Make-up & prosthetics

Christien Tinsley

So she was a combination of a fake body for the back hit and the stomach hit, and obviously those body parts. But then her arm was a physical effect where we had a prosthetic coming off of her shoulder and then an arm attached to it. And off camera, one of our on-set artists, Heather, was holding the arm up in place so as the knife

10:53 · jump to transcript →

Christien Tinsley

came through and gave its final swing. She just kind of let it go, and it looked like it was coming away from her body. And then prosthetic gag for the ax to the head, where we had the distorted eye. We sort of shifted her whole left side of her head over by about an inch or so, so everything looked really distorted, like the ax had separated the head there.

11:22 · jump to transcript →

Christien Tinsley

So this is one of the first days of shooting. Art the clown. His body there. That was a combination of both David in a neck prosthetic that we built and them digitally removing his head, as well as a full puppet we made with rod articulation to the arm. So anytime you were over the shoulder, the gunshot wounds coming through him, or...

14:22 · jump to transcript →

This is the Lionsgate logo. I was waiting for the Trimark logo. This is Mark Jones. I'm the writer-director of the first Leprechaun, which I think we're watching. And next to me is... Gabe Barteles. I did the special makeup effects on Leprechaun. And he did a great job, and you're going to see his work, or at least part of his work, through the shadows. Do you remember where this...

0:07 · jump to transcript →

Interesting because for, and it was only in Leprechaun 1, in designing the makeup, the prosthetics go through architectural changes. In the beginning, he's more passive. He's calm. The brow was sculpted with curvatures that arched like rainbows, and it was non-aggressive. And as the film went on, if you broke it down by act, by act two, the pieces got more aggressive, and by three, it's full on.

18:45 · jump to transcript →

As the Leprechaun films went on, those nuances began to go away, which is I also think why one stands above the others, that those tiny details that seem to be pesky distractions really do pile up to a film that hits you at all levels. And the prosthetics was something we did.

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Paul Davis

trumpet that was played backwards and they added reverb but the sound on this is is remarkable and and of course john was so enamored with it that he reused it in michael jackson's thriller along with some of the makeup appliances actually so can you see anything no

15:36 · jump to transcript →

Paul Davis

apartment that she's in on her own, so she kind of made up that this character obviously came from a wealthy background. It's one of the greatest scenes in the movie. I remember asking Rick Baker about that makeup, because David Norton has always maintained that it was, you know, out of everything that he endures with the werewolf transformation, he always maintains that that makeup in the woods is

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Paul Davis

was the most painful. And Rick never really understood that because it's literally like opera pancake makeup with dark circles around the eyes, contact lenses and dentures. And it turns out that it was actually the dentures and the contact lenses that were the most painful for David because he doesn't really wear contacts during the transformation. That's all him. Did you talk to the police?

29:05 · jump to transcript →

We put a guerrilla crew together so that you could film it with Andy. We were trying to figure out all the different ways we could use the set, which was really a little gully, a rock gully. So we drowned it in rain, we dried it out and drowned it in light, threw some greenery in. We just tried to give it variation and also to show, obviously, passage of time. That was a huge make-up, wasn't it? It was enormous. He was in there for how long? I couldn't tell you. Hours and hours and hours.

5:06 · jump to transcript →

Not in the way that the Uruk-hai were. The Uruk-hai, we managed to get a lot of menace out of them in the Helm's Deep scenes and stuff, but we actually set aside some time during pickups, and we had Richard Taylor and his guys redesign the prosthetics of the orcs, redesign the costumes, and what you see in the finished Return of the King now is a combination of some of our old orcs, but a lot of the close-ups and featured characters are the new orcs that we reshot on pickups just to make them look a little bit more scary.

59:43 · jump to transcript →

Now, Gothmog is played by Laurence McCrory, who played Lurtz. When we decided to add an Orc character to Return of the King, we just thought, let's give it to Laurence. Let's get Laurence to do it again. And the wonderful thing with prosthetics is that if you have a great actor like Laurence, who is just so brilliant at pushing energy through that rubber mask, you can then create a completely different character for the same actor to play.

1:12:19 · jump to transcript →

I told him, I want to destroy the images. I don't want to beautify them. I don't want to sentimentalize. I don't want to make them pretty. I want to destroy it. And this is what he came up with. And the third was, find a sound. You know, this should be a sound that, you know, everything is there to, you know, whatever it is, costume, makeup, production design, camera, VFX, music.

