Topics / Production

Make-up & prosthetics

111 commentaries in the archive discuss this, with 408 total mentions and 244 sampled passages below.

By decade

1930s

1
1940s

1
1950s

2
1960s

4
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7
1980s

26
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22
2000s

29
2010s

11
2020s

8

Across the archive

ranked by mentions · click any passage for the moment in the transcript

director · 1h 59m 27 mentions

Terrifier 3 (2024)

SFX Maestro Christien Tinsley
director · 1h 31m 17 mentions

Leprechaun (1992)

Mark Jones, Makeup Artist Gabriel Bartalos
director · 1h 37m 16 mentions

An American Werewolf in London (1981)

Filmmaker Paul Davis
director · 4h 13m 12 mentions

The Lord of the Rings The Return of the King (2003)

Peter Jackson Fran Walsh Philippa Boyens
director · 2h 19m 11 mentions

All Quiet on the Western Front (2022)
director · 2h 7m 9 mentions

Underworld (2003)

Len Wiseman, Kate Beckinsale, Scott Speedman
director · 1h 42m 9 mentions

Underworld Evolution (2006)

Len Wiseman, Brad Tatapolous, Brad Martin, Nicolas De Toth
director · 1h 28m 8 mentions

Videodrome (1983)
director · 1h 45m 8 mentions

Masters Of The Universe (1987)

Gary Goddard
director · 3h 29m 8 mentions

The Lord of the Rings The Fellowship of the Ring (2001)

Peter Jackson Fran Walsh Philippa Boyens
director · 3h 43m 8 mentions

The Lord of the Rings The Two Towers (2002)

Peter Jackson Fran Walsh Philippa Boyens
director · 1h 37m 8 mentions

Shortbus (2006)

John Cameron Mitchell
writer · 1h 35m 8 mentions

V.H.S. 2 (2013)

Simon Barrett, Adam Wingard, Greg Hale, Timo Tjahjanto + 4
director · 1h 45m 8 mentions

28 Years Later The Bone Temple (2026)

Nia DaCosta
director · 1h 34m 7 mentions

Summer School (1987)

Carl Reiner, Mark Harmon, Freddy Shoop
director · 1h 43m 7 mentions

How the Grinch Stole Christmas (2000)
director · 2h 8m 7 mentions

K-19 The Widowmaker (2002)

Commentary With Kathryn Bigelow And Jeff Cronenweth
director · 1h 29m 6 mentions

Revenge of the Nerds (1984)

Jeff Kanew, Robert Carradine, Timothy Busfield, Curtis Armstrong
director · 1h 40m 6 mentions

Scrooged (1988)

Richard Donner
director · 1h 56m 6 mentions

RoboCop 2 (1990)

Commentary With Author CG Paul M. Sammon
director · 1h 31m 6 mentions

Shadow of the Vampire (2000)

E. Elias Merhige
director · 1h 28m 5 mentions

Phantasm (1979)

Don Coscarelli, Cast Members Michael Baldwin, Angus Scrimm, Bill Thornbury
director · 1h 54m 5 mentions

To Live and Die in L.A. (1985)
director · 1h 34m 5 mentions

The Blob (1988)
director · 2h 49m 5 mentions

Braveheart (1995)
director · 1h 42m 5 mentions

Tank Girl (1995)

Rachel Talalay, Lori Petty
director · 1h 26m 5 mentions

Underworld Rise of the Lycans (2009)

Patrick Tatopoulos, Len Wiseman, James McQuaide, Richard Wright + 1
director · 2h 13m 5 mentions

Red Sparrow (2018)

Francis Lawrence
director · 2h 52m 4 mentions

The Godfather (1972)
cast · 2h 17m 4 mentions

The Man Who Fell to Earth (1976)

Nicolas Roeg, David Bowie, Buck Henry
director · 1h 30m 4 mentions

A Nightmare on Elm Street (1984)

Wes Craven, Heather Langenkamp, John Saxon, Jacques Haitkin
director · 2h 10m 4 mentions

A View to a Kill (1985)
director · 1h 56m 4 mentions

The Mummy (1999)
director · 1h 59m 4 mentions

The Way Of The Gun (2000)
director · 1h 49m 4 mentions

28 Days Later (2002)

Danny Boyle, Alex Garland
technical · 1h 25m 4 mentions

Aeon Flux (2005)

Gale Anne Hurd, Charlize Theron
director · 1h 51m 4 mentions

Total Recall (2012)
director · 1h 42m 3 mentions

Two-Lane Blacktop (1971)

Monte Hellman, Filmmaker Allison Anders
director · 1h 31m 3 mentions

Underworld (1985)

George Pavlou, Stephen Thrower
director · 1h 39m 3 mentions

Dirty Dancing (1987)
cast · 1h 36m 3 mentions

The Garbage Pail Kids Movie (1987)

Lead Mackenzie Astin, Katie Barberi, Film Programmer William Morris
director · 1h 24m 3 mentions

The Naked Gun From the Files of Police Squad! (1988)

David Zucker, Robert Weiss, Peter Tilden
scholar · 1h 56m 3 mentions

Dreams (1990)

Film Stephen Prince
director · 1h 56m 3 mentions

True Romance (1993)
director · 2h 17m 3 mentions

Forrest Gump (1994)
director · 1h 54m 3 mentions

Alien 4 (1997)
director · 2h 10m 3 mentions

Hannibal (2001)
director · 2h 3m 3 mentions

The Mummy Returns (2001)
director · 2h 1m 3 mentions

Amy (2015)
director · 2h 43m 3 mentions

Mission Impossible Dead Reckoning Part One (2023)
director · 1h 0m 2 mentions

Mark of the Vampire (1935)

Kim Newman, Stephen Jones
1. 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 →
2. 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 →
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
1. 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
  
  42:14 · jump to transcript →
2. 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.
  
