Magnificent Emerson. And worked on Citizen Kane. Aging Charles Foster Kane. He's the one who aged Charles Foster Kane. He created the
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of Shelly Winters that makes this scene so effective. It's incredible. I remember meeting him. He's a fantastic makeup person. And also way ahead of its time, Lawton really went for the full effect. He could have had the willows and the hair obscuring the wound in her throat, but you'll see that he, that's revealed in the shot as well.
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director · 1h 49m 2 mentions
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cameraman, I was an ex-Warwick man, makeup people, all that, all ex-Warwick people. There was an ex-Warwick crew. I think Warwick Films should have got a royalty on all the baths. They provided most of the talent. According to Fleming biographer Andrew Lycett, upon its completion, President John F. Kennedy asked for a screening of Dr. No in the White House cinema. Kennedy had been a fan of Fleming's novels since reading Casino Royale in 1955. In March 1960, when Kennedy was running for president,
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The final part where he realizes that he has a chance of blowing the complex up, the Dr. No's complex, he turns the wheel. And he turns the wheel, and he turns it and turns it, and so we obviously have to tell the audience that this is really bad news and that he is beginning to, something is going to erupt. When you see the film, it's very easy to assume that the sound on the handle was of course the sound that belonged on it, that the machine he used had a sound, but of course it wasn't. It was just a built appliance on the set.
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director · 1h 30m 2 mentions
Ed Wood Biographer Rudolph Grey, Exploitation Filmmaker Frank Henenlotter
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I mean, you know, I tried to explain to her that if we use suntan lotion, she wouldn't die. She wouldn't suffocate. I don't understand. Okay. But the snake pit, which is what I call the makeup department, was telling her, oh, you're going to die. You better have special insurance. Then her agent called me just as I was ready to shoot the scene and said, Steve, I want you to have a doctor and an ambulance on the set. I said, she's not going to die. Don't be stupid.
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What the hell do you need me for? Your father can make ten pictures for you. And she said, because I want to do it on my own. She told me she didn't want to do any nudity in the film. She also brought her own hairdresser and her own makeup man. And her own star. I don't know what that means. Maybe a star for the dressing room? I don't know. But interesting. He also said he never got any... I don't know which interview this is in.
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director · 2h 41m 2 mentions
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When Tuco enters Blondie's room, one of the first things we see is an impressive, all-but-life-sized carving of Christ on the cross, the very image that caused his knees to bend just a minute ago. But now his back is turned to Christ's suffering as he barrels on into his next deception. The makeup artist responsible for these blisters on Clint Eastwood's face was Reno Carboni. Carboni had previously worked on the other two Dollars pictures. He's credited as Sam Watkins on A Fistful of Dollars.
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as well as Sergio Solima's The Big Gun Down. Carboni subsequently became Fellini's make-up supervisor, working on all of his films from Satyricon onwards. He also contributed to Louis Malle's Black Moon and Volker Schlondorff's The Tin Drum. You're very lucky to have me so close. When it happened, think if you've been on your own. Look, I mean when one is...
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This was all designed. These were empty entrance halls. The clock on the right was built by a man who I always liked to have with me on shoots... Cornelius Siegel, who was a mathematician and a physicist by trade. He was very good with his hands. Henning von Gierke then took care of the details. But it really worked. He built it in two weeks, and it was a very good clock. I love Kinski here so much. How long did this makeup take? At least four hours every time. He was exceptionally patient with these things. Fingernails, teeth, and ears. The ears had to be molded from latex every day because they broke when they were taken off. He was amazingly disciplined. Who did the makeup? That was a Japanese lady named Reiko Kruk. She was much more than a makeup artist. She was a great artist. Kinski respected her very much. There were never any fights between them. Almost every day Kinski started some scandal or was screaming at the top of his lungs. He broke furniture. Those were daily occurrences. But with the makeup artist, there was always Japanese music playing, and for four hours Kinski was completely quiet and concentrated.
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Here the ship lands with the dead captain. How was this movie interpreted back then? Or what did the press write? The press reacted well overall. For movies like "Aguirre" and "Kaspar Hauser", they beat me up badly. But those always had elements... Or "Even Dwarfs Started Small". That had to do with the trend at the time. "This is not a movie that postulates world revolution, so he has to be a fascist." That was the perception back then. Meanwhile this has been completely forgotten. The guy on the left who unties him is Uli Bergfelder. He often worked with Henning von Gierke, and he was the set designer in my last movies. Everybody who was part of the crew can be seen in the movie at some point. It was a relatively small crew, too. Don't forget that "Aguirre" was shot with eight people. That was the entire crew. And films like this one we shot with 16 people behind the camera or so. ...rats everywhere, but we have the logbook. Only 16 people? Yes, "Fitzcarraldo" was shot with 16 people. Imagine. Or movies like "Even Dwarfs Started Small" were always less than 10 people. But they require enormous logistics with the costumes and makeup... Right. Which we will see when the rats are in action. We had 11,000 rats from Hungary that had to cross all the borders that still existed in Europe. That was an awful ordeal. This theme I also know quite well from Bruges and Geneva when the scientists there... With the early anatomical studies and the human... I love this. The knowledge about science and Enlightenment in this movie and the perplexity at the phenomenon that is the human being, I do think that is a typical theme for you. Yes, and for vampire movies, too. There is always the dichotomy of Enlightenment and the inexplicable and sinister that resides somewhere within us. The genre has played with that since it first appeared in the literature. Since "Frankenstein." Especially since the English Romanticism, Bram Stoker, Murnau, and whoever else. "...14 knots." "It is getting scarier and scarier on board." "Only the First Maat and I are still alive." "There is something on board." "There are
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Well, later on you find out that this is a guy who says that he's lost all his time. So if you look at the problem being a guy or this paradox of a guy who is trying to make up for lost time, it doesn't really make sense that a guy would talk slowly, a guy who's basically in a big hurry. But my reason was that if you talk distinctly and clearly and slowly and have no contractions, that you never have to repeat yourself and therefore you would
21:54 · jump to transcript →
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I think there's an austerity to the elements that make up the suspenseful tension that I like as more of a critique of
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had to ship down to London for tons of blacking, black makeup and black wigs. The very few ethnic actors we had, we had to put in the front, and then everybody in the background was just blacked out. Terrible. But the great thing was, it was a beautiful and sunny day the next day, and suddenly it looked a little bit more like Africa.