13:36 · jump to transcript →

Again, I'm really into sound. Actually, I'm really into camera and I'm really into sound. And every technical aspect of the filmmaking process, as well as the emotional aspect, is again focusing on his face. And I love how he is caked in mud here. Look at the makeup, the wonderful makeup here. And this one slither of light on his eye. And I love how we're with him and he slowly turns his face towards us

27:21 · jump to transcript →

So it was really important to take the audience on the journey, on his inner journey here. And again, wonderful makeup that just caked with mud. You know, these kids are becoming mud immediately. It's just only 20 minutes ago they were at home, right? And still sort of protected and like the foxes with their mom.

32:43 · jump to transcript →

Len Wiseman

That's what my brother calls my bad-gas moment. This one here? Were you harnessed in? Insert sound effect there. - The extended version. You were way up in the tower, right? You were harnessed in? No, because eventually, I didn't. There was some... That's right. That was green screen. - No, it was just somebody else. Oh, okay. You refused. - I didn't. There were some shenanigans going on. Somebody made me feel unstable, and I wouldn't get on it. It is a bit bad-gassy-looking... - It is, isn't it? Now come think of it. We went up there. It ended up being Nicole. That first shot is Nicole. I can't believe she did that, jumped off. She did not. That's a rumour. I totally did it. Oh, I'm sorry. The funny thing is, so many people get fooled by that. That shot that's coming up, they do think it's me. I'm sure it was you. You did it a couple times, she did it once. That's not me. - There's you, in the hoodie. Oh, yeah, I'm brooding in the hoodie. Now, he's a potato farmer, apparently. - Really? He is, from Idaho. - Slash vampire? Yeah, apparently he is. My makeup artist was keen on him for a minute. Lovely strong hands. There he goes. But he didn't speak any English, right? - No. As did, like... Eighty percent of the crew didn't. Right. I mean, you barely spoke English. - I tried. Neither of you speak English. Thank you very much. - Okay. There I go. I really like how she did that. - Good knees on that. They're not my knees. - Those aren't your knees, no. This is where we just drenched you for hours. I was miserable. - The rain machines wouldn't work. I felt like they worked really well. I was soaking wet. All the people running up to you wearing 15 coats... I thought it was still cool that there were rain machines... ...and I was going to get wet. By the end, I was cursing water. I Kept falling there, slipping down. This is like-- Inside the subway was the very first week we did. Yeah, we did that fake set, right? - Yeah. Was that a fake set or a real set? - Wasn't it real? It was real. - No. You were there, weren't you? I was there. It was a subway station, but didn't we build something too? Well, yeah. It was actually... lt was a repair yard for the trains. Then we built that set around the train. - I knew I was on to something. There you go. - Here's love. Immediate love. - Damn it, I have a pimple. Do you? - You don't see that? I see it first. I thought we wiped that out. - No. Oh, my God, it was so tense. lt was so hot in that subway. Yeah, it was brutal. Boiling hot week there was in Budapest before it became arctic. And everybody's in these leather coats. This was the first thing we shot, right? - Yeah. Yeah, this was the second day of filming. The first day of shooting was you in the hospital. Then I came in with those horrible boots and tried to get your approval. Yeah, that's right. I remember I did not want to shoot that scene first. That moment I won't talk about. - No, neither did I. I felt like I'd had absolutely no preparation on firing the guns. They told me, "We're going to do a take." I said, "Oh, my God." Literally almost shook, afterwards. Felt like I'd drunk, like, 20 cups of coffee. I was worried I was gonna get in trouble, because it was a cheap movie. "You have one chance. We don't have money for another pillar." Like, "Oh, great." - You did great, though. No, there was all that stress... ...because we really didn't have a chance to re-squib things. He says, "No pressure, Kate, but we only got pillar with squibs in. The thing's going to be ruined if you mess It up." This sequence is still pretty much the same. Yeah, this stays the same. Here I go, panicking. I remember all this. You did an amazing skid. Did that make it? Yeah, it did. - That was fantastic. But I do grab her crotch, unfortunately. Right. I ass-grab her. - You did that in rehearsal too. She cried afterwards. Is that why? - Probably, it was real claw. She was terrified with this squib. She had never done one before. And she was horrified. - Yeah, she had a real sob after. There she is. I did not mean to. That was unintentional. They're all looking at it now. Remember when we were shooting that scene... ... for you peeking your head out, to get the reaction, I kept firing guns? Yeah. Yeah. I was asking you to do that, yeah. We ended up doing that the entire film. - Here I go. Ass-grab! She was really cute. Everybody was harassing her because of that. Really, everybody was harassing her. - Yeah. But not after my grubby hands got all over her. Oh, my stunt guys. Look. Hank, he's always the one who was, like, pulling. He was my favourite one to pull wires. - Oh, this is where you save me. Thank you for that, by the way. - Kind of a lady-boy.

