Make-up & prosthetics

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 breasts, 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 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 →

Then I write, Jean Valjean is my savior that night. Jean Valjean, the old corner. You pay up or I'll say where he's gone. Where is he? And brilliant costumes by Paco and makeup by Lisa Westcott and her team. Come with me. Come with me.

2:20:24 · jump to transcript →

So this is back in Winchester School, in Winchester. It's interesting, I took the decision not to have prosthetics for his aging and do it with makeup. And I think in the way with singing, prosthetics would get in the way. But I think Hugh's portrayal of Valjean as an older man in this weak state is...

2:21:28 · jump to transcript →

Oh, we started watching the movie. - Yeah. This is cool. - Will she make it? Got her clothes on. One of the things that we were very keen on... ... that we wanted, was that we wanted.... We had this ambition... ... that the audience should have their first breath... ...after the first 10 minutes... ...when she gets dropped off the truck... ...which we will see. And when I was watching the premiere yesterday with my wife... ...when she get-- She: At exactly that spot and I felt, "Wow... ... this was exactly what we were aiming for." I think the audience was a little surprised too. We had the premiere last night so we got to watch... ... the movie with a big audience. But they were surprised at the level of violence of the movie. This is a tougher movie than the other movies. Selene is a lot more badass in this movie. She kills a lot of people. - Yeah. Went through a lot more buckets of blood too. A sign of the times, I suppose. Yeah, you'll wish you hadn't done that. This was one of the big scenes in the trailer... ... that we had shown Screen Gems right at the beginning. I love the little splat of blood hitting there. That was sweet. I repeat, full containment... No, there was buckets of blood. I mean, it's.... Violence Is an aesthetic I think that, I mean, goes a hundred years back. Yep. Have we actually done a body count in this? It's a lot. You know what? I did once. Did you? What'd it end up being? - I can't remember. Counting Lycans and humans. Yeah, dead-- Corpses. Now, this moment was an additional shoot moment. It was the first thing we sh... - Wes Bentley, yeah. It's the last and first... - The uncredited Wes Bentley. The first and the last... - This jump was the first thing we shot. First day of shooting. - Look at this boom here. There. That hit in that shot, was Alicia... ...our excellent stunt girl, who just smacked... It sounded like the worst sound I ever heard. It's like, "We killed the stunt double on the first shot." And then you said, "Let's go again." The first day of shooting went so well... ... that I walked away thinking, "God, this is gonna be an easy movie." Oh, my God! - You were wrong. I was wrong. It was so difficult. This was the toughest by far we've done. They're not supposed to be easy. No. - There's a direct correlation... ...between the amount of suffering to do a movie... ...and how well it turns out. We never did a film, like, with this big budget kind of thing... ...but I think you always end up in the same position, you know? You don't have enough money. You always... Imagination can always outrun money. Yeah. - Yeah. The 3D made it more complicated too. Yeah, the 3D really-- You know, nobody had really done it. You know, how to plan it and how to shoot it and.... This is where we want people to breathe. Yeah, here. Here's brutalism again. - Yeah. I was talking with the cinematographer... ...ocott Kevan, last night and... Who did a great job. - He did a great job. And the person... I introduced him to my daughter. My daughter said, "Was this your first 3D movie?" He said, "No, my second. I made all my mistakes on the first one... ...So this one I could get right." Yeah, he was the only guy kind of who had done it. Yes. - And he kept telling us: "It'll take a long time." I remember-- Gary, you said: - It did. "If we go down the Amazonas, it'd be nice... ... to have someone who's been there." Done that trip. That was true. Scott was really there. - Yeah. He was great. But it's also-- It has been very... ...weird. - First shot of Kate. This was the first shot of Kate. Yeah. - First night. That terrible night when it would not stop raining. This was one of those.... - There's a gale right now. When the duck flew into the light? - Yeah. It was a duck who came from the sky... ...and landed in the middle of the set. The camera broke down about four times. Yeah. No, just shooting 3D was a weird experience in that sense... ... that we hadn't done it before and all the rules that you get... ... from various people who has done it... ...Just turn out to be not true or.... - Bullshit. Total bullshit. I don't know if the Red Epic that we used, the camera... ... kind of discarded some of them so it actually works now... ...and it's also.... You have to realize you're telling a story... ... you're not doing a 3D ride. Although this movie is like a ride but... No, but I think what.... True, because... .all these people that we talked about, they were technicians... ...and not filmmakers or storytellers. So they speak about the perfection of everything... ...and that's not really interesting, perfection... ...ecause what you go for is emotion, and emotion is not always perfect. It's also... You know, 3D is in its infancy. People really don't know the rules. When we took those classes... ... there'd been like six movies made and so people didn't know. Half of them were not real 3D, either. - Correct. Where you actually were using binocular cameras... ...to shoot the entire movie, which we did. I don't think any... There wasn't a rule they gave us... ...that we didn't break. - No. I mean, it was... - No. Everything. This is that hybrid POV, as we Call it. It's when Kate starts seeing through.... She thinks she sees through Michael's eyes... ...but it's actually India's. Eve, her daughter. This is so hard, I think, to decide as a filmmaker... ...when you do this. What it should look like? - No. Not technically, but I'm saying the suspension of disbelief... ...of is it Michael or not, and.... We didn't know... All the marketing now you've seen... ... you know, It's all out that she has a daughter in this one... ...which, you know, when we were planning this.... Hopefully that would be the secret. It's gonna be a surprise, yeah. - "Wow, she has a daughter." But.... And I think what helps us Is that we... - Michael