52:31 · jump to transcript →
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And one of the reasons why they're so good is because of the costumes. They're so meticulously researched and done by Jim Acheson, who's won three Oscars for costumes. But just look at Eric's shirt there. It's so correctly tailored for the period. And Graham's costume and makeup, it makes him into a period character. It's meticulous costuming, brilliant stuff. Any other problems I can reassure you about?
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altogether, though, of course, for the sense of the frame, has been composed to exclude the nether regions. Always a sensitive time on the set, of course, the nudity, sometimes an occasion for embarrassment, although this actor, very manly. In fact, I understand that on the set as he stood up, the makeup girl fainted. And now we're in another place, an envelope. We'll get a look at the characters here in a moment. More people, a new place, the plot thickens.
6:00 · jump to transcript →
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A little suggestion goes a long way to my mind when you're dealing with a murdered man come back to life. The studio rather embellished these gruesome bits to make up for the time they'd lost cutting the whole Zivkov episode. But more is not better when you're dealing with wanging a fellow over the head with a shovel. The mind can picture those things so much more compellingly than even the most gifted cineast. Well, this is my argument with the filmmaker who'll show you all the squishy body bits, be it...
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multi · 2h 34m 2 mentions
James Cameron, Gale Anne Hurd, Stan Winston, Robert Skotak + 8
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Bill Paxton
These shots of the aliens hanging from the ceiling are just shot upside down. It's just guys standing there in an alien suit. And we set up some alien puppets made out of foam and filled them with gak and guts and yellow goo, and blew the hell out of them, as I recall. Made a big mess. Miniscule things we had to do, like creating burn appliance make-up for when the acid would hit. Here's a case right here. Alien comes up, splats, and the blood is right here. Quick cut. Quick cut. But prosthetics used. John Richardson was the physical effects supervisor. I was at his shop on the lot, and they were testing one of these flame-throwers and it was a real flame-thrower that they had built. This thing would go about 20 or 30 feet. So every time you see flames coming out, it's the real thing. It was a little scary. When we did the fire in the APC, there was something used to age the set, some kind of wax-based substance that the art department had dabbed on to make the set look more like a used military vehicle. And the heat caused it to vaporize and the actors got this strong sense that they couldn't breathe. It caused their throats to close up. Bill tells the story Jenette is going "Ugh!" And Bill remembers thinking "She's coming up with some great stuff." And she really couldn't breathe. I don't remember what we did. Probably just kept shooting. I think we just kept the fire out of the inside, kept going. Because the full-size APC was incapable of spinning its wheels, all those shots of Ripley when she hits the gas and you see the wheels spin and smoke are all the miniature, because the full-size vehicle again weighed some 20 or 30 tons. We had put A-B smoke... A solution on the wheel and B on the ground. And as the tire turned, it would mix that A and B together and give the smoke. We had somebody holding back the front of the APC for a moment, so that the tire'd spin, then we'd let it go. That A-B smoke is really toxic. We don't like to breathe that stuff.
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Bill Paxton
So the whole high-tech war has degenerated to the point where they have to follow the little kid or they're gonna die. Movie air ducts are always big enough to get through. It bears no resemblance to the real world. The theory is that the audience has never been inside an air duct. Air ducts are not big enough to walk through. But it's a conceit. It's also a conceit taken from the first film. Supposedly, the way I survived in the colony was going around everywhere in the air ducts. We supposedly played a game and part of the reason I was called Newt is because I was so quick in the air ducts and no one really liked me on the colony because I beat them at the game. Fortunately it ended up saving us from the aliens at this time. For this air-duct set, we had vertical air ducts so that we could actually drop the aliens down with the monofilament, so that you would feel - and you'll see it in here - feel them crawling on the ceilings and the walls, that bug aspect of them. My cameo's coming up. - Who were you? Vasquez had never fired a handgun. Jenette Goldstein hadn't. She was living in England. Not a lot of handguns. For the wide shot she was great, but for the close-up of her killing the alien, her recoil wasn't accurate. Unlike today, when I'm on a set, I dressed up in suits on this film and the crew couldn't believe it... That's me. That's me. - All right, girl! All of the close-ups of the handgun firing at the alien was me. People couldn't believe it, since I always dressed up in suits. I needed something to give myself the appearance of authority. When I came in in the fatigues and fired a gun... They saw the real Gale. - They were pretty surprised. Jim told me that I was in my office and the crew were saying "What are we gonna do?" "Who here has ever fired a handgun before?" And he said "My wife has." He said "I'm gonna go get her and she's gonna do the shot." And I did. Jenette has very fair skin, freckles and had hair down to her waist and blue eyes. So somehow we managed to see that if we cut all her hair off and gave her dark make-up and brown contact lenses, she was actor enough to actually pull off this Hispanic character. That was a tough actual physical effect. There was nothing optical. That fireball came flying through that corridor. We didn't have digital anything back then. We didn't have digital fire. This is cool. It was a chute. It was about three stories high and it had a big old curve at the end. I Kept sometimes messing up so that I could redo it. Important survival tips in this film. Never grab the jacket. Grab the hand. Unless you have a Newt-finder device in your pocket, then you're OK.
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And interestingly, he and Rene both did work for Star Trek as well. Right. Got covered in lots of makeup. I do remember one scene that was cut, but he wasn't in it. It was Jeremy going to the doctor because he wasn't feeling well and the doctor couldn't find any life signs. And it became more and more perturbed.
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He's really an improv specialist, and so a lot of times we would flounder over the way a line was working, and he'll just say, I'll make up something. And I said, what's it going to be? And he said, I don't know yet. And then we'd roll, and he would do it. There was a little thing there. Yeah, little baby things. But he would come up with something on the spur of the moment.
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John McTiernan
He is a wonderful actor, he is clearly too old for this part. But, we put an outrageous amount of tan makeup on him,
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John McTiernan
Down in Palenque, the second time we went down, we didn't need to make up the jungle, so we didn't have an art department, you know, we worked with local,
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Lea Thompson
I remember poor Eric had to wear all that makeup and dye his hair so he didn't look like a redhead. He didn't like that much.
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Lea Thompson
But I don't remember why. - We didn't. This was just... My hair looks different. His makeup's different. Plus, I remember.
1:26:26 · jump to transcript →
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director · 2h 19m 2 mentions
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So when I picked out my clothes and my hair and my makeup and jewelry, I always kept Elizabeth Taylor in there somewhere. And I also used a lot of music to put me in those frames of mind. I used a lot of Bette Midler in The Rose. She sings about when a man loves a woman.