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Len Wiseman

There was discussion about adding a scene where... ...Kate's in front of a mirror with just a razor blade... -... just shaving her head. - Wow. The hair was becoming a problem. - That'd be cool. I think it'd be good, do the Sigourney Weaver... SO people can say you're ripping off Alien as well Matrix. That'd be great. - Brilliant. Do people say that? - Yeah. Oh, far too many, because it's a black suit. You know, what are we gonna put a vampire in, like, fuchsia? You know what? - Number two.... It'll all be pastels. Look, I warned her. I warned her, but she didn't listen. I should've told you sooner. - Told me what? Her human, Michael... ...he's not a human at all. He's Canadian. - I'm Canadian. What? Canadian? - No, not another Canadian! Jesus! - Get them out of the industry. Stunned. They'll kill you. That was the one I was terrified was gonna be in the preview. Was it ever in the preview? - The, "Who are you people?" Yeah. And it was. We knew it was. There's certain lines, when you're shooting, you know... ... they're gonna be used in the trailer. I Knew that when Kate was saying, "The war between Vampires and Lycans." That's right. And that was. - Yep. This looks complicated. This was a nightmare. - Walking with those things. Walking, there's guys on top that are.... The prop guys are trying to move that thing around on top to mimic him. He was so great. - He was so cool, man. Yeah, he was. - He was such a cool guy. Is. I guess he had the toughest makeup, right? He had six hours every morning. Leave us. But he was great. He was like the visiting rock star. He's so cool, man. We love you, Bill. - Bill, we love you. I wanted him to come to the premiere, but he didn't come. We wanted him to sleep over, and he wasn't interested. I was interested either. Werewolves. There we go, right in the trailer. I'm glad we did those flashes. It's always really difficult to have that scene where it's... "These are aliens," or "These are"-- - It's a tough scene. It's tough for the normal person. So you just kept that bewildered look... ...and I threw in some inserts there and really helped you out. Thanks, man. - You're welcome.

