Make-up & prosthetics

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

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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.

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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...

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Edward Berger

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.

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Edward Berger

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

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Edward Berger

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.

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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.

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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...

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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.

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a long, long time. This is all happening, so Shea Whigham is wearing a wig here, because he was playing G. Gordon Liddy. I didn't even realize that until you said it. It's the most terrible. It's one of those things where people just don't notice. Yeah, and they had the hair and makeup, this is not to make very clear, they had three days to get a wig ready, and they were mortified, and I said, don't worry, we'll fix it. This was an interesting thing, where you added the Rome really at the end, because. Just so that you, well, we originally had a shot that showed it. Yes.

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Hair and makeup are done with Hayley, all of which is very subtle. And the wardrobe on Hayley. The wardrobe is sensational. And all of it is just playing to her strengths. And it wasn't until much, much, much later that we found the music. Do you remember? Oh, my word. The music in the nightclub. Yeah. We originally had a track which the dancers had choreographed their movements to.

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Great cinematography is relying on great production design, and great production design is relying on great locations. And costume design, hair and makeup, it's all working together to make the image you see. And it's a really important thing to remember that when you're looking at the work of one sensational person, one sensational performance, one sensational credit,

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Tim Burton

but he was in training for his another big 4th of July thing. So in respect and love, I still did the character. And so it became quite a fun little exercise coming up with stuff. So, you know, we just came up with a lot of ideas and it was fun to do. And again, with Neal Scanlan and his people, the makeup and hair people, you know, again, it's part of the DNA of the film.

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Tim Burton

weird spirit of we didn't really know what we were making but it was fun and you know everybody contributed and so it was it was unlike a lot of movies where it just had a very kind of experimental spontaneous feel to it and so you know then you kind of go on in hollywood and films get bigger and and they don't really you don't really get that sort of opportunity to feel that way so that was a reason too to kind of come back and treat it in the spirit of the first one you know all practical effects makeup sets

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He just wasn't aware that there were still guys out there, and I think the shock on his face comes across. And he was concussed. Incorrect, yeah, and also concussed. The makeup department really killed it with the dust on everything, and it's just like being caked with the blood. This is one. We have taken massive casualties. We're anticipating coordinated... Yeah, and then continuing to track these arcs, you know, this is, again, having to manage my emotions still, but just...

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In reality, his pants came off. They were just ripped off. So he's just dick and fucking balls. Winnie-the-Pooh in it. I was like, well, I hope you don't get shot in the dick, bro. I'm sorry. But yeah, to the training, these guys, I don't know. Why didn't we do that? It was the prosthetic, wasn't it? Yeah, it was ripping near the taint area.

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We got a real makeup artist to do this. He is so great. I love when he says, close your mouth. These two. Butt crack never made it in. Butt crack. We had to lose butt crack. Trying to keep that G rating. Yeah. No, I don't think that's why. I think we felt like it was too mean. Yeah. Mm-hmm.

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This is where we enter the operatic, fun, non-serious part of the film. And that's why this shot is there. This is the only fancy shot we have in the entire film. 'Cause Pawel and I came up with a lot of cool shit to film. But at a certain point, we're like, "You know what? "Let's keep it super basic." And then we're like, "We should keep one just so people know we can if we want to," but we decided to restrain ourselves. But here we cut loose and we wanted to have this almost... Certainly these shots circling the guys are very Michael Bay-ish, which is not the tone of the film, but I thought we can get away with it and I think it works. These guys are having a good time, boy. They're in their element. - The bright light is just very... And here comes Yulian. He's so great. My brother gets shot. You out? - Yeah. Dad? This was so hard to do. - Why, Bob? 'Cause I got the sickness. We had a flu that went around. Norovirus. - Nurovirus? No, no, I think it's Noro. - Norovirus. Nuro would be scarier. - Yeah, Noro, and it hits you fast. And I had avoided it for what, a week-and-a-half? Yeah. There was a day when 35 people had to leave this shoot because they were just that sick. 35 people, all in one day. So it was that bad. I'm getting sick as you're watching me here, and I got sick very bad and very fast. And it was not good. I'd like to say that the sweat on your face, that's not makeup. - Yeah. That is real sweat. But holy cow, this impact is huge.

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The way we have the lead white makeup on his face is a little Brahmin-like. But there was a sorceress who was buried with a compact of lead white makeup. How she might have worn it, we don't know. But this looks good, I think. And shall you also enjoy the moment when you must choose between kindness for your kin or hate for your enemies?

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