  42:44 · jump to transcript →
director · 1h 49m 2 mentions

Dr. No (1962)
1. 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,
  
  1:17:28 · jump to transcript →
2. 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.
  
  1:43:05 · jump to transcript →
director · 1h 30m 2 mentions

Orgy of the Dead (1965)

Ed Wood Biographer Rudolph Grey, Exploitation Filmmaker Frank Henenlotter
1. 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.
  
  30:11 · jump to transcript →
2. 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.
  
  58:29 · jump to transcript →
director · 2h 41m 2 mentions

The Good the Bad and the Ugly (1966)
1. 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.
  
  1:06:17 · jump to transcript →
2. 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...
  
  1:06:46 · jump to transcript →
director · 1h 46m 2 mentions

Nosferatu Phantom der Nacht (1979)

Werner Herzog, Norman Hill
1. 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.
  
  27:21 · jump to transcript →
2. 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
  
  1:04:09 · jump to transcript →
director · 2h 3m 2 mentions

Thief (1981)

Michael Mann, James Caan
1. 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 →
2. I think there's an austerity to the elements that make up the suspenseful tension that I like as more of a critique of
  
  1:02:15 · jump to transcript →
director · 1h 46m 2 mentions

Monty Pythons The Meaning of Life (1983)

Terry Gilliam, Terry Jones
1. 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 →
2. 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?
  
  54:38 · jump to transcript →
director · 1h 32m 2 mentions

Blood Simple (1984)

Kenneth Loring, Forever Young Films
1. 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 →
2. 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...
  
  51:29 · jump to transcript →
multi · 2h 34m 2 mentions

Aliens (1986)

James Cameron, Gale Anne Hurd, Stan Winston, Robert Skotak + 8
1. 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.
  
  1:17:31 · jump to transcript →
2. 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.
  
  1:58:34 · jump to transcript →
scholar · 1h 27m 2 mentions

My Best Friend Is a Vampire (1987)

Nathaniel Thompson, Jimmy Huston
1. 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.
  
  26:48 · jump to transcript →
2. 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.
  
  45:18 · jump to transcript →
director · 1h 45m 2 mentions

Predator (1987)

John McTiernan
1. 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,
  
  4:15 · jump to transcript →
2. 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,
  
  1:05:16 · jump to transcript →
director · 1h 32m 2 mentions

Some Kind of Wonderful (1987)

Howard Deutch, Lea Thompson
1. 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.
  
  3:01 · jump to transcript →
2. 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 →
director · 2h 19m 2 mentions

Goodfellas (1990)
1. 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.
  
  51:04 · jump to transcript →
2. 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 →
director · 2h 24m 2 mentions

Alien³ (1992)
1. 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 →
2. 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.
  
  55:01 · jump to transcript →
director · 1h 48m 2 mentions

The Last of the Mohicans (1992)

English Commentary
1. 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 →
2. 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 →
director · 1h 21m 2 mentions

Coneheads (1993)
1. 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 →
2. 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 →
director · 1h 44m 2 mentions

RoboCop 3 (1993)

Fred Dekker
1. 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 →
2. 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 →
director · 1h 45m 2 mentions

The Usual Suspects (1995)
1. 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 →
2. 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...
  
  24:12 · jump to transcript →
director · 1h 20m 2 mentions

Pi (1998)

Darren Aronofsky
1. 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 →
2. 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.
  
  40:55 · jump to transcript →
director · 1h 55m 2 mentions

End Of Days (1999)

Peter Hyams
1. 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.
  
  45:45 · jump to transcript →
2. 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.
  
  1:28:36 · jump to transcript →
scholar · 1h 14m 2 mentions

Baise-moi (2000)

Kat Ellinger
1. 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
  
  37:21 · jump to transcript →
2. 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 →
director · 1h 30m 2 mentions

Cheeky (2000)
1. 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 →
2. 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 →
director · 1h 58m 2 mentions

Mission Impossible II (2000)
1. 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.
  
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2. 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
  
  5:47 · jump to transcript →
director · 1h 36m 2 mentions

The Whole Nine Yards (2000)

Jonathan Lynn
1. 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.
  
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2. 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
  
  1:02:12 · jump to transcript →
director · 1h 25m 2 mentions

Men in Black II (2002)

Barry Sonnenfeld
1. 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 →
2. 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 →
director · 2h 5m 2 mentions

Mission Impossible III (2006)
1. 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 →
2. 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 →
director · 1h 53m 2 mentions

Låt den rätte komma in (2008)
1. 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 →
2. 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 →
director · 2h 32m 2 mentions

Les Miserables (2012)
1. 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 →
2. 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 →
technical · 1h 22m 2 mentions

Underworld Awakening (2012)

Gary Lucchesi, Richard Wright, James McQuaide
1. 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 →
2. 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 →
multi · 1h 39m 2 mentions

The Grand Budapest Hotel (2014)

Wes Anderson, Roman Coppola, Jeff Goldblum, Kent Jones
1. 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 →
2. 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 →
director · 2h 15m 2 mentions

Avengers Age of Ultron (2015)

Joss Whedon
1. 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 →
2. 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 →
director · 1h 38m 2 mentions

Beetlejuice Beetlejuice (2024)

Tim Burton
1. 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 →
2. 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 →
director · 1h 59m 1 mention

Citizen Kane (1941)
1. It has to do with his bearing, his voice, his size. But he was fond of makeup as well, and was fond of the makeup in this film, and enjoyed getting older. Also, I mean, he was treated as a king while he was growing up. I mean, you know, it seems like that has a lot to do with... Well, that may be so, but I think as an actor type, if you're casting a play, he's a king type. Wasn't he ever in love with her? He married for love. Love.
  