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Len Wiseman

Because you're so cute. And Canadian. - You're Canadian and blond. I love that scene. - Really? Yeah. I think you did a great job. Oh, thanks. Thanks, man. Yeah, I was very happy with that. With both of you. That really is some makeup. My God. I felt so great on this movie. I had the shortest makeup call of everybody. All the boys had to come in before me. lt was so unusual. Well, I didn't, not until that last week. You were always having your nipples painted blue. No. - Had to get highlights. I don't have highlights. - Blond streaks. No, no, I don't do that. Remember I asked you? Early on, I thought that you did. Everybody does. - He does! I do not. - Please. Oh, my God. I swear to God, I do not. - I'm sick of this. And those are natural buttocks too, right? No, those-- That's fake. No, my ass Is fake, but my hair is real. - But his hair, I mean, come on. ls he--? What? No, that's a belt. - But he's basically in a skirt, isn't he? Yes. - I love that. You are so weird. You so don't look like a guy who'll design, like, a man-skirt. Yeah, it looks like he's got... I would wear a man-skirt. What's wrong with that? Without the makeup... - I do think people... ...when they meet me, they think I'll be some Goth with eyeliner. I did. I thought, especially with your name being Len Wiseman... ...I imagined you having a shoulder-length mullet... ...and a lab coat. Like, a white lab coat. Thank God I changed and got a haircut before I met you. Did you ever have mullet, Len? Do you like it right now? - Yeah. That's not a mullet, though. I had a mullet in high school. I didn't know I did, but I guess I did. Because it was behind you. - Yeah. I see pictures now and realise it's a mullet. You also thought I was Jewish. - I did not. Didn't you? - No, everyone else does. Why? - I thought you'd be about 52, though. Len Wiseman? - Len Wiseman. It's like a butcher's name. Maybe. What's going on here? What's happening? This is-- Thank you. This is another added scene. This was cut, again, for pacing. It just shows, again, that... ... she's involved in this plot, just helping it along its way... ...to get Kraven a bit more pissed off with Selene. That's a new shot as well. I always liked that shot... ...but couldn't fit it in. - You were in the position... ...of having to shave and shave stuff out of it, right? Yeah. I mean, we got down to where every second was counting. How long is the movie? Putting a stopwatch to us to take out things. I think it was-- Man, I don't Know. That's a new shot right there too. That's actually Nicole. Yeah, I don't recognise that. I don't remember being there. Where was I? Was I sick? - You went home and... You were never planned to be shot... ...because it was just gonna be a car pulling up... ...and then, since she was in the suit, we had her do the walk. It was cold in this set. - This set was cool. I love this. I really had a good time with it. You were sick. - You were very sick. We stopped one day and didn't film it and came back, right? No, we didn't. We were going to. We stopped, because you came down with pneumonia... ...and we ended up having to build this set on stage. Yeah. That's right. - All right. That was so fun, when we did it on the stage. Yeah, it was. So this-- Where was it? No, this was actually on location. Yeah. That was that freezing, freezing... This is when you were, like, coughing and hacking after each take. What are these for? Lycans are allergic to silver. All the women on the set walked past that tray. They'd be like, "Damn, I must get a pap smear." Why is my nose so red? You know, it's becoming a theme. - I think it really is. I look like a semi-coke addict or something. It was cold in there. It was cold, but I didn't know it. I didn't know. I'll get your back next time. - Please. Didn't I? Pull some hair out of your nose? That's why my nose is so red... ...because I kept getting her to pull hairs out of my nose. It's because you're so blond... ...and the way you had your head, it was twinkling. I really-- You know, I'm not good at cutting all that stuff. Somebody got ahold of it. Your eyes were watering up. Yeah. This is the same, right? Yeah. After-- There's a scene coming up after... ...oelene talks about her family and everything. The scene that we originally cut of... - Oh, yeah. ...ocott, when he's telling about how he got into... My back-story. Your back-story. Everything that builds and... I like that that was in Budapest. ...and kind of creates your character, we decided to cut. Did you put that back in? - We put it back in, yes. So we have the pleasure of it now? - We do. We should have some silence... - I don't think we need to. I think we can just talk over it and talk about how my nose... ...isn't red or something. - And it was-- It was a couple reasons. One, it was pacing, because this scene... ...it took a long time, and... - Scott, you were boring. People were kind of falling asleep, including Scott himself at the premiere. I wasn't even at the premiere. - Oh, even more committed. Well, I was at the premiere, but I left. A serious reason why we did cut it is... ...because it came right after Selene's back-story, and so it seemed like: "Here's my weepy story," and he's like, "Yeah? I've got one to top that." Actually, you were very good. Yeah, that's how it felt too. I mean, that's what it was. It was like, you Know, "Yeah'"-- - It was like a sort of AA meeting. "My name is Selene, and these are my problems." That's fine. There's his tunic. Look at that. What is that? You guys have a problem with that? - It's a man-skirt. He gave me the strength to avenge my family. Since then, I've never looked back.

55:50 · jump to transcript →

So like I said, we had a three wall set and because the walls are similar, you don't really know exactly where you're at. So I think you get away with it. And here's Marcus. So Marcus, so with Tony Curran, how long was his makeup process? Well, it took about four hours. I mean, you know, the beginning, then he sort of went down a bit. But I want to tell one thing here. The first time you're going to see his face, remember then?

13:45 · jump to transcript →

that James Spader was riding on in the military facility. Yeah, in that I had my name there. So I'm sorry to, this is like makeup. What we just saw is, can't you tell? Yeah, different. This is actually the final design for him, for Marcus. Makeup. So the one first time you saw him was not quite there. That's the thing. I wonder if that caused any confusion. I was a bit worried about

19:56 · jump to transcript →

because the makeup is quite different. You know, if people... I think it ties in. We never had any comments on it. This, again, miniature. See what I'm talking about with the water? Exactly. Just point out the flaws. That's what's good about this. Nice thing to do. Give me a moment. That set was really...

20:26 · jump to transcript →

from the ear piercing to the metallic tendrils we later see attaching Max's gun to his hand and wrist. Debbie herself told me that having Videodrome follow her collaboration with Yeager felt to her like, quote, a very strong coincidence, unquote. Until I came into possession of Michael Lennox's call sheets for Videodrome, I assumed that the ear piercing we see on screen was real, but the call sheet for November 26th specifically calls for bleeding earlobe makeup.

16:58 · jump to transcript →

Here we have a complementary masturbatory metaphor to the earlier one, which was penetrative. This one is receptive. When Max begins to scratch his itch with the nozzle of his gun, the rash suddenly ripens into a vagina of the viscera. This was a full-body foam latex appliance that covered the actor, who was ensconced within the sofa at a roughly 45-degree angle with only his head and arms exposed.