Ealy, by the way. Michael Ealy. - Appearance of Michael Ealy. What helps us is the pace that we had to this. You just move so fast that, you know... ... you don't leave time for the mind to think that much. But it's.... Yeah, it's interesting. One of the scenes we shot here is outside in Vancouver. Vancouver-- When we heard we're shooting Underworld... ...and we're shooting it in Vancouver... ...we thought that was pretty strange because it's not gothic. But as Bjorn was talking about... ...when we found the neo-Goth and the brutalism... ...Vancouver Is fantastic. - We'll start counting... ...how many times that word comes. - You do that. It might be even more people than die. Yeah. A couple of words about Kate.... She's a movie star and a really, really good actress. Sometimes that's not the same thing. But she is, and she's very fun to work with. And she... You know, she's British, she always... Theo James. - Theo James. Very witty, yeah. - Young English actor making his... Who's also extremely funny. - Those damn Brits. Yeah. He's so funny. And you're around people who are gorgeous and funny... . It takes its toll on you. Yeah, it doesn't go together usually, yeah. No, and you just stand there in the middle and talking really bad English. I love this shot we did with Stephen. I remember we were shooting it, he was really somewhere else. He was... That was a scene we added after we had started shooting. It was Gary's scene. - That was my idea. We initially had a scene outside of here that l.... I remember seeing this location. I thought it was beautiful... ...but I couldn't wrap my head around a desk being in an exterior atrium... ...so I was struggling with that, but I'm sure glad we did it. I think it looks beautiful. I think you said when you saw it, "It's outside?" It started raining. - "It's outside?" And it was freezing cold. You remember how cold it was? Oh, my God, it was freezing. - God. This is the second... - Then we said: "We have all this concrete and it's freezing cold. Let's get water everywhere. That'll make it really comfortable." This is day one. Day zero, we did the jump we saw before. This is day one where it was full-on, all teams... ...SO this is the first scene that we shot of the whole film. And this shot was actually blown up. We had shot it wider, but we were able to push in on it. We did that with an enormous number.... One of the beauties of using the Red Epic camera... ...was the ability to push in and resize afterwards... ...1N postproduction. That's 175 percent. - Yeah. One of the things I believe that Mans and Bjérn should discuss... ...because we experienced it our first day of shooting... .IS that they are slightly unorthodox in terms of a directorial team. Slightly? They alternate the days they're shooting. So the first day, I believe it was Bjérn, right? You were directing the first day... ...and then Mans would direct the second day. And so, you know, you guys may wanna enlighten the audience... ...as to your procedure. - This was Mans. The prior one in the corridor, I did. I can't remember, but we always have the producer flip a coin... I did. I remember I flipped a coin. Yeah, flipped a coin and whoever gets the tails... ...whatever we decide, begins the day. The thing is, when I'm directing, Bjorn's my best buddy... ...as we Call it, and he doesn't do anything... ...except helping me. Nobody's allowed to talk to him. - Wait. We'll miss Wes getting thrown through the window. This is a totally reshot scene. - Yeah. We had another scene that was... - Just not working. No, it was a bit of a disaster. We got the opportunity to reshoot this, and I love this scene. I love it too. - It's great. This whole spider-webbing window thing.... That was actually Len Wiseman's idea of having him... ...be pushed through the window as it spider-webbed behind him. Yeah, we had.... Yeah. Fantastic idea. - Yeah, great shot. In the background, you see he's got little stuffed animals... ...because we wanted him to be a tinker... ...because he's been tinkering with her... What? I never saw those stuffed animals. I love this shot. I love this. It's too short. - Way too short. Yeah. It's way too short. You know, if you're starting to do movies or anything.... Please listen up, because Bjérn is saying something important. If you get into doing green-screen stuff, stay on it longer... ...because the visual effects will come in and you'll go: "Why the hell didn't we stay longer?" You had 36 frames of tail handle that you didn't use. So it's... So there. - Bollocks. I did not see that. - The famous.... Larz. Thank you, Larz. This is a 300-pound dummy in steel. Oh, God. Nothing.... I mean... Larz is the visual effects... - Special effects. Special effects. We thought, "There's no way. That's not gonna smash the car." Larz was like, "It's gonna smash the car." It did. - It smashed it great. Larz was right. It worked. And I love this shot of the camera pulling up... ...and catching Theo there. - Yeah. SO we are boosting up the mystery here. Theo, who is this guy. - The mystery man. And hopefully you don't know that he's a Vampire yet. He could be anyone, probably a human. Yeah, that was one of the challenges, as well, with the introducing. We introduce Michael Ealy, who plays Sebastian... ...and we have introduced David. We had introductions of a character called Quint, which is... Love this knife. - Yeah. The Uber-- Who was a Lycan, but it was taken out. Because there were too-- Yeah. Kris. - Kris Holden. Brilliant. - Brilliant guy, brilliant actor. It was taken out because there were too many people presented... ...and he gets presented after the car chase... ...and we only see him once. I'm not sure if that was perfect. In hindsight, maybe we should have. - But it's tough. That's... This is a movie where there's only one character... ... left over from other films. Every character has to be introduced. At a certain point, it's a struggle... ...trying to figure out ways to do it without overwhelming the audience. So we just caught a glimpse of the lower Lycans. And one of the things that we really loved in this one... ...was that we could expand the mythology and the universe... ...by inventing new creatures. And we liked the idea that they have been living in the sewers. There's one now. Yeah. And, you know, we thought, you know.... Here we thought Gollum. We thought rabid dog. We thought puss-- Run... Is that what you call it? Puss? Pus. - Pus running. Yeah. Saliva. Fucking crazy in the head. Rabid crazy. That... - Syphilitic. We wanted to because there's... One of the most wonderful lines... .In the history of