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When I watched the movie this morning, and I just fell in love with him all over again. I really did. I have to say, I think he's extremely gorgeous, sexy, exciting man. And I'm sure that the real Henry Hill for the real Karen Hill was all of those things. And I think we got that right. Every day when we walked into Hair and Makeup, we were Karen and Henry.
1:40:09 · jump to transcript →
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director · 2h 24m 2 mentions
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There was a makeup on that guy's face, too. But it was hard to see. Well, that's a classic example of less is more, like the hugger in the original Alien. It was a few frames, but it sticks with everybody forever. Yeah, that was great coverage and editing. It really makes the puppet work well. We always depend on editors and sound-effects people to make us look great. You watch this stuff in dailies and you go "How's it ever gonna work?" And then the sound effects of whipping tails... Jim Cameron used to say that as a way to make us feel better after a shot - I think he thought he made us feel better - "Don't worry. This is all 70% sound effects." I guess that means we only accomplished 30% of our goal!
39:02 · jump to transcript →
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Will I Be A
We had the one on the ceiling? - Yeah. Tom could actually run through shots in his suit. I remember you standing there with your Adidas shoes on, other than the alien suit. They were Nikes. I still get sponsorship money from Nike. But we built at one-third scale. There it is. That's the suit still. This was a fun shot where you can see the alien up on top tearing into this guy. We were up there for a good part of the day because I had to have leg extensions on because there's one leg hanging over the wall. We got to a lunch break, and I stayed up there in costume during lunch. And this is the mechanical Bishop. This is one we built animatronically. We talked with Fincher and decided to go animatronic on this, as opposed to makeup, so that we could really crush the head in. The idea was that she jump-starts him by hooking him up to some battery devices. Parts of this are... That's our gelatin guy again, a dummy guy. That's my hand, right there. We built one in London for these connecting shots, but we didn't feel that we would have the opportunity, the resources to build it quite the way it needed to be to do lip-synch and this kind of facial emotion, so when we got back to LA we built one. Dave Nelson was the mechanical designer. David Anderson did a sculpture of the Bishop character, basically working from reference from an old head cast, but it's got about, I think, 25 servo motors in it. Fincher really wanted you to feel real pathos for him, he kept saying like Robert Kennedy when he was shot. We had all the white blood pumping out. It was a great sequence, guys. - Real hand in the foreground, um... Again, translucent skin materials. This was urethane. This was before silicones. We really started using silicones with animatronic skins on Death Becomes Her, which was about six months after this. So this was urethane. It was stiffer, but still had some translucence. There was a beautiful profile shot of this that Fincher opted not to cut into the film, but it really showed the translucence of the skin. There's a scene in here where the Bishop doll is all trashed up. I did that voice for the doll. I was quite pleased with this practical lamp, which is creating the source of light on Sigourney's face, as you Can see by the moving shadow on her forehead, created by the practical lamp. I'm pleased because normally you'd like to film a scene with the lamp itself but the source becomes so bright it flares out the lens and doesn't give you the effect required, so you have to augment it with another kind of lamp. But you really get the feeling that she's lit by this lamp. The separation between the shadow side of her head is created by just lighting a bit on the wall behind her, so that you see the shape of the head. I think it's quite an effective shot. Not on this particular picture, but when you have actors with false hairpieces, often you can see the join. You have to help it with the lighting by just shading it a bit or changing the angle of the light so that you can't see the neck join, in a wig for example. And quite often contact lenses are quite noticeable. If the light's at an acute angle, you see the edges of the contact lens, so you've got to help that as well. Those little things, you know. You have to keep your eye on the actors all the time because they're not aware of how they look, and also they get so absorbed in playing the part that they forget quite often their instructions about lighting. You can only suggest it, you can't tell them what to do because you're there to help them.
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English Commentary
Extras that came to work for the big scenes, if they were daytime scenes, we anticipate starting to shoot about 9.30 in the morning, had a report about 2 a.m. to go through the hair and makeup and tattoos. Obviously, it was quite complicated to take about anywhere from 1,200 to 2,000 extras and then ready for shooting.
39:36 · jump to transcript →
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English Commentary
Right here, there's a father shamelessly putting his daughter, who's in the light blue dress in the background, in the film. She was 12 at the time we made the film and went to work with me every day and worked in wardrobe, getting extras ready with makeup and put in the same 16- and 17-hour days that everybody else did. And then she and many other people became extras.
52:14 · jump to transcript →
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director · 1h 21m 2 mentions
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One hundred percent. I know everyone thinks it's crazy. And obsessive. That I'm a mental case? Wacko. Completely insane. I have something for you. That deceased SSI number you flagged. DeChico. He's back. It's the tenth job he's taken this month. Not bad for a guy that was shot to death in a clam bar in Sheepshead Bay. It seems now Mr. DeChico is working as an appliance repairman in Jersey City.
15:49 · jump to transcript →
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It's not a real tattoo. Mebs. Mebs. Unacceptable. It's just a decal. Everyone's wearing them. If everyone jumped into the bituminous cauldron, would you jump into... I am not a little cone anymore, Dad. Maintain low tones with me. Maintain low tones. Now go to the hygienic chamber and remove it. Also, you are wearing far too much lip and cheek enhancement. Mom, my makeup looks okay, doesn't it? Do not invoke the approval of your other parental unit.
30:27 · jump to transcript →
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Fred Dekker
And so it was really about finding a good actor who could do it. And Bob, he had a humanity to him, and that was really what it came down to, is that you need to see the man inside the machine or the movie doesn't work. And did anyone properly prepare him for the rigors of having to work with the suit and the makeup? No. The answer is no.
15:32 · jump to transcript →
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Fred Dekker
Was... We were mentioning Rob before. Was he present on set a lot for this, or did he have a crew mostly handling everything? He had his crew, but he was there for... Not for Robo, because that was a well-oiled machine, and Stephan Dupois did the prosthetic makeup on Bob Burke later, when he's got the helmet off. And the Robo team were basically in charge of making sure that that suit always looked good. By the way, I changed the color on Robo in this movie. I...
36:41 · jump to transcript →
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director · 1h 45m 2 mentions
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The most effortlessly complex actor. That's probably the most perfect description I've ever heard of Gabriel. Gabriel is also the most popular man on the set whenever Brian would yell cut, hair, makeup, you name any sort of woman on the set that was working in any capacity would flock around Gabriel with Baldwin standing ten feet away going, when you're done with Mr. Byrne, I'm here.