43:19 · jump to transcript →

The engorgement of the appliance was achieved by a couple of EFX guys blowing into tubes behind the sofa. This scene was originally written to take place in Max's bathroom, in his bathtub, but I was told that the actor had some serious qualms about sharing bathwater with a live television set, even though it had been thoroughly waterproofed.

43:45 · jump to transcript →

Gary Goddard

Tila, Man at Arms, He-Man, and we get kind of the scope of the devastation. And now we're going to meet Gwildor. That's Billy Barty. And Billy was a fantastic trooper. I'm not sure how old he was, but I'm sure he was in his 60s at least when he was doing this. And we bundled him up. We carried him around. He had to put on, you know, three and a half hours of makeup every morning. He did a great job.

7:00 · jump to transcript →

Gary Goddard

Mike Westmore. He did a great job with the makeup. There's a great variety of things we had to do. We had a question in our, you know, we went through many, many versions of this skull to figure out, is it a real skull? Because again, it was a cartoon character before. Do we make it a real skull? If it's a real skull, it's a hard skull. Then it's like a mask and you don't get Frank Langella's performance. On the other hand, we used some very latex rubbery masks and they were too rubbery. They look almost comical. This is a

13:38 · jump to transcript →

Gary Goddard

that Stuart Ziff created. It's gonna create the window right there. I wanted a kind of a prismatic effect in the air that you're seeing there, and now it's gonna join. You're gonna see it bend time there, it's bending time. And now it's opening up the doorway. And now they're gonna say, let's get through there. Mike Westmore, the Gwildor makeup, I wanted to get as much as Billy's performance as well.

15:13 · jump to transcript →

We had a forge and we sort of used to heat the swords up, hand them to the orcs who couldn't see very well. They were sort of waving these red hot bits of metal around and whacking them with hammers. But it's funny because things like that, you ultimately can't really figure out a good way to fake it. And you've got to use the real thing. And they, the foundry guys, were dressed up in orc makeup. That's right, yeah. The orcs themselves were the foundry workers that we dressed up as orcs. That's right. Lurtz is a character that we developed for the movie. He's not in the book. And, you know, the reason...

1:17:02 · jump to transcript →

Like this room is actually built inside the park. That's a real forest outside. And we were filming, and so I wanted Rivendell to have this very much indoor-outdoor kind of, very close to nature. And we didn't mention it earlier, but when we first see Ian Holm here in Rivendell, he has the second stage age makeup, which Weta designed.

1:47:02 · jump to transcript →

Is it the stipple makeup? It's the stipple makeup. Obviously because Bilbo doesn't have the ring anymore, his aging process has accelerated. I think you gave a million people a heart attack with a shot, Pete. Yeah, Ian does this so wonderfully well. He's just playing a character that hasn't really been able to finally give up the ring.

1:47:27 · jump to transcript →

in the same time frame as it is here, as opposed to the book. Bernard, under hours and hours worth of makeup, I think that was a four or five hour makeup job that he had to go through. Again, a very memorable part of the book, Brad Dourif as Wormtongue is superb. He had to shave his eyebrows off. Not a lot of people really notice it, although it does give him a weird experience.

24:45 · jump to transcript →

Brad's problem is that he had to come down to New Zealand five different times during the course of two years to shoot his role, and his wife and child would say goodbye to him on each of these five trips with eyebrows, and he'd return home a few days later without any eyebrows. And it happened five times over two years. He's got a false nose in this makeup, hasn't he? He's got a prosthetic nose and some warts, I think. They glued on some warts and some moles on his face.

25:13 · jump to transcript →

actor at playing orcs that we use in all three movies playing different orcs. So there's often when an orc is delivering dialogue, whether it be in the first, second or third film, it's often Steven under different makeup. So he plays a lot of different orc characters and he looks different in each role because obviously he's wearing the prosthetics.

31:07 · jump to transcript →

John Cameron Mitchell

going underwater. There's no stuntmen there. Covered in red makeup. There he is. Okay, he's not even, there's not even a trouble. He's dead. And in the script I said he has to be benignly and benevolently dead. And look at that. He had that beautiful expression on his face that helps James go where he wants to go or he thinks he should go. This was a, remember every time we had to do the flicker of the light was always a problem and we'd lose power and everything would fall apart. Yeah.

