Make-up & prosthetics

Now, of course, we're leading up to the most famous image in the picture. And once again, we're going to hear the waltz in a totally different arrangement. And it was shot in a tank using a dummy. And they very carefully made a face mask of Shelley Winters, a makeup man named Maurice Siderman, who had worked with Cortez and Wells on Magnificent Emerson. And worked on Citizen Kane. Aging Charles Foster Kane. He's the one who aged Charles Foster Kane. He created the

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of Shelly Winters that makes this scene so effective. It's incredible. I remember meeting him. He's a fantastic makeup person. And also way ahead of its time, Lawton really went for the full effect. He could have had the willows and the hair obscuring the wound in her throat, but you'll see that he, that's revealed in the shot as well.

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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.

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