16:00 · jump to transcript →
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Kevin did some interesting things with the cerebral palsy visiting the center to learn more about it. He also, I remember, the bottoms of his shoes, he filed them so that when he walked, you know, as they would be filed down by walking for months and months, you know, with a palsy. He also... He also brought in some interesting photographs of prosthetic hands that looked like they'd been through meat grinders and napalm accidents. Yeah, we decided not to go with that, but we instead put a piece of appliance... We actually...
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Darren Aronofsky
The shot was actually shot without our makeup artist. She had to leave early and it required some makeup because I had to put blood onto Max Cohen's nose and I was convinced that Ariella was gonna beat me up the next day, but she turned out to be real nice about it. And the voiceover you're hearing was written by me and Sean. It was a collaboration that we started about eight months
1:49 · jump to transcript →
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Darren Aronofsky
She was the makeup and special effects person. Don't taste this stuff. It's dangerous. And I looked at Sean and winked at him, and Sean winked back to me, and I knew he would. It really matters because you really see his saliva making contact with the substance. But that's Sean. Full method. Full method. Fully, deeply committed. It doesn't matter if he's going to get cancer on the tip of his tongue. He goes for it. That's probably the second shot of the film that we ever shot.
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Peter Hyams
I've never seen anything like this. I think this is written in... And, frankly, that's just very good prosthetic makeup. Look at the skin tone and look at the skin patterns in that chest. That's really good. ...of his prison. Uh, this next part is not clear. I think it's in English. It says, Christ... Christ in New York.
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Peter Hyams
Uh, we spent the night, New Year's 1999, in Times Square with... multiple cameras. So there are shots in this film, but you'll see, have half a million people in them. By the way, that stitching is done by the makeup guy, Jeff Dawn. How long? He's really quite wonderful. You almost slept the whole day. You're lucky to be alive.
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Kat Ellinger
the way that the unsimulated sex is framed then is so without lighting and if you think of mainstream pornography it's very artificial usually nowadays and this was certainly a shift in the industry throughout the millennium to these very artificial types of bodies women were made to look very artificial loads of makeup
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Kat Ellinger
Lots of lighting to bring in this glamour aspect. And Besmoir does almost the opposite of that. Even when the girls are dressed up to be sexy and alluring, there's something about them that is unartificial. Even when they put on their own artifice, they look completely natural. Even with makeup, they're not too made up. The scenes are not heavily lit.
37:51 · jump to transcript →
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director · 1h 30m 2 mentions
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Yeah, there does. And there was an interview with her where she actually talked about the scene that we just saw, the gondola scene, that that was the one that she was the most nervous about, that she was a bit fretting about the shooting of it. And because she had to handle that prosthetic phallus, as you've already seen here multiple times, starting with that flasher at the beginning. But as usual for breasts, all the erections in here are, with one exception, the erections here are all completely fake. They're very, very stagey phalluses. But apparently she was worried about that scene where she had to pull that phallus out and she had to pretend to sort of sit on it in the gondola.
21:52 · jump to transcript →
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he will actually lose the prosthetics and go for the real thing. In fact, in that film, we even see an oral sex done for real and the use of actual pornographic performers, both in male and female roles, something that we still don't have here. But you definitely feel that maybe Brass, and this is, I'm thinking out loud here, maybe Brass...
29:25 · jump to transcript →
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director · 1h 58m 2 mentions
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We're using some kind of a face-off, you know, the makeup thing, you know, to do that. And then Bob Tom came up with the ideas. So we started with Tom Cruise and Ethan Hunt, trying to make the audience believe this is real Ethan Hunt. So, and then things happened. All of a sudden, Tom Cruise, he takes the mask off and then reveals Ambrose, reveals the evil, you know.
3:56 · jump to transcript →
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fantastic style for this shot. Something interesting about Tom's makeup. I was suggesting for Tom's first appearance, he was short hair. It's the same look as the first one. Short hair, clean, and a little cold, and handsome, you know, so that kind of look. And then after he takes his face off, reveal emerald, it's going to be to shock the audience. And then come to the next scene for the rock climbing, he got long hair that make the audience feel
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Jonathan Lynn
In this scene, the dog belongs actually to our hairdresser, Peggy Semtop. The dog was not in the script, but Rosanna saw the dog in the makeup trailer of her day and thought it would be just the kind of dog that her character would have. I thought it was a very welcome addition to the scene. And he acted pretty well.
9:50 · jump to transcript →
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Jonathan Lynn
These gangsters seem to be chronically indecisive, and they come with a whole lot of guns to a gig, and then they make up their minds later. Anybody we know? Oz's wife and some guy. Probably your replacement. The new hitter. Well, I don't know what you can do about it now. Keep an eye on her. Okay. Love those pants on you. Bruce threw in that line about the pants, and it really does
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Barry Sonnenfeld
Obviously, this is all computer graphics element... ...done by Industrial Light & Magic. Mary Vogt is a wonderful, sweet costume designer... ...who worked with me on Big Trouble and Men in Black I. Elfman did a fantastic score for this movie. VICTORIA'S SECRET This is probably the longest shot in production. This took over eight months of work in the computer. We kept trying to make the heads better and the eels wetter... ...and figuring out the speed that both the foreground guys should move... ...and how quickly the deep background stuff... ... should look like flesh and underwear... ...as this creature is creating... ...What will become Lara Flynn Boyle. Graham Place, the co-producer, has done about 20 things with me. He's my best friend. Just last night, I bought him dinner at Chinois on Main... ...With his wife and daughters. Hey, pretty lady. We're back in Pasadena. This was done with a series of shots which were seamlessly connected. For instance, that thing where his legs went up. Now, this is a separate shot. We've made a perfect dissolve. Rick Baker designed Lara's stomach here. She realises there's a problem between the picture she wants to look like... ...and what she turned herself into. It's all about Lara's stomach. I love the way Lara walks across there, just kind of trampy. Again, this was another dissolve. She walked across... And this is about an hour later... ...because we had to take her stomach off and add makeup to her. Robert Gordon was the first writer hired. Then Robert and Barry Fanaro, who worked on several movies with me... ...and went to film school with me... ...did a lot of work on the movie as we progressed. Now we're at New York City... ...on Sixth Avenue in the upper 40s, lower 50s. Patrick Warburton, who is Agent Tee, was also The Tick... ... which I directed the pilot for and produced... ...and also had a role in Big Trouble, a movie I really am quite proud of.