  53:54 · jump to transcript →
director · 1h 35m 1 mention

Godzilla (1954)

Commentary With David Kalat
1. Commentary With David Kalat
  
  There are production stills showing that Honda had experimented with a more extreme set of facial injuries for Serizawa before dialing back on that and opting for the more subdued makeup used in the final film. The worry was that the audience would be put off by anything more repulsive and that it would make it hard to identify with, to sympathize with Serizawa, because we're meant to side with him.
  
  38:29 · jump to transcript →
scholar · 2h 11m 1 mention

For a Few Dollars More (1965)

Novelist Tim Lucas
1. Novelist Tim Lucas
  
  Leone plays a trick on us here as the scene cuts to a studio interior. Evidently, the dark studio was not enough to conceal Lee Van Cleef's identity, and Leone needed this face to be unrecognizable, to conjure fear. So Lee Van Cleef was blacked up with makeup to give his eyes the appearance of hovering in the dark. Manco is slowly coming around to the idea that Mortimer is way ahead of him on the back end of this caper.
  
  1:37:50 · jump to transcript →
cast · 1h 39m 1 mention

The Rocky Horror Picture Show (1975)

Richard O'Brien, Riff Raff, Patricia Quinn
1. Do you know that we wanted to use this logo? This is against Richard Hartley's piano playing, I think. Of the 20th Century Fox theme. - Yes, maybe I will... We wanted to use that for the denouement. Ah. - Instead of the RKO sign. So that was interesting. Michael White and Lou Adler's names there, our producers. Yes, that's correct. - Erstwhile people. I'm rather... And now whose mouth do you think this might be? Ooh. M-m-m-mine. Yeah, it is. Now, interesting... - There we go. Course, when we did the stage play, it was you that sang this song. That's right. - And then they offered you the part of Magenta in the movie, and what did you say to them? I said-- well, they told me that I wasn't going to be able to sing the song 'cause they couldn't have an usherette open the film, so I'd lost my song "Science Fiction." And, um, I said, "Well, you can take your movie and shove it up your..." Where the sun don't shine. Yes. - Mm-hmm. And they were very amazed 'cause they'd taken me to a restaurant Yeah, yeah. - Jim Sharman. Always do it after lunch. Always tell them no after lunch. Yeah, after lunch. And I said I'm not interested. Don't want to do it. Then they took me round to John Goldstone, one of the other producers, round to his house to see the sets. They said, "No, please, Pat, come and see. Come and just have a look." And then they showed me the pink room, the laboratory. And then they showed me all the drawings of the costumes and whatever, whatever, whatever, and, um, I said, "I can't wait." "I'll begin tomorrow." I didn't mind about the song. Yeah, well, I didn't know anything about that until this moment in time and, uh... Well, I have blamed you for it ever since. Well, you see, I got along to the studio, and they'd done the backing tracks... Richard Hartley and the crew had done the backing tracks at Olympic Studios. I love my name dripping like that. Oh, yes. And... Sorry. It was a bit of a drip. And... - I said-- They said "We want you to sing the opening title song because you're the author of the show," and I said, "What do you mean, as a backing, guide vocal for Pat?" They went, "No, we want you to sing it." And, um, so I did, but until that moment in time, I had no idea that I was... Well, ladies and gentlemen, or whoever's listening, today is the first time this has been revealed in how many years? Oh, um, 25? So in all these years, I have begrudged you taking my song. And in all these years, I've begrudged you for being you and having that delightful mouth. Thank you. I mean, look, it's a wonderful mouth. One wonders, you know, oh, well, wonders, just wonders, really. Has your dentist seen this movie? Yes, I really wanted to give her a plug today. Veronica Morris. Because, really, she's been keeping my teeth in great order. This is marvelous. And Veronica'll be so pleased. This mouth, of course, is Brian Thomson's idea. It was the Man Ray photograph of the mouth and the sky is where he got that from. Yes, it... Is ita photograph or was it a painting? It's a photograph. - It's a photo. Lios Over Hollywood. Yeah. - Is that what it is? That's what it's called. It's over the Hollywood sign-- a mouth. Man Ray picture. - And this was the first mouth. I mean, I'd never seen a mouth this symbolic before. The Rolling Stones got a mouth after that, didn't they? Yeah, they got a mouth after. Not a mouth before. Bit mouthy. - A bit mouthy. No, no, and it was wonderful when they asked me to do this 'cause they asked me to do this mouth on the very last day of the film. Mm-hmm. Jim Sharman came up to me, it was a wrap, finished. We'd done it, and he came up and said, "We've got an idea about this mouth." Yeah. - "And will you do it?" And they painted all your skin black. Yes, they did, And I went out to Elstree Studios... - But your timing was perfect. I mean, your lip-sync is fantastic. Yes, well, I'm good at that. And I sort of know how you do things. So, uh, so we... We, uh... Ramon Gow. Look, the hairdresser, Ramon Gow. We'll talk about Ramon a little bit later on. Yes, he was wonderful. - Yeah. He kept us happy. Did he keep you happy? And Pierre. Pierre did the makeup, didn't he? Pierre La Roche. Oh, God. He did Bowie's makeup. You know, for what was that Bowie thing? You know, when he had the makeup. - When did Bowie never have makeup? All right, with Bowie. Ziggy Stardust. Yes, and it was fantastic. And I thought Guy La Roche will give me the most fantastic face in the world. And he looked at me, and he said, he gave me no bones... No, Pierre La Roche. - Pierre. Pierre La Roche. Guy de la Roche is... - I beg your pardon. Pierre La Roche. And I was so shocked that he just said, "We're going to totally whiten the face." And what-- here we are. And