13:11 · jump to transcript →

John Cameron Mitchell

Okay, so now I'm supposed to be drunk. That's why suddenly my face is covered in red makeup. Well, you got the red light all around you, too. I don't think... Peter Stickle's in the back. Peter Stickle, if you see him, he's the guy who plays the stalker. He's standing in the back. Some people don't notice.

23:07 · jump to transcript →

John Cameron Mitchell

Which he actually has used menstrual blood as makeup in his shows. He loves the ladies. He loves women of color, especially. Yeah, and over 250 pounds. No, no, no. He's equal opportunity for women, but it's like he is the ladies' man.

25:29 · jump to transcript →

No, because you actually see him leave. Maybe actually when he goes off screen after he shoots himself, he's actually cleaning up the floor. Okay, two things. I did actually consider having Collins quickly wipe up the floor before running out of the room after he blows his jaw off. Yeah, but there would be so much gore all over the floor. Well, that shot, I mean, remember also that shot was like a five-minute shot that had a lot of choreographed elements to it, and we did it again and again and again. By the way, Collins' makeup was actually burning his skin. He had an allergic reaction to it. It was the first thing we filmed. He had these burn marks on his face, and he's such a

5:04 · jump to transcript →

She was younger and she was just such a trooper. I mean, she did not care about like the makeup or any of that stuff. And so we were just like, oh, let's just bring her back for VHS too. That door actually did just break too whenever I was shutting it. Like that was me actually reacting to it and just throwing that little piece away. And then we just ended up keeping it in because it was kind of funny. But actually like every time you see me lock that door, I'm actually just pretending to because that door doesn't actually work that way. There was no actual real lock on it or anything. This digital watch is a watch that I actually obtained as a product sample in a actual private investigation.

15:10 · jump to transcript →

By the way, I don't know. He's a trooper. Yeah. That's vomit on his chest, too, by the way. It's kind of hard to tell, but it's supposed to imply sort of about how he kind of died in this weird state. I would think that maybe he was drugged by Hannah's character. Yeah. You know, like, while he was trying to rape her or something, you know. Yeah, clearly we're hinting at, like, some kind of backstory there. But, yeah, I mean, he sat around in his underwear, actually kind of, we were kind of like, can anyone get John a robe? And they're like, no, it will affect his makeup. And we're like,

20:11 · jump to transcript →

Nia DaCosta

Take it. Pick it up! Too slow, pal. We had to re-record dear Connor's dialog a couple of times because of his Glaswegian accent, which I, you know, understand just enough. But I think for the average American audience, they were a bit confused. Shit! It was really fun to do that stab. I really like special effects, especially when they have to do with, like, cuts or blood or gore, I think it's really fun. And so this is... And I wanted also much of the blood to be practical. I really hate VFX blood 'cause it looks so fake. And so in this scene, we have mostly real blood, but then VFX to either clean up or to match certain things. But everything we do is like a rig. So when you see the blood spraying out, it's always or almost always real... well, not real blood, but like real red fluid coming out of a pump. And then right off-screen, there's, like, SFX artists, like, pumping away at this can full of, you know, fake blood. Sir.

4:10 · jump to transcript →

Nia DaCosta

So, we had... This is really fun. We had some really great prosthetics in this film. And some of them you're seeing here as he takes those arrows out of his torso. And then we cut to a close-up, which is a completely fake chest plate that has blood pumping out of it, which is fun. So, that was all real. Which means...

12:45 · jump to transcript →

Nia DaCosta

So that was a mix of VFX blood and, like, rigged, like, real fake blood that comes out of this, like, sort of tube around his neck, which is really cool. And then you see, little little on the bottom right, Jimmy Ink walking towards the Bone Temple.

31:31 · jump to transcript →

And now you say he's a big producer. He is. I keep seeing that name. I didn't realize it's the same. Just before they shot this scene, I remember Ken coming into the trailer in makeup and asking someone to shave his rear end. And I remember being embarrassed the whole time we shot this. You and me both. I didn't want to be here.

48:46 · jump to transcript →

The person we admire most in the world is makeup artist and creature creator Rick Baker. His wonderfully gruesome slime bladders and slobber tubes in American Werewolf in London won him a richly deserved Oscar. That is why we admire... I was so impressed with these two and the way they worked together in the show and both of them individually and then together. They took it to the woodshed themselves and worked it out. This has made me laugh a lot.

50:11 · jump to transcript →

Yeah, it was. White, white pants, white shirt, white hat, white shoes. It was summer. Yeah, summer. I didn't have to think. We shot this sometime like September, October, as I recall. November, maybe. But I remember when the kids all get made up here. I remember that you shot that on purpose on Halloween so they could take the makeup home. Oh, I don't remember that.

