Make-up & prosthetics

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 →

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 →

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 →

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 →

Tim Lucas

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 Rino 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 →

Tim Lucas

as well as Sergio Sollima's The Big Gundown. 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.

1:06:46 · jump to transcript →

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 →