what-- here we are. And what-- here we are. The fade into the cross there. - Fade into the cross, yeah. And down the old... And now this is interesting 'cause this was just a facade, wasn't it? That little room-- There's a little room on stilts behind that door. Just tiny little room. There's darling Henry Woolf. He's just such a darling friend. A great, um, Pinter. Pierre Bedenes in the front here. Now, Perry was the boyfriend of Brian Thomson at the time. Uh, we should say... that little girl there, where is she? She's gone now, but that was... what's her name? She was the photographer that went out with Prince Andrew for a while. What was the name? - Koo Stark. Koo Stark there, yeah. She's in the back there. She's there. Uh, I was gonna point at the screen as if that made any difference. Yes, -Gaye Brown. There's Pierre. And Henry. - And Henry. Henry was in my house the other evening. He now teaches in Saskatchewan. Yeah. He's been over here doing the Harold Pinter plays, hasn't he? That's right. He was in the first play that Pinter wrote. He made him write it, actually. Well, there they are. - There's our Brad. The two lads-- so very butch. Ouch, that hurt. And there she is, Susan Sarandon. We didn't know either of these people when they arrived, did we? No, we didn't, but they... - Weren't familiar with their background. Although he'd been doing Grease on Broadway. Great dancer, great legs. But it was wonderful. - Wonderful. There's my wife there jumping up and down. My ex-wife. My first wife. Is it Kimi? - Yes, in that little plaid dress there. Yes, and that lovely handbag. - With the bangs. Yes. Gorgeous. And this is Rufus Thomas, I think, driving the car. Rufus was with the-- there he is. He was with The Living Theatre for some years. He choreographed Jesus Christ Superstar in its first British incarnation. Gosh. Such class we had in this. Oh, yeah, we were all, yes, very groovy. - I remember those two. Now there's us in the background being American Gothic. Yes, which was such a surprise to me, and it was freezing cold that day. And I swore I'd never talk about the cold again on this film... We were walking to that set the first day we ever walked to that set, and we'd smoked something rather exotic. And I'd never smoked before. - No, no. Richard really led me into really bad ways. It was a bit difficult clinging on to reality, wasn't it? It was wonderful. I loved it. Ah, there we go. - There's our signs. In the graveyard. - "Denton." "The Home of Happiness." "Dammit Janet." "Dammit Janet." "Dammit Janet." She looked very pretty. Sue Blane did some wonderful costumes, and they've really hung on, even though we do the stage show 20... well, it's longer than 25 years from the movie, the stage show. But we still use Sue's designs. She reinvents them, and it's still the same kind of look. Well, I must say, the thing... she's stunning-- is at the time... I demand that Sue Blane invented punk, and this film invented punk. And down the road was Vivienne Westwood with a shop called Sex, and she thought she'd started it, but no, sorry. She'd copied us from up the road. We were on the stage at the time. I think there's a certain amount of truth in what you say. I think we were a precursor of Malcolm McLaren and Vivienne. That's correct. - But then again, you say, as Coco Chanel said, "Anyone who thinks they're original has got no sense of history." 2 If there's one fool for you Then lamit > Janet 2 I've one thing to say And that's damn it, Janet > Now look at that heart there. I want you to see that heart there, 'cause when we go back and rub it out, I think this is... Maybe it's the same heart. I thought it was a different one. Maybe they got it... There's a boom microphone shadow we'll see, I think, soon. Somewhere out there. - Why do you point out the faults? Well, why not? You know... I mean, that's what the fans do. - Do they? Yes. Oh, look, she dropped it. What a shame. Wasn't she meant to? I have no idea. - Or was she not? Now, this is interesting. This room, we could only afford this end and the other end. The altar end, and we didn't have any sides to the room, so we could only shoot it looking this way or looking the other way. We couldn't pan around 'cause there were no sides to this room. 'Cause we didn't have enough money. So there we go, you see, walking towards camera without background. Good heavens. And walking away from camera to there, but there were no sides. > Oh, Janet 2 For you? 2 I love you too } They were very good, these two, weren't they? When you consider we'd been doing this for the show... We were like a family, and they came in, and they joined in, like, so easily, so quickly. I find them astonishing. This must be... I don't want to go into detail, but it's a very small coffin, isn't it? Oh. - One does wonder. About what? Could have been a rabbit in there probably. Well, every day was a great surprise to me on Rocky Horror. I never knew what was going to happen next. Yeah, me neither. I mean, I didn't know what even American Gothic was. Till I saw the painting in the hall a few days later. I thought, "Why am I dressed like this?" Were you not familiar with that picture? - No. There we are... three good-looking people. And those opticals were rather good I thought. And those opticals were rather good I thought. And those opticals were rather good I thought. They really were mechanically derived by... But, you know, today, of course, you'd have optical wipes and all sorts of things with video. There's dear Charles Gray who's departed from us recently. Yes, Charlie has parted from us. And I loved it when you said to me it'd be wonderful if you and I were Charles Gray and Ava Gardner. We could visit each other often. Yes. - 'Cause they were great friends. They lived next door to each other. And I thought they've both gone. So we've got to now move into the same street. I think they're probably on a similar street in the sky somewhere doing the same things.
  
