Make-up & prosthetics

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 →

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.

1:15 · jump to transcript →

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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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.

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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 →

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.

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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 →

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 →

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 →

Ron Howard

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

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Ron Howard

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 →

Ron Howard

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.

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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 →

E. Elias Merhige

Yes, places, everybody. May I have the chair, please? Count Orlok, 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.

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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 →

for the characters. I was actually really impressed with the... The gay son had no prosthetic makeup, but I still look like one of the fattest. That's crazy. It was kind of redundant. Look at her. Me putting on a fat suit on top of my already fat body. No, we had to really exaggerate it. To make me look 25 pounds heavier than I already am. I like to bike a horse. Look at him. I like to bike a dude. You came up with a backstory for each character, though, didn't you? Yes. Yeah.

2:07 · jump to transcript →

Yeah. Stevie Coogan. Little Stevie Coogan. Little Stevie Coogan. Yeah, fucking pussy. That's what he is. I still think he's a pussy. That really is your makeup person there. Yeah, this is all the real crew. I mean, we didn't go out and hire a fake crew to play the crew. We just literally filmed our own crew. We got Jimmy Rich over there holding the boom. Yeah, now Jimmy Rich's scene is included in the director's cut. I'm glad to hear that. Because he had a very funny scene where he's the boom guy and Coogan gets upset with him. There's our boy now. There's little Cody.

10:21 · jump to transcript →

The strange thing is sitting in this room that we're, you know, here we are a year later or whatever doing this, and Robert has sort of like a 70s stash happening and his hair blown back looking very, in a good way, like looking very sort of... Way dear to fries. What? The fries there. I'm here growing fries. But just to see the voice without all the makeup accompanying it is always enjoyable. Well, this is my promise to myself is...

21:20 · jump to transcript →

So Dan was the art director on Lord of the Rings... ...and I met through a friend of mine, Gino Acevedo, the makeup artist. And we met and.... Since we already had a sense of what I wanted to see as a castle... ...came with some drawings at the beginning. Dan was perfect for that. Just took the drawing. As an art director, just became clearly someone that expanded the vision. But he's textured the style, you cannot recognise, I mean... Yeah, we were really lucky to get him. He was actually working on a different show when we got to New Zealand. And we thought maybe we wouldn't get him. But that other show had money problems... ...and shut down the production. And we were very lucky that he was able to step right into Underworld. Now, this was a scene that, at least, my recollection... ...when we originally sort of storyboarded it... ...wWe had a lot of werewolves in it, and then we couldn't afford them. So we went back and we begged Clint Culpepper... ...to give us about a hundred more werewolves. And he did. - Which he did. We also had to build this canyon right here. And I do think it makes a difference of just... Before, we were talking about doing a version... ... Which is just all within the trees. And, you know, Patrick, you and I talked a lot about... I liked the idea of you going from... There's a separation. You got the forest, and then this canyon, that then leads into... Leads into the meadow, yeah. Into the castle. Yup, and this castle, obviously, is a location that doesn't exist. So basically... - Neither do the rocks. What we had, it's basically like a golf course-looking... There was no rocks, nothing. It's very flat, very boring. And there was a lot of work to be done later on post and, you know.... The trees and the grass are basically all that were there. Yeah. The big crossbows. We only had one working crossbow, correct? Yes. - We still have it in storage too. We should take it out and play with it. We had a lot of, like, one thing working out of everything. We had one werewolf head mechanical. And we had to make it, you know, out of that stuff. So this wall behind. This is again basically the outside of the set. That set already, basically. - Yup. The whole courtyard and the little bit of the outside was built. We tried that shot right there, where the werewolf comes in. We tried that practically. And it just looked like.... Just dragging in a muppet. - A piece of rubber. Now, this is Rhona. - She is.