4:50 · jump to transcript →
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Barry Sonnenfeld
This guy down here, you'll also see later... ... 1S a red bird in MiB headquarters. He does not really have eight arms. This is entirely done by Rick Baker, including those eyes. He's actually a good-looking guy, so that was hair and makeup by Rick... ...and the arms were done by Tippett Studios in association with ILM. We're back in Fire Island here. We shot one day in all of Fire Island. This looks like we put up a fake blue sky... ...but that's really the colour it was there that day.
29:25 · jump to transcript →
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director · 2h 5m 2 mentions
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And now it's Phil. Phil's wearing a makeup neck piece, too. That's Tom's voice, obviously. And Phil watched Tom actually do this performance to... Look, look at this move. Watch. That's so you. That was fantastic. When he did that, I was like, that's the greatest thing I ever saw. Because you actually start to feel like they're these two different guys. Phil watched how I move, and you can see what he's doing. And now he's moving like Ethan.
50:37 · jump to transcript →
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What's up? Nothing. What's up with you? Nothing. He's so good. And the way the music... And then the music kicks right back in. Yeah, Giacchino's a genius. This is one of my favorite shots we got. This was the last shot of the night at Caserta. And that was a shell of a car. He really was going down there. This is one of my favorite shots. Oh, Phil is there, you know, pulling off this makeup appliance.
56:02 · jump to transcript →
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director · 1h 53m 2 mentions
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And the fabric and the sheets and yeah, everything is beautiful sound as it can work. And you can see on their eyes that the scene is made in extreme low light levels because of the pupils are so big. And you also can see that we almost didn't use any makeup because it's very hard to use makeup on small children.
55:43 · jump to transcript →
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Their skin is so subtle, so you would immediately see if you put the brush in their face. So it's only Eli that has slight makeup in certain scenes. From a storytelling perspective, I love this scene because it so clearly describes the essence of what you might call pure love, that when Oskar asks Eli if they can go steady...
56:12 · jump to transcript →
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director · 2h 32m 2 mentions
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Then I write, Jean Valjean is my savior that night. Jean Valjean, the old corner. You pay up or I'll say where he's gone. Where is he? And brilliant costumes by Paco and makeup by Lisa Westcott and her team. Come with me. Come with me.
2:20:24 · jump to transcript →
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So this is back in Winchester School, in Winchester. It's interesting, I took the decision not to have prosthetics for his aging and do it with makeup. And I think in the way with singing, prosthetics would get in the way. But I think Hugh's portrayal of Valjean as an older man in this weak state is...
2:21:28 · jump to transcript →
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technical · 1h 22m 2 mentions
Gary Lucchesi, Richard Wright, James McQuaide
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Oh, we started watching the movie. - Yeah. This is cool. - Will she make it? Got her clothes on. One of the things that we were very keen on... ... that we wanted, was that we wanted.... We had this ambition... ... that the audience should have their first breath... ...after the first 10 minutes... ...when she gets dropped off the truck... ...which we will see. And when I was watching the premiere yesterday with my wife... ...when she get-- She: At exactly that spot and I felt, "Wow... ... this was exactly what we were aiming for." I think the audience was a little surprised too. We had the premiere last night so we got to watch... ... the movie with a big audience. But they were surprised at the level of violence of the movie. This is a tougher movie than the other movies. Selene is a lot more badass in this movie. She kills a lot of people. - Yeah. Went through a lot more buckets of blood too. A sign of the times, I suppose. Yeah, you'll wish you hadn't done that. This was one of the big scenes in the trailer... ... that we had shown Screen Gems right at the beginning. I love the little splat of blood hitting there. That was sweet. I repeat, full containment... No, there was buckets of blood. I mean, it's.... Violence Is an aesthetic I think that, I mean, goes a hundred years back. Yep. Have we actually done a body count in this? It's a lot. You know what? I did once. Did you? What'd it end up being? - I can't remember. Counting Lycans and humans. Yeah, dead-- Corpses. Now, this moment was an additional shoot moment. It was the first thing we sh... - Wes Bentley, yeah. It's the last and first... - The uncredited Wes Bentley. The first and the last... - This jump was the first thing we shot. First day of shooting. - Look at this boom here. There. That hit in that shot, was Alicia... ...our excellent stunt girl, who just smacked... It sounded like the worst sound I ever heard. It's like, "We killed the stunt double on the first shot." And then you said, "Let's go again." The first day of shooting went so well... ... that I walked away thinking, "God, this is gonna be an easy movie." Oh, my God! - You were wrong. I was wrong. It was so difficult. This was the toughest by far we've done. They're not supposed to be easy. No. - There's a direct correlation... ...between the amount of suffering to do a movie... ...and how well it turns out. We never did a film, like, with this big budget kind of thing... ...but I think you always end up in the same position, you know? You don't have enough money. You always... Imagination can always outrun money. Yeah. - Yeah. The 3D made it more complicated too. Yeah, the 3D really-- You know, nobody had really done it. You know, how to plan it and how to shoot it and.... This is where we want people to breathe. Yeah, here. Here's brutalism again. - Yeah. I was talking with the cinematographer... ...ocott Kevan, last night and... Who did a great job. - He did a great job. And the person... I introduced him to my daughter. My daughter said, "Was this your first 3D movie?" He said, "No, my second. I made all my mistakes on the first one... ...So this one I could get right." Yeah, he was the only guy kind of who had done it. Yes. - And he kept telling us: "It'll take a long time." I remember-- Gary, you said: - It did. "If we go down the Amazonas, it'd be nice... ... to have someone who's been there." Done that trip. That was true. Scott was really there. - Yeah. He was great. But it's also-- It has been very... ...weird. - First shot of Kate. This was the first shot of Kate. Yeah. - First night. That terrible night when it would not stop raining. This was one of those.... - There's a gale right now. When the duck flew into the light? - Yeah. It was a duck who came from the sky... ...and landed in the middle of the set. The camera broke down about four times. Yeah. No, just shooting 3D was a weird experience in that sense... ... that we hadn't done it before and all the rules that you get... ... from various people who has done it... ...Just turn out to be not true or.... - Bullshit. Total bullshit. I don't know if the Red Epic that we used, the camera... ... kind of discarded some of them so