  0:05 · jump to transcript →
director · 2h 3m 1 mention

Moonraker (1979)

Roger Moore
1. Roger Moore
  
  I was taken from there in an ambulance to an American hospital in Paris. Ken and Letitzia said they were going to stay on with Luisa and I... ...to see that everything went all right. Lewis, of course, did have to go... ...and start getting production set up. What was going to happen-- Four days later I was out of the hospital... ...and able to travel. Got onto the Concorde. And then when we landed... ...I could see the crew on the side of the runway... ... photographing the shot we just saw of the Concorde landing. And then I had to get off, go to makeup... ... change my clothes, get back onto the Concorde... ...and walk down the ladder for my arrival... ...for James Bond's arrival in Rio de Janeiro. For the Carnival. Shooting the Carnival was great fun... ...but the second unit had been there the year before and shot... ...but the second unit had been there the year before and shot... ...many aspects of the Carnival. And then when we came to shoot with first unit... ... they'd picked out a couple of the bands... ... they really would like to photograph and use... ... because they'd already got the long shots of them. And when you do musical scenes... ... you have it pre-recorded and you work to the playback.
  
  58:32 · jump to transcript →
director · 1h 29m 1 mention

Fast Times at Ridgemont High (1982)

Amy Heckerling, Cameron Crowe
1. He's going to kill us. He's going to kill you and he's going to kill me. He's going to kill us. Hey, man, just be glad I had five reflexes. My brother's going to shit. Make up your mind, dude. Is he going to shit or is he going to kill us? First he's going to shit, then he's going to kill us. Relax, all right? My old man, he's a television repairman. I think that was Sean's. Really? Yeah, I think it was just, I can fix it. You can't fix this car, Smacali.
  
  45:26 · jump to transcript →
director · 1h 49m 1 mention

Blue Thunder (1983)

John Badham, Frank Morriss, Hoyt Yeatman
1. Hoyt Yeatman
  
  So this was an extremely complicated scene to shoot. Here, we're on the stage doing the actors... ...against rear projection. And now these images here, there was-- It had to be done in a very low-tech way. All the actors were put in white suits and had white makeup on. So we shot them in this room, doing all of this action... ...in their normal wardrobe. And once we had finished shooting the scene, we sent them off... ...where they put on the white suits and the white makeup. They came back and we reshot it... ...on a black stage that duplicated the same office. And now you had these weird images... ...that were run through all kinds of video process... ...to make them look like the way they are... ...reflecting, supposedly, the heat of the bodies. This is in kind of a pre-digital era, too, when we're doing this. We had television effects, but we really didn't have digital technology for film. If I remember right, this was done at Warner Bros... ...in one of their little video studios that the man built... ...who kind of invented 24-frame video for movies.
  
  1:02:38 · jump to transcript →
director · 2h 4m 1 mention

Crimes of Passion (1984)

Ken Russell, Barry Sandler
1. more internal in trying to put her makeup. And I think this is a remarkable moment for this character and clearly in the performance. That she just can't bring herself to go back to China Blue in a way. Yet she knows she has to, yet
  
  1:22:53 · jump to transcript →
director · 1h 42m 1 mention

RoboCop (1987)
1. Here's the toxic waste guy. Okay! Now I gotcha! I like the way he looks back. It's interesting. The other thing I learned here was... It was difficult to... It was a hard time to find him here in this stuff, you know? Yeah, but that kind of makes it nice, doesn't it? Yeah. Uh-oh. Makeup by Roboteam, folks. The Incredible Melting Man.
  
  1:29:26 · jump to transcript →
director · 2h 9m 1 mention

Rain Man (1988)
1. and let that evolve and become part of the film. It's almost 19 minutes to 11. You have to be in bed at 11. Lights out. We're not flying. We're not in the interstate. I'm on some shit secondary road. I got to make up some time. I got to get to Los Angeles. I should have been there this afternoon. My business needs me. I got to make up some time. Definitely watch TV, but you have to be in bed at 11. Lights out. Forget it. Uh-oh. 19 minutes to 11.
  
  50:51 · jump to transcript →
director · 1h 39m 1 mention

Home Alone (1990)

Chris Columbus, Macaulay Culkin
1. Macaulay Culkin
  
  Didn't you shoot at Midway? Yeah, we shot at Mid-- I think we shot... There is my daughter, Eleanor. And my mother-in-law, right there. Eleanor just started high school today, so there you go. Oh, wow. - Yeah, so.... I'm getting old. - Time has passed. And there's my wife, Monica, as the stewardess, so it's a family affair. You're in the second one with your daughter. I'm in the second one. - In the toy shop. Yes, having looked as if I'd eaten most of New York City at the time. Yeah, yeah. - I was enjoying myself. Uh.... - Welcome to my world. Uh, this was one of the funniest shots, I remember. When people first saw you open that door, and your hair was all sort of... Because usually in movies people don't think: "We're gonna mess up his hair to look like he had a night's sleep." People wake up and they look like... - The Lindas. Hair and Makeup. Scratch my butt. - That was in the script, actually. That was a John Hughes-ism. That was very-- John was very perceptive, and the script read wonderfully, you know? It was like... It was a movie on paper, essentially... ...and you realized that this had a lot of potential.
  
