Make-up & prosthetics

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

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Don had approached me. We hadn't really talked about the tune. We talked about it this day, just before we shot it. And while they were setting the shot, I was sitting in the trailer with my guitar and Shirl 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.

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

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Francis Ford Coppola

to actually turn black in front of the camera. And the way we did that is we put some special makeup that when a fine mist of water is sprayed on it, it would look as though the face was turning black from suffocation. I don't know if it worked, but it was very elaborate. We put the special makeup and we sprayed water while they were strangling him.

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Francis Ford Coppola

We had a very good makeup artist on the film, Dick Smith, and we really wired Al's jaw. I tried to make the notion of his suffering from a real punch from a strong man. Normally people get punched in movies and it's like the next day they're just talking. We really asked medical help as to what it would be like and we temporarily wired his jaw so he couldn't talk.

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Francis Ford Coppola

I accepted these three things from Marlon. So I then called up Marlon Brando and suggested maybe it'd be nice if I did like a little makeup test or something. I could come over your house and, you know, he said to me, all right. So I got some of my friends from San Francisco and I had heard that Marlon Brando does not like loud noises. That's why he wears earplugs often. He doesn't like all that loud shouting on the set and everything. So I said to the fellas who were going to go with me and, uh,

1:34:53 · jump to transcript →

The weight of the sky is just something indescribable. I mean, it's a magic place. It really is New Mexico. I'd never seen real cowboys, and I mean, these cowboys were nothing like the film cowboys. They were skinheads with tattoos and rings through their noses and ears, and they would dance with their spurs on. We went to a nightclub, and a makeup artist came with us. His name was, was it Justin?

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makeup artist, and his wife, Marilyn, this gorgeous wife that he had. He was sort of a slightly fey young man. And a cowboy came over to us and he said, how long are you all in town? And he hid behind me and said, just the week. It's just as an old village in England in the medieval times, immediately someone comes in.

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Some of the makeup took several, well, not several hours, a couple of hours. It wasn't bad. I think the wig could have been improved upon, but that's hindsight. The main problem was because of an early start to get the makeup on, I couldn't even begin to go out drinking with the English crew the night before. Nobody's a freak. What do you see in the cards?

53:16 · jump to transcript →

with the cast and the crew. How much of a crew was there, first off? Let me ask you that. It was the most minimalist crew that we could get away with with a full IA deal. They allowed us not to have a hairdresser, not to have a makeup artist. These were, like, major, major concessions. But we had, instead of having one of the small production units...

1:06:54 · jump to transcript →

I don't know about you, but sometimes you just find that the lighting or exposure or something makes it very difficult for the flesh tones. But nobody wore makeup in the picture. I think that pancake makeup stands as a barrier between the actor and the audience. And so I got everybody to get a little bit of a tan, and we didn't have any makeup.

1:31:49 · jump to transcript →

And sometimes, in spite of that fact, it looks like somebody's wearing makeup, and that always annoys me. And I don't know why that happens. Sometimes it's just a combination of things. Yeah, the balance of the light inside and out. You know, I pretty much shot all of Rudy's screenplay. I think maybe, you know, two or three scenes were cut out before we began shooting. But...

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This was all designed. These were empty entrance halls. The clock on the right was built by a man who I always liked to have with me on shoots... Cornelius Siegel, who was a mathematician and a physicist by trade. He was very good with his hands. Henning von Gierke then took care of the details. But it really worked. He built it in two weeks, and it was a very good clock. I love Kinski here so much. How long did this makeup take? At least four hours every time. He was exceptionally patient with these things. Fingernails, teeth, and ears. The ears had to be molded from latex every day because they broke when they were taken off. He was amazingly disciplined. Who did the makeup? That was a Japanese lady named Reiko Kruk. She was much more than a makeup artist. She was a great artist. Kinski respected her very much. There were never any fights between them. Almost every day Kinski started some scandal or was screaming at the top of his lungs. He broke furniture. Those were daily occurrences. But with the makeup artist, there was always Japanese music playing, and for four hours Kinski was completely quiet and concentrated.

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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. "...

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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.

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Roger Moore

I was taken from there in an ambulance to an American hospital in Paris. Ken and Letizia 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.

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