56:26 · jump to transcript →

Hoofless! Drew! Coming up with the designs for the way the Hoos ought to look was an interesting challenge for Rick Baker, who of course did the makeup designs for the Grinch and the Hoos.

4:22 · jump to transcript →

It's important to mention that Jim Carrey was absolutely miserable every moment that he had to be in the Grinch costume. And yet he loved what Rick Baker had designed and loved being the Grinch. But everything about it was literally painful for Jim. The contact lenses that he had to wear, the bodysuit, the hours and hours it took to put on the makeup. And yet he never once said, let's simplify the look.

23:14 · jump to transcript →

all improvisation on the day by the way not the entire speech but that last rant jim was amazing he'd call me in almost every morning as he was getting his makeup on go over what we were shooting i'd talk about the way we laid it out i talked about some questions that i might have or some ideas i'd have for new lines of dialogue or

1:06:55 · jump to transcript →

these actors come out of the reactor and they were obviously already in makeup and performing and yet I found myself imagining the real individuals and the real submariners who had volunteered to go into that reactor and try to do what they could to prevent a thermonuclear event and yet to their

36:06 · jump to transcript →

The very first sequence we did is Harrison in his old age makeup coming through the gates of that cemetery and walking up the pathway. And you could hear each crunch, each step that he made coming up and the breath was so thick out of his mouth. It was truly a magical moment, you know, as uncomfortable as it was.

37:58 · jump to transcript →

And to see them and to see the old age makeup hold up in that kind of weather and then this color that your skin naturally turns when you're that cold, it just was a, what a great way to start. I was standing there and we were shooting the sequence and I remember, you know, Jeff and I were both feeling that, you know, things were going very well and I remember looking around

38:21 · jump to transcript →

Oh, you poor bastards having to sit through this. Now, they told me they were going to put good violin over me, and you guys had to sit through me practicing. I remember that. And here's a semi-scripted, semi-ad-lib card game, which became a running bit between Booger and Takashi. Yeah, you guys made that up. That was improvised because once we were in the place, he just came through and told us to make up something. Yeah.

21:01 · jump to transcript →

Whose idea was it to keep your glasses on in the shower? This little scene was not in the script, but it seemed that after this little spat in the shower, we needed a healing moment between our heroes. And so we just set up the camera and said, why don't you guys try to make up before you go to bed? And they ad-libbed this right down to that little tandem eyeglass removal.

21:58 · jump to transcript →

The whole point, which I had at the time, which was Booger wasn't really a nerd, really, at all. He was the least nerdy of the bunch of them. He just couldn't find a home anywhere. So he had to live somewhere. So you guys, the nerds were the only ones who accepted everyone without question. Right. Without judgment. Here's a continuing. Yeah, this is, you know, we just keep doing these little things that we would make up. Okay. Here we go. When do I deal? Well, you've got to win a hand first. I told you we'd find a better place.

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Richard Donner

Right. That was... When you look at John Forsythe behind that makeup, you think it's makeup, but it's not. He was quite old when we hired him for this role, you can see, and we changed it to fit his character. First, we thought he was young.

20:55 · jump to transcript →

Richard Donner

That's not makeup. When you see him nowadays, cleaned up, that's makeup, and that's done by Burman. Tom Burman and his wonderful wife. That's one of the great makeup effects houses. A bit of a genius. He also did the upcoming character you'll see and all the little characters in the belly of the upcoming character you'll see, and went on to do a lot of wonderful things. He also went on to do, in Goonies for me, Sloth. A great big character. Tom and his company are really great.

21:20 · jump to transcript →

Richard Donner

See, that's makeup. John Forsythe there.

42:43 · jump to transcript →

Paul M. Sammon

forecasting what's going to happen to him. He's looking at himself in the mirror and thinking, who am I? This was all shot, incidentally, in the River Oaks area, which was a nice part of Houston. Houston at that time was a very depressed city. So we were able to do a lot of things. This is the wonderful makeup by Stéphane Dupuis, the face of RoboCop unmasked. The idea was supposed to be that Robo, when he was first created, actually had his face skinned off.

15:13 · jump to transcript →

Paul M. Sammon

like a mask, and his eyes and his lips were attached to a mechanism underneath. So that's why the skin goes over on the sides of the helmet. And Stephane Dupuy did this marvelous blending job, a Canadian makeup artist. And there on the left, you will see one of the first aspects of what one of my jobs was on the film. I was the CG supervisor.