  17:07 · jump to transcript →
director · 2h 22m 1 mention

Alien ³ The Legacy Cut (1992)

Oliver Harper, Rob Hill, Assembly Cut
1. with the autopsy of Newt. The autopsy, yeah. The makeup guy who's used to Gaul was like, oh, he couldn't stand it. And why? But, I mean, why did they want to do that? I don't understand the appeal of... Maybe I'm getting soft in my old age, but I don't understand the need for... I mean, this is one of the first scenes in the movie. It's Newt's autopsy. Why? We don't need that. We don't need to see that. Yeah, I think she's just desperate to find out how, you know...
  
  23:31 · jump to transcript →
scholar · 1h 45m 1 mention

Congo (1995)

Kelly Goodner, Jim Hemphill
1. What I know about that is he had a horrible night's sleep the night before. So he was all out of sorts anyway. And had like an early, early call time. And then spent four hours getting his face smashed in with makeup. And he couldn't really see with the makeup and had to run. So there's a lot of running blind going on in this movie. Anyway, so when he falls down the stairs, that was actually him falling down the stairs. I always suspect it because it looked like a very realistic trip. That man is a professional faller. Yeah.
  
  1:27:00 · jump to transcript →
director · 2h 12m 1 mention

L.A. Confidential (1997)
1. very much part of the film's kind of makeup. It's not just a sort of plot-driven film, it's very much a character-driven film.
  
  31:32 · jump to transcript →
director · 1h 42m 1 mention

Election (1999)

Alexander Payne
1. Alexander Payne
  
  And those two kids who just spoke were high school students from Omaha. I very much wanted a sense of a real honest-to-God high school and not a fake one like you see in movies a lot where the students look like actors in their 20s dressed up to be students and they have too much makeup. And you visit high schools and you see their kids.
  
  6:53 · jump to transcript →
director · 1h 31m 1 mention

Lara Croft Tomb Raider (2001)

Simon West
1. Simon West
  
  Now, this shower scene was quite hard to shoot for quite a funny reason. Angelina has, I think, as many as 23 tattoos on her body. So I had to paint out a lot of these, well, not personally, but the makeup artist did, these various tattoos that she has over her body. And each day, depending on what outfit she was wearing, we'd have to paint out different tattoos. So this was the worst one, of course, because it shows a lot of bare flesh.
  
  6:34 · jump to transcript →
director · 2h 4m 1 mention

Red Dragon (2002)

Brett Ratner, Ted Tally
1. Ted Tally
  
  I've always tried to hang on to what that cougar looked like. But by now, to tell the truth... This was made-up stuff that was not in the book. But I knew that they were going to have that scene later with the tiger, the sedated tiger, and I wanted to set up some deeper meaning to that scene for her. So I added this little section. You don't say much, do you? There was actually a scene that was left out. That was his arrival, but Mark thought it was unnecessary and Nis... - When they first arrived and walked into the apartment for the first time here. One of the things that amazes me about Ralph is that he... The script so often gives him so little to work with. The character is painfully shy, he speaks in monosyllables. This was a scene that I used to test the actors. - I remember seeing the test at the auditions. This is the scene that helped me decide that the actors that we tested werent right for the role because they can get the Dolarhyde torturing Freddy Lounds scene, but to have a vulnerability here... But you still have to fear this guy. It's a tremendous feat of acting to accomplish as much as he does with so little to say. My biggest worry going into production was that we would not be able to find an actor who could do everything that this part needed. This is a part where the actor has to bring so much, and the script doesn't help him as much as it does other actors. This is really where you see his imperfection, which is his cleft lip, which Matthew Mungle, who is a brilliant make-up artist and effects make-up artist did such a realistic job of. I tend to do a Iot of tests for hair and make-up and the tattoo. We spend a Iot of time. When you work with Dino and Martha, do they want input into those kind of choices or is that left mostly to you? I love working with Dino. Not only is the guy a legendary producer, but it's great working with Dino and Martha together because... It's a whole other energy. - Each one has their own opinion of things. Right. They are a great producing team. -/ never work with a producing team. - They are very shrewd about script. You did a lot of work with Dino and Martha before I even came on board and you delivered a first draft, basically, that was shootable. - The first draft was green-lit by the studio and it had a lot to do with Dino and Martha's notes because they are very shrewd about what the audience needs to know, and when they need to know it. The sense of the rhythms of the story, and the rhythms of the acts, they have a really good grasp. This is my favorite section of the film. This is where the pace really... It seems like it really takes off here. This is Run from Run-D.W.C. who unfortunately, I cut out of the film, not completely, but... That was him. - That was the top of his head? That was a wonderful appearance. The story really takes off here. The pacing of this section, to me, is very exciting. The music and the editing. This is where I was telling Harvey, "Can you do it twice as fast?" Harvey tends to pause in the strangest places. But it always comes out very natural. He's a brilliant actor. You had always wanted to work with him? - Always, yeah. You had always wanted to work with Harvey. Ever since I was a kid, I was just... I grew up on him. ... possibly from the Tooth Fairy. This was a Dante shot. - It's a spin. "Let's go around him." I said, "I don't want to get dizzy." He said, "No, it's an urgent scene." It does create the urgency of what's going on here, that events were spinning out of control as suggested by that. Because of 9/11 we couldn't fly a helicopter through the Washington skyline. So that was one of our few CGI shots. It's really called a composite, because we shot a plate and then we took a shot of a real helicopter. This was done on the set. Ralph read this on the set. - Standing next to them? Not when we were doing the scene, but he just read it once and this was the take we ended up using. This is a one-take performance. He was just so in the mode. He reads this letter very well. I love all this sort of hi-tech, FBI forensic stuff, and it's something that we couldn't get a whole lot of into the script because of just sheer space considerations. So where we could do these kinds of things, it was really fun. I love that shot, and that shot... All the shots of Lecter in this... Brett, you love all your shots. - I know, not all of them, but those specific ones. I like all the lighting changes through this. This is Tony Hopkins' stand-in. This is the only... I wondered why he had a British accent. I wondered why the superintendent of a hospital in Baltimore had a British accent. He migrated. This is Ken Leung who's been in three of my other movies. On the right? He's a great stage actor from Broadway, and he was the villain in the first Rush Hour, and he was in Family Man. He's just a... He's very good with this part. - He's excellent. He's really very real. ...are transparent to infrared. These could be the tips of "T's" here... This whole sequence is quite close to the book. Tom Harris is very well-grounded in all of these procedures. It's just a real gift to the screenwriter to have an author have done so much research, and be so on top of these things. ...they made that up. Three "T's" and an "R" in "Tattler." How do you communicate through a tabloid? You got what? News stories. This scene was much longer really, but we realized in the playing of this scene that the audience... This is an example where the audience was ahead of everybody. We shortened it because the characters just seemed like they were... The audience already knows who Dolarhyde is at this point. We held him back for as long as we could, but once we've shown him, the audience is just getting ahead of you. - That's my favorite shot!
  