it actually works now... ...and it's also.... You have to realize you're telling a story... ... you're not doing a 3D ride. Although this movie is like a ride but... No, but I think what.... True, because... .all these people that we talked about, they were technicians... ...and not filmmakers or storytellers. So they speak about the perfection of everything... ...and that's not really interesting, perfection... ...ecause what you go for is emotion, and emotion is not always perfect. It's also... You know, 3D is in its infancy. People really don't know the rules. When we took those classes... ... there'd been like six movies made and so people didn't know. Half of them were not real 3D, either. - Correct. Where you actually were using binocular cameras... ...to shoot the entire movie, which we did. I don't think any... There wasn't a rule they gave us... ...that we didn't break. - No. I mean, it was... - No. Everything. This is that hybrid POV, as we Call it. It's when Kate starts seeing through.... She thinks she sees through Michael's eyes... ...but it's actually India's. Eve, her daughter. This is so hard, I think, to decide as a filmmaker... ...when you do this. What it should look like? - No. Not technically, but I'm saying the suspension of disbelief... ...of is it Michael or not, and.... We didn't know... All the marketing now you've seen... ... you know, It's all out that she has a daughter in this one... ...which, you know, when we were planning this.... Hopefully that would be the secret. It's gonna be a surprise, yeah. - "Wow, she has a daughter." But.... And I think what helps us Is that we... - Michael Ealy, by the way. Michael Ealy. - Appearance of Michael Ealy. What helps us is the pace that we had to this. You just move so fast that, you know... ... you don't leave time for the mind to think that much. But it's.... Yeah, it's interesting. One of the scenes we shot here is outside in Vancouver. Vancouver-- When we heard we're shooting Underworld... ...and we're shooting it in Vancouver... ...we thought that was pretty strange because it's not gothic. But as Bjorn was talking about... ...when we found the neo-Goth and the brutalism... ...Vancouver Is fantastic. - We'll start counting... ...how many times that word comes. - You do that. It might be even more people than die. Yeah. A couple of words about Kate.... She's a movie star and a really, really good actress. Sometimes that's not the same thing. But she is, and she's very fun to work with. And she... You know, she's British, she always... Theo James. - Theo James. Very witty, yeah. - Young English actor making his... Who's also extremely funny. - Those damn Brits. Yeah. He's so funny. And you're around people who are gorgeous and funny... . It takes its toll on you. Yeah, it doesn't go together usually, yeah. No, and you just stand there in the middle and talking really bad English. I love this shot we did with Stephen. I remember we were shooting it, he was really somewhere else. He was... That was a scene we added after we had started shooting. It was Gary's scene. - That was my idea. We initially had a scene outside of here that l.... I remember seeing this location. I thought it was beautiful... ...but I couldn't wrap my head around a desk being in an exterior atrium... ...so I was struggling with that, but I'm sure glad we did it. I think it looks beautiful. I think you said when you saw it, "It's outside?" It started raining. - "It's outside?" And it was freezing cold. You remember how cold it was? Oh, my God, it was freezing. - God. This is the second... - Then we said: "We have all this concrete and it's freezing cold. Let's get water everywhere. That'll make it really comfortable." This is day one. Day zero, we did the jump we saw before. This is day one where it was full-on, all teams... ...SO this is the first scene that we shot of the whole film. And this shot was actually blown up. We had shot it wider, but we were able to push in on it. We did that with an enormous number.... One of the beauties of using the Red Epic camera... ...was the ability to push in and resize afterwards... ...1N postproduction. That's 175 percent. - Yeah. One of the things I believe that Mans and Bjérn should discuss... ...because we experienced it our first day of shooting... .IS that they are slightly unorthodox in terms of a directorial team. Slightly? They alternate the days they're shooting. So the first day, I believe it was Bjérn, right? You were directing the first day... ...and then Mans would direct the second day. And so, you know, you guys may wanna enlighten the audience... ...as to your procedure. - This was Mans. The prior one in the corridor, I did. I can't remember, but we always have the producer flip a coin... I did. I remember I flipped a coin. Yeah, flipped a coin and whoever gets the tails... ...whatever we decide, begins the day. The thing is, when I'm directing, Bjorn's my best buddy... ...as we Call it, and he doesn't do anything... ...except helping me. Nobody's allowed to talk to him. - Wait. We'll miss Wes getting thrown through the window. This is a totally reshot scene. - Yeah. We had another scene that was... - Just not working. No, it was a bit of a disaster. We got the opportunity to reshoot this, and I love this scene. I love it too. - It's great. This whole spider-webbing window thing.... That was actually Len Wiseman's idea of having him... ...be pushed through the window as it spider-webbed behind him. Yeah, we had.... Yeah. Fantastic idea. - Yeah, great shot. In the background, you see he's got little stuffed animals... ...because we wanted him to be a tinker... ...because he's been tinkering with her... What? I never saw those stuffed animals. I love this shot. I love this. It's too short. - Way too short. Yeah. It's way too short. You know, if you're starting to do movies or anything.... Please listen up, because Bjérn is saying something important. If you get into doing green-screen stuff, stay on it longer... ...because the visual effects will come in and you'll go: "Why the hell didn't we stay longer?" You had 36 frames of tail handle that you didn't use. So it's... So there. - Bollocks. I did not see that. - The famous.... Larz. Thank you, Larz. This is a 300-pound dummy in steel. Oh, God. Nothing.... I mean... Larz is the visual effects... - Special effects. Special effects. We thought, "There's no way. That's not gonna smash the car." Larz was like, "It's gonna smash the car." It did. - It smashed it great. Larz was right. It worked. And I love this shot of the camera pulling up... ...and catching Theo there. - Yeah. SO we are boosting up the mystery here. Theo, who is this guy. - The mystery man. And hopefully you don't know that he's a Vampire yet. He could be anyone, probably a human. Yeah, that was one of the challenges, as well, with the introducing. We introduce Michael Ealy, who plays Sebastian... ...and we have introduced David. We had introductions of a character called Quint, which is... Love this knife. - Yeah. The Uber-- Who was a Lycan, but it was taken out. Because there were too-- Yeah. Kris. - Kris Holden. Brilliant. - Brilliant guy, brilliant actor. It was taken out because there were too many people presented... ...and he gets presented after the car chase... ...and we only see him once. I'm not sure if that was perfect. In hindsight, maybe we should have. - But it's tough. That's... This is a movie where there's only one character... ... left over from other films. Every character has to be introduced. At a certain point, it's a struggle... ...trying to figure out ways to do it without overwhelming the audience. So we just caught a glimpse of the lower Lycans. And one of the things that we really loved in