15:43 · jump to transcript →

Paul M. Sammon

And, of course, it's all done with prosthetics. There was blood bags underneath the sheet, and all they had to do was cut through them, and you would get a line of fake stage blood. This actually has got some of the better dialogue that I think is in the film. Here's a very scary hack doctor. And there's the giggly saw.

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E. Elias Merhige

Yes, places, everybody. May I have the chair, please? Count Urlach, you will sit here at the head of the table. Please. Very good. In this scene, the Count is reading the papers you bought him, and you are about to make a considerable amount of money. No, no makeup! Forgive me, Herr Doktor. Albin, clear the set.

29:50 · jump to transcript →

E. Elias Merhige

Count, you're reading your documents. That's it. It isn't right. When he says it isn't right, he's referring to the hieroglyphs and the sigils that are on the document. And if you look closely at the back of it. I'd like some makeup. Well, you don't get any.

30:20 · jump to transcript →

E. Elias Merhige

and he just felt the makeup was really bad. And he wanted to, you know, he would protest in the beginning about all of this, but then he just sort of moved into it. And I think worked with it quite brilliantly. And I think this scene with Willem and Eddie is just so wonderful. I can watch it a thousand times.

31:43 · jump to transcript →

Oh, man. Can we fast forward through this section? Derby. What inspired the derby in this scene? Yeah, I don't know. Where did that come up? Not me. Well, that was our Jack of All Trades costume designer, who also happens to be my mother and was also the production designer and makeup. She came up with that, I guess. Very An Souchant. Now, Bill, you wrote this song, didn't you? Yes, Michael, I did. Uh, we, uh...

16:12 · jump to transcript →

Don had approached me. We hadn't really talked about the tune. We talked about it this day, just before we shot it. And while they were setting the shot, I was sitting in the trailer with my guitar and Sheryl Quinlan was in there, who was a lovely friend and a lovely lady. Did my makeup, her makeup every day. And I remember just playing the tune. I only had eight bars.

16:39 · jump to transcript →

is when you're making a film on such limited resources like we did, in terms of all the effects and the fact that we just don't have any kind of special effects team, whether that be makeup or prosthetics or rigging, you're so dependent on your actors and that's why you're so fortunate in the making of this film with Mike and Bill, Reggie and Angus, is that

27:43 · jump to transcript →

Then I'll go out and figure out what sounds I want and go out with one recordist, often not even to the same location, and make up a soundtrack from scratch the way we make up the picture from scratch. Live sound isn't very good on a chase scene. Usually the length of shots is not very long at all. You can't sustain a chase scene in a long setup.

1:22:44 · jump to transcript →

Well, to get a blood effect. And I've used it often. It came to me out of desperation when I did the French Connection. And the guy in the first scene, the undercover French cop, is shot in the face. We had elaborate makeup made for that guy. And the standard way to do it was you'd make a mask of his face.

1:43:30 · jump to transcript →

put a part of his face, and then there'd be these little monofilament wires, and on cue, when the guy's supposed to be shot, the makeup artist would pull away the piece of makeup, and blood would be behind it and spurt. And we had a great makeup artist on French Connection who tried to accomplish that, and it never worked. It always looked phony. And finally, just out of inspiration, a gift from the movie god,

1:43:53 · jump to transcript →

Good evening, everybody. Welcome to the blog. We're already off to a great start. I already regret inviting you. That was my blog voice. That's all I got. And next to Mark, we have makeup effects maestro, creature effects maestro, and all-around great guy, Tony Gardner. Hello, everybody. And we also have... This is like the dating game. I know. Door number three. And the man, the myth...

0:44 · jump to transcript →

And this is acid, literally acid on a styrofoam countertop. Now, that was a rule. Like, who came up with the rules of the blob? By the way, the use of no score in this is masterful. Because when the reveal hits and the sting happens. There it is. There it is going up over his face. That shot. There's a makeup on him, but all that stretching is the real face. Yeah, there's a whole rig that he's in that's rolling across the floor. Look at that. When she's running up to him, she looks like miniature. Miniature.

26:31 · jump to transcript →

So it was a warehouse, but it was all right. So watch this now, folks. This is just so interesting. I have to narrate this a little bit. So full scale set. Right. But when Jeffrey DeMunn and one of Tony's better moments with the makeup prop effects comes floating up, it's well set up in that you want these two to get together, but not this way. We anticipated. She's trying to call the guy to save her. And he ends up as blob bait on her phone booth. Then Eric Allard.

44:43 · jump to transcript →