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director · 1h 31m 1 mention

EuroTrip (2004)
1. This always gets a huge reaction. People are really... That was actually egg whites we used for his spittle. The makeup people made these strands out of egg whites and had to hang one on his lip each time we shot this. Another little extra for the unrated is going to be coming up.
  
  13:50 · jump to transcript →
multi · 2h 6m 1 mention

V for Vendetta (2005)

James McTeigue, Natalie Portman, Hugo Weaving
1. James McTeigue
  
  I'm not a character who is interested... ...in the company of young, pretty ladies. I'd be one of the few people who wouldn't give their eyeteeth... ...to have dinner with Natalie Portman. Though, I like her very much as a person. But that's another thing I have to hide. My character can't parade his sexuality in this brave new Britain... ...because that's outlawed. And so, what with my art and my sexuality... ... that's my little secret world. But I invite women from time to time... ...because that's expected of a successful man. And I've invited her, but she never makes it. But she trusts me. Um, and.... And after a few adventures on her part... ...she ends up at my house and I come out to her... ...in every sense. As an art-lover and as a gay man and everything else. And her bravery, I think, is what pushes me over... ...and makes me think, okay, I'm going to make a stand now and l... ...fip up the censor-approved script of my nightly show... ...and write one which makes vicious fun of the chancellor. The Deitrich show was the homage to Benny Hill, in a lot of ways. And it was also something that would really piss of Sutler... ... you know, in a very short amount of time. Because it was an attack on his personality in a lot of ways. And he's hailed as this icon in the government. And I thought it was a really good way for the audience... ...to see how Deitrich really got underneath his skin. This is Gordon's swan song. I mean, a part of him seems to believe... ... if we're to take him on trust... ... that he's gonna get away with it. That he'll be made to apologize in public... ...and have to sort of work in the salt mines of television for a while... ...before being reinstated. But actually what happens is he that he's beaten to a pulp by... ...oy the brute squad. - To be fair... ...that was one of John Hurt's ideas. I was gonna face-mold him, actually. And I got to talking to him about it one day... ...and he just said, "What about if I did that?" "I'll just play both guys. You know, we'll split them down the middle... ...and we'll see how it goes." I talked to Paul Engelen... ...the makeup designer... ...and he said, "Yeah, I could put, like, big pancake makeup on him"... ...and it looked like he had a mask, almost. And I like that idea that you kind of, "Is it him? Is it not him?" The little glasses girl, she's going, "Oh, it's him! Oh, it's the Chancellor." And he did a great job. And he really has a great physicality too. That's a lot of him rolling around on the floor... ...and falling over and tripping over. Faker! - Fraud! Ready! - Aim! Fire! - Fire!
  
  1:04:47 · jump to transcript →
director · 1h 35m 1 mention

28 Weeks Later (2007)
1. Jane Petrie was the designer... and that was really difficult for her to work in day-for-night. You have to think about the colours, about the luminosity, the brightness of these... of these shots, no? When you shoot in day-for- night, you need to pay attention to costumes, because the technique implies that you need to reduce the light later on, so that's why you can't use, you know, specific colours, and you need to... you need to control these things. And makeup is very important. - Makeup is very important. Here, for example, we don't see Robert Carlyle's eyes, which is really nice. This first appearance of Carlyle, I think is really cool. It... This movie, in this sense, is a kind of chase. These kids are chased by their father now. And, you know, the run away, in terms of the structure, is clear now, because apart from the fact that the soldiers, the militaries, are trying to kill everybody, the infection and the infected are chasing them. Clearly, with the figure of this father infected, now the moment's more difficult in terms of emotion as well.
  