this one... ...was that we could expand the mythology and the universe... ...by inventing new creatures. And we liked the idea that they have been living in the sewers. There's one now. Yeah. And, you know, we thought, you know.... Here we thought Gollum. We thought rabid dog. We thought puss-- Run... Is that what you call it? Puss? Pus. - Pus running. Yeah. Saliva. Fucking crazy in the head. Rabid crazy. That... - Syphilitic. We wanted to because there's... One of the most wonderful lines... .In the history of Underworld is: "You're acting like a pack of rabid dogs! And that, gentlemen, simply won't do." That Michael Sheen says in Underworld 7. And we said, well, let's turn them into those rabid dogs now. They-- You know, they have lived here underground for so long... ... that they actually became these rabid dogs. Yeah, we actually don't see these guys as being human anymore. They're just Lycans. - And they... They turned out beautifully, James. Really beautiful. - These are my favorite Lycans. I think if there is a part five, there should be just these guys. I love them, just those.... The horde. - Yes. Really sick. It was the first time we moved away from suits. We always relied on practical prosthetic suits... ...and this was the first. This and the Uber are the two creatures that are purely CG. The Uber was hard to cast, so we had to go CG. This is an important moment. I loved shooting this. - This is where Selene sees... ...this child for the first moment. Without realizing who it is. - Right. She thinks it's Michael. I remember when shooting it... - She expected to find Michael. Right. Exactly. And she was so beautiful, and she looks so scared. Vulnerable. - Yeah. And the whole thing here we set up, you know.... We're gonna reveal later in the van, when she rips the Lycan's head apart. Hopefully that works, because we set up this girl as weak... ...as we see here, and vulnerable and so on... ...but she is the daughter of Selene, which means the girl's got powers. She's got the kick-ass gene. - Her name is Eve... ...which is never pronounced. - No. It isn't? We never say it? - We never say it. She says, "I'm Subject 2. You're Subject 1." So we might give her another name if we want to for the next one. Eve is perfect, I mean. No, but I think Selene is so beautiful... ...because Selene means moon in Greek. Is that right? - Yeah. Selene means moon in Greek? - Don't you know your Greek? Apparently not. Good Lord. Yeah. So here's the car chase, as we Call it. And it is pretty much... ...on the money on every shot that we storyboarded... ...which is extremely rewarding for a director... ...to see that it pulls off. This is also a triumph of visual effects. Probably half of the scene it was pouring down rain... ...and shooting in 3D, which means you can't really shoot. Shooting in 2D. We shot most of it in 2D. Because you can't shoot in 3D, the rain hits the mirror. The half-silvered mirror that you use in a 3D rig. So this whole thing was pieced together... ... from very, very rudimentary pieces.
10:50 · jump to transcript →
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At a certain point, you really can do the entire dialogue. It's not so hard in this one because they don't talk. There's 12 lines in the movie. But we loved shooting this one. When me and Bjérn... We do it, like, every second day. But there's one exception is that if one day goes on until the next day... ...we don't change. And I think this one took two days to shoot this whole thing. And I loved this because If you think about what she's talking about... ... you know, it's hard to do this for real. She's talking about Werewolves and so on. But she does it for real. - She sells it. Yeah. She sells it. Yeah. - She really does. Yeah. And, I mean, every good actor finds truth in anything. They can find truth in anything. And then they get... And it was also-- I remember when... - Hang on. This scene here. This scene is one of the trippiest scenes in any of the Underworld films. And it is real. - Yes. No CG. That's so fun. Because it's an entire thing... ...we built up. - That's CG. That's CG. Other than that. - That's CG. No, but the shot is actually done... It's actually set up so that we could do it live in-camera. Todd Masters and the guys did a great job with his stomach. This is your revenge on Theo. - Bollocks. That's a real stomach. The blood pouring? - Yeah. Well, yeah. But the stomach is real. - Now, now, boys. Boys. The old hand squeezing. The heart-squeezing shot. Well, remember she has the blood of Alexander Corvinus. That's right. That's the old Corvinus injection... ... that he's gotten there. I always call this the Videodrome shot. Yes. - Yep. That of course Is... - "Long live the new flesh." ...a prosthetic chest that's put on top of him. His body is underneath. - No, it was me cutting Theo. We knew you wanted to. The audience was applauding when they saw this scene. They thought it was great. - Yeah. Here is Richard's shot coming up. Thank you. I like that shot. - It's a great shot. You said we needed it so we got it, and I'm happy we got it. It's in every trailer. - Slow-motion too. Yeah. This worked out well too. - Yeah. This, I thought was a waste of money, these two shots. And it's really, really cool in the end result. This was one... My biggest fear actually... ...because Goth people don't look good at daytime. They are born... They are made for the night. They're plain silly in daylight. Exactly. So I was concerned that will she look silly in daylight. Yeah. This is the darkest-looking daytime... ...and maybe that's the Swedish influence. Don't you have half the year where it's dark? This is sun everywhere. It is, but it's inside a dark... - It's not a beach. Scott lit it... - I agree. What else did we shoot this day? That was cool. The old cowboy switch there. Yeah. - Love it. Then we think-- I think we shot the exterior of her coming out... ...of the tunnel or something and the Lycans following her? That's it. Yeah. - There's something called ADR... ...which means additional dialogue recording. It's when you get bad sounds so you re-record the sound. Right. - This scene was ADR"d... ...and you usually hate ADR because you always lose performance. It's not the same when the actor's standing there with... ...a cup Of latte in their hand and everything. Or mocha latte. - Mocha latte. Whatever. In Burbank rather than in the real world. But that scene was so good in ADR. Because she was able to whisper... ...which she couldn't do on the real set. Right. And get the... - Yeah. So she-- It's so much better. It was so noisy, so they wouldn't have heard each other... ...If she whispered. - Yeah. This is one we call the All the President's Men scene. Yep. Our homage to... I loved this ceiling. - ...Investigative reporting movies. Yeah. - And this is the-- What was this? It was the legal library of the university. That was being rebuilt. It was gorgeous. It's not there anymore? It's gone? This is the last thing that happened... ...and then they tore it down and rebuilt it. That's just brutal. - Yeah. That was brutal. To destroy something brutal as that. But you see the squares and the concrete. Yeah. Wow, what a place. We talked for hours what kind of concrete should be used. Some concrete was wrong. And this concrete is right. Michael. Cool guy. - Yep. Loved him. - Yep. First thing that-- The scene we just saw. He walks up to the set. He never worked with Kate. Kate says, "So, Michael, sexiest black guy on the planet." That rocked him on his heels. He should have said: "SO, Kate, sexiest woman on the planet." He could have. And if he was British, probably he would have said that. Who are the two ugly gimps next to them? That's not fair.