4:04 · jump to transcript →

That, if anybody is interested... I called that on the day when I saw that bloody scar. That was actually the same one that Guy used for Singe. For Singe. When he gets busted by... - Exactly. When Viktor punches him in the crypt in number one. You see, if you never said that, nobody would have known. Now they... Hey, cost-effective. - That's right. There's a lot of recycling like this in makeup effect. If you're clever, you know... - Of course. I love this scene between them. - Yeah. And just the tension and, you know. And the next time you see them together... ...when they go in that room is one of my favourite moments. That one was like the little homage I wanted to make... ...at Murnau's Nosferatu. You know that creature that comes into that room. It feels like you don't know if he's gonna strike at him or stuff. And then we were really worried about this whole daylight. Forest daylight. Not Knowing what colour to get. We'd never gone outside before in the Underworld series at all. It just popped out and felt kind of, we had our... ...Xena conversations and worries. You know, with the combination of just... The costumes could only be but so different, you know. These guys are supposed to break out of prison and grab what they can... ...from the other soldiers. And then putting them in the forest. You know, Lucy Lawless comes in and it's all over. So we finally got, like a... Went with a bit more of a green stylized than normal daylight. That's the shot. What's funny is that Steven and Bill were actually very, very close friends. And they had dinner every night together... ...and in between takes they'd be sitting there talking to each other. And then get time to get back on the set. And then Bill would be bullying... I need to make a-- Oh, yeah, here. Just to make a little note, we haven't talked about the music here. Paul Haslinger was just... That was a challenging one. You don't wanna be too over-the-top with the music. Yet you wanna create a little suspense. And I think... He did the first Underworld as well. He did the first one as well. - Yeah. I love that. That was a... It's a perfect display of what Viktor is about and what he's like. And then Tannis' reaction to that I really loved. This was another shot that was vastly improved... ... after Clint fattened the visual-effects budget. Before it was like three guys standing around. It was seven guys. Don't be... - There was smoke, no flame. And no fire. It was nothing. The whole mountain behind Michael was CG.

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Now, did his makeup get less? Because when he first appeared, his makeup is quite strong. Kind of white, cakey... - You know what this is? We shot pretty much... - In order? Yeah, in order. Not completely, but not far from that. And there was a sense like it was... Which I like. I like the way it got toned down. It's better. I like Bill's makeup at the end much better as well. lt was a little more theatrical at the beginning. Another scene that changed dramatically... ... from the way that we originally shot it. So here, basically, there is just a little piece of corridor... ...and the green screen at the end. Everything was done by... Duboi did all the cave stuff and the werewolves. This is a gorgeous shot, this one here. All the detail on all the wolves in the background. That's a shot that came first as a very blue shot. You know, It's funny how blue sometimes looks CG. We ended up turning and make it much more brown... ...and I think feels more real suddenly. But I thought it was great to be able to see that many wolves together.

50:55 · jump to transcript →

horrendous life. And you see how Jimmy has highlighted the scars on the bridge of his nose and his eyebrow. Jimmy said, the character is a survivor. I want to show what he survived. I want to show that he has not lived through this unscathed. He's not Superman. And I want to show this guy's vulnerability without giving away what is truly vulnerable about him. And so he brought in pictures of this bullet hole scar. And he worked with the makeup department

41:39 · jump to transcript →

And boy, he paid for it. It was easily 90 degrees on that set. Man. Because there were the big lights outside to simulate the sun. Everything was so hot. And Ryan said, Ryan's like, it's too hot in here. Let me just do this without my jacket. I said, Ryan, you get glass in your arm later. And he said, you know, I talked to the makeup guy and I think, you know, and I didn't have any time to see a test. Right. I just said, all right, I'm going to take your word for it. Take off the jacket. But boy, that better work. Yeah. Because I hate all that prosthetic crap.

1:37:23 · jump to transcript →

for about seven minutes. That's a fun recording session. By the way, here's a shot. This whole scene, this whole transition that Benicio goes through in this scene, this was one situation in which I realized that no writing, no dialogue was ever going to get us through the transition that this character has to go through. And I simply told Benicio, take all the time you want to make up your mind to leave.

1:42:20 · jump to transcript →

The prosthetics, those two bodies are prosthetics, which are just dazzling. The prosthetic guys, what they're capable of now is incredible, really. They're very unnerving things to be with when you're in the same room as them. They're so real. This was something we invented later. This wasn't in the original script, and Alex wrote this when we inserted it. We wanted to kind of connect with him more emotionally at that point, to feel his loss more, really, so that you're more...