  1:03:43 · jump to transcript →
director · 1h 36m 1 mention

Aliens vs Predator Requiem (2007)
1. predator and the other, and our group was trapped in the middle, which was kind of more of a metaphor for the whole film. Yeah, and I wish we were able to do that, because that would have been better. Physically could not shoot it like that, which is a shame. So it was just Dale between the alien and the predator instead of the whole group. So kind of, unfortunately, had to compromise on that. Here's a good example of combining ADI's makeup with digital gore. So for that shot of the guy getting his face melted off, we had them do a real...
  
  1:08:40 · jump to transcript →
director · 1h 35m 1 mention

I Am Legend (2007)

Francis Lawrence, Akiva Goldsman
1. Francis Lawrence and Akiva Goldsman
  
  These are our, now that we're gonna start to see our creatures and things here, what we did was early on we were actually gonna use prosthetics. And we had cast a group of 40 dancers and parkour acrobats to be our creatures. And we had outfitted them with all these prosthetics and these skin suits and clay and ash and all this kind of stuff. It was very elaborate and we got them out in the first night in Washington Square Park.
  
  33:54 · jump to transcript →
multi · 1h 33m 1 mention

Moonrise Kingdom (2012)

Wes Anderson, Peter Becker, Roman Coppola, Jake Ryan + 3
1. Peter Becker
  
  Yeah. - No, you know, I think that Moonrise-- I think that Moonrise as an experience making a movie was really actually pretty unique in my experience, only in that-- Because it was both a necessity and a choice on Wes's part to try to make the film in a very efficient, very stripped down way, unadorned by a lot of the kind of carrying costs of, you know, Wes really said, like, "Look, we're gonna do this in a very-- In a way that feels-- It felt more like being in a repertory company. You know, it was like we were living in a house together. You got in costume at home, did your own hair and makeup. There weren't any trailers. They had some tents, you know, for people to--
  
  10:12 · jump to transcript →
director · 1h 34m 1 mention

Dark Skies (2013)

Scott Stewart Jason Blum Brian Kavanaugh-Jones Peter Gvozdas
1. Scott Stewart Jason Blum Brian Kavanaugh-Jones Peter Gvozdas
  
  And we had a third body that was always built for steady cam because we knew we would do a lot. And it takes 15 minutes to do a changeover. If we did that four times a day, that's an hour of shooting time we didn't have. So even though it costs a little bit more in a camera package, we would have all this other stuff. We'd just make up for it in speed. And it was very, very helpful. I'd never worked that way. I'd always been very regimented and always shot with primes. And this was a way of working differently. And I ended up shooting more footage
  
  29:58 · jump to transcript →
director · 2h 27m 1 mention

Mission Impossible Fallout (2018)
1. You came up with this. So what if we burn him? And then we found out where the oil tanks were in the helicopter. And Sarah Manzani and her team, they built this prosthetic for Henry five days before he was on camera. Incredible. To get him to a point where he is a monster by the end of the movie. And Henry, to his credit, was like, yes. Yes. He loved it. Yes. He was no hesitation. He was like, absolutely. He was like, let's do it. Okay. And we were throwing things like, you know, hey, today your face is going to be...
  
  2:08:33 · jump to transcript →
director · 1h 25m 1 mention

Marcel the Shell with Shoes On (2021)
1. We got a real makeup artist to do this. He is so great. I love when he says, close your mouth. These two. Butt crack never made it in. Butt crack. We had to lose butt crack. Trying to keep that G rating. Yeah. No, I don't think that's why. I think we felt like it was too mean. Yeah. Mm-hmm.
  
  57:06 · jump to transcript →
director · 1h 30m 1 mention

Nobody (2021)

Bob Odenkirk, Ilya Naishuller
1. This is where we enter the operatic, fun, non-serious part of the film. And that's why this shot is there. This is the only fancy shot we have in the entire film. 'Cause Pawel and I came up with a lot of cool shit to film. But at a certain point, we're like, "You know what? "Let's keep it super basic." And then we're like, "We should keep one just so people know we can if we want to," but we decided to restrain ourselves. But here we cut loose and we wanted to have this almost... Certainly these shots circling the guys are very Michael Bay-ish, which is not the tone of the film, but I thought we can get away with it and I think it works. These guys are having a good time, boy. They're in their element. - The bright light is just very... And here comes Yulian. He's so great. My brother gets shot. You out? - Yeah. Dad? This was so hard to do. - Why, Bob? 'Cause I got the sickness. We had a flu that went around. Norovirus. - Nurovirus? No, no, I think it's Noro. - Norovirus. Nuro would be scarier. - Yeah, Noro, and it hits you fast. And I had avoided it for what, a week-and-a-half? Yeah. There was a day when 35 people had to leave this shoot because they were just that sick. 35 people, all in one day. So it was that bad. I'm getting sick as you're watching me here, and I got sick very bad and very fast. And it was not good. I'd like to say that the sweat on your face, that's not makeup. - Yeah. That is real sweat. But holy cow, this impact is huge.
  
  1:20:13 · jump to transcript →
director · 2h 9m 1 mention

The Northman (2022)
1. The way we have the lead white makeup on his face is a little Brahmin-like. But there was a sorceress who was buried with a compact of lead white makeup. How she might have worn it, we don't know. But this looks good, I think. And shall you also enjoy the moment when you must choose between kindness for your kin or hate for your enemies?
  
  57:06 · jump to transcript →

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