50:54 · jump to transcript →
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multi · 1h 39m 2 mentions
The Grand Budapest Hotel (2014)
Wes Anderson, Roman Coppola, Jeff Goldblum, Kent Jones
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Wes Anderson
I was gonna say, both Jeff and Roman, you-- We-- It had an effect on how we made this movie, Grand Budapest Hotel, because, Jeff, you know, you and Willem both-- I saw that you would stay on the set and you were always watching what's going on. By the time we got to where we're gonna figure out what we're doing next, you already always know everything. You've seen anything that would be happening while other people might be off in a trailer. And on Life Aquatic, there were like 1 1 of them. And starting then, I thought: "I want everybody to stay on the set all the time now as much as we possibly can." And if there's a place to go, it needs to be within range that I can shout to it. If there's some chairs and a thing behind a screen or a greenroom or something, it can't be too far that we can't just shout to it. When we did Darjeeling Limited, as Roman was talking about, Roman in particular had some thoughts such as: "Let's not have... Let's have everyone do their makeup themselves, like a play. Everyone can be responsible for their makeup." In fact, we had then-- We wrote a script where there are different makeups. Owen Wilson's face has been damaged by a motorcycle accident. He's covered with bandages. We needed some makeup. In fact, we have a great makeup artist, Frances Hannon, who was with us. But nevertheless, it was part of our-- Of a new system where we say, "We're gonna keep everything very contained." And especially this thing where we started all living together when we do the movie, and we have-- Someone's gonna cook for us, and when we finish the shooting day, we're all gonna go to the same place. And at the end of the movie, everybody can go off where they would like to go again. But during the movie, let's just stay in this little bubble until we finish the thing. And I have to say, not only has that been wildly more efficient for us in so many different ways, but I find it to be a more fun way to make a movie.
16:30 · jump to transcript →
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Wes Anderson
Yeah. Oh, yes. I remember it very well. In fact, that hotel where we filmed it, it's the Hotel Börse in the middle of Görlitz, and it was the center of everything for us. When we first scouted the place, I saw this location where we made the hotel and thought, "Well, that could work. What can we build around here?" And the first thing we did after that was we walked through the town and went to all the hotels, and we found this place, Börse. I said, "You know, this could be a makeup area. And this is big enough for us to have our dinner each night here." And there's this many rooms, but they have some other rooms across the street. And a lot of things like that happened in that hotel. That's where we had our first rehearsal with Deputy Vilmos Kovacs.
30:17 · jump to transcript →
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Joss Whedon
The Avengers have so much power at the beginning of this, and one of the things that I knew, and I had this problem in the first one, is nobody roots for the overdog. And so it was very important to me that they be brought down a peg, but not just by circumstance, but because they have... In Tony's case, dramatically, but in every case to an extent, lost some aspect of the mission. Lost some aspect of their humanity, because that's the thing about being a superhero, it's the thing about having power. When your decisions affect more than the people around you, inevitably, you are going to destroy something. You're going to harm someone in a way that removes you from humanity. The more power you have, inevitably, the less a part of the human community you are. And so Ultron himself says that, although he doesnt always realise how much it applies to him. And once again, the Frankenstein. And also the Pinocchio, which was, by the way, an idea I had for the Comic-Con teaser that played so nicely, it got used a whole bunch. And then I ended up saying, "Let's just go ahead and stick it in the film because it is creepy." She's picking glass out of her feet there, by the way. In the longer version of the fight we had just seen, Maria slid down and jumped in after Rhodey in her bare feet. And the jacket she's wearing, by the way, is Steve Rogers' bomber jacket, which I have yet to hear anybody comment on. But I thought it was an interesting little detail. I wanted to, obviously, make them more casual. And we had to sort of "de-mom" her makeup a little bit when she arrived on set, and kind of make sure she felt as cool as everyone else. I
31:53 · jump to transcript →
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Joss Whedon
There's a lot of buys in something like this. And to have a purple guy show up in the beginning of the third act, uh, it's a big buy. And so to be able to have these little moments that help explain the story of his rather convenient consciousness, it's both necessary and an exciting piece of texture. I can barely talk about how cool Bettany is, and what great work they did on his face, both in makeup, and then after the fact, because all the rendering of textures on his face made it very easy to give him what we refer to as digital Botox, to take away the expressiveness in his eyes, and so the little wrinkles and things that you wouldn't expect to see on an android, that you need for him to be what Bettany brought, is actually very difficult to render and very beautifully accomplished. This moment when he asks, "
1:34:29 · jump to transcript →
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Tim Burton
but he was in training for his another big 4th of July thing. So in respect and love, I still did the character. And so it became quite a fun little exercise coming up with stuff. So, you know, we just came up with a lot of ideas and it was fun to do. And again, with Neil Scanlon and his people, the makeup and hair people, you know, again, it's part of the DNA of the film.
20:00 · jump to transcript →
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Tim Burton
weird spirit of we didn't really know what we were making but it was fun and you know everybody contributed and so it was it was unlike a lot of movies where it just had a very kind of experimental spontaneous feel to it and so you know then you kind of go on in hollywood and films get bigger and and they don't really you don't really get that sort of opportunity to feel that way so that was a reason too to kind of come back and treat it in the spirit of the first one you know all practical effects makeup sets
40:34 · jump to transcript →
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director · 1h 59m 1 mention
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cast · 1h 39m 1 mention
The Rocky Horror Picture Show (1975)
Richard O'Brien, Riff Raff, Patricia Quinn
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director · 1h 42m 1 mention
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director · 2h 9m 1 mention
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director · 2h 12m 1 mention
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director · 1h 31m 1 mention
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director · 1h 35m 1 mention
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director · 1h 36m 1 mention
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multi · 1h 33m 1 mention
Wes Anderson, Peter Becker, Roman Coppola, Jake Ryan + 3
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director · 1h 34m 1 mention
Scott Stewart Jason Blum Brian Kavanaugh-Jones Peter Gvozdas
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director · 2h 27m 1 mention
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director · 1h 25m 1 mention
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director · 2h 9m 1 mention
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