23:56 · jump to transcript →

bit of psycho i suppose where you get rid of someone who you think or hopefully think is going to be a key player the next minute they're gone mark see look it's the shower scene isn't it there's a longer version of that which is pretty unwatchable i have to tell you um again the prosthetic guys can just do anything now it is very scary they can almost do anything and convince you somebody's arm is being chopped off

29:14 · jump to transcript →

the realities of Life Without Water. We did have a long sequence in here, which I don't think has made it into the deleted scenes, because it's just bits, really, where he actually cut all his hair off and shaved his beard, which were real at the time. And, of course, it being a film, we had to go back later and make a wig for him, because we had to pick up some stuff that was shot before we cut his hair. And Sally, our makeup designer, did a great job to coordinate all that.

36:57 · jump to transcript →

Which is fine when you're dealing with an animated character, but a little less comfortable if you're... See, I said let's go for it, but then Gale was like, no. We just didn't have enough of a body makeup budget to cover the bruises. Yeah, no, that would have just been really impossible.

12:48 · jump to transcript →

Shane Paish, who designed the makeup. It's a tricky thing with a character like this to get away with, you know, her and the animated being pretty much made up and definitely having a look, but also not making it ridiculous and not letting it kind of take over the film or the character. They all did a really great job. I have to say, I think that the team of Enzo and Shane

41:00 · jump to transcript →

are the best hair and makeup team I've ever worked with. And I'm going to second that, but I might be just biased. I'm not. They're definitely the easiest. Yeah, definitely so creative, but also they make it so easy. And, you know, when you work these long hours, the last thing you want to do is sit in a chair for two hours or three hours. And they're so understanding of that.

41:29 · jump to transcript →

Ridley Scott

prosthetic baby, a mechanical baby, which was made up by the team who also did my prosthetics for Mason Verger and Krendler. Because that always became a big problem as to how the heck do I have this baby because the baby's involved in a shootout. You know, it's very easy for that to slip by in people. In fact, when we were editing and planning, I kept having to remind myself that

10:31 · jump to transcript →

Ridley Scott

Just make up. You don't need to see that much. It's painful just to watch it. Oh, those guts, you mean? Oh, it went to the butcher shop. Sheep, I think. Now, immediately people don't scream and go, oh, my God. And I originally had it here, the guys, security guys downstairs, one says, students.

1:19:01 · jump to transcript →

Ridley Scott

And this is always the moment which is, I think people think, you're not going to do that, are you? And then we did. And there it is. That's real. I mean, organic. It's not prosthetic. That's sheep's.

1:58:42 · jump to transcript →

Now, if you notice, in the previous sequence and this whole sequence, every time our actors are outside, it's not raining. Whenever they're inside, it's raining. And that's mainly because I didn't want to take the time to have to redo everybody's hair and makeup between takes. So when they're inside the house, it's pouring rain. As soon as they come outside, it stops raining. When they're in the car, it's pouring rain. When they get outside, it stops. It just saved us a lot of hair and makeup time.

34:41 · jump to transcript →

all special effects shadow work and stuff like that. This is another one of these duplication shots. It's photographed out in the desert in Morocco. A lot of the hills that you see in the background have been added in. The horses are shot in multiple passes to make up this giant army. And of course the animation of the scorpion shadow in the foreground.

1:39:29 · jump to transcript →

I remember Rachel's makeup person running up and putting lip gloss on. I'm like, she's dead. She's dead. Need that lip gloss. I think it's interesting in a scene like this where John Hannah had to, you know, carry Rachel and take after take. Now, Rachel's obviously very light, but nonetheless, very impressive for John doing that.

1:41:38 · jump to transcript →

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 →

Kat Ellinger

Lots of lighting to bring in this glamour aspect. And Baise-moi 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 →

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 Brass, 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 →

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 →

We're using some kind of a face-off, you know, the makeup thing, you know, to do that. And then Bob and 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.

3:56 · jump to transcript →

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 →

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.

9:50 · jump to transcript →

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 →

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 →

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 →

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 →

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 →

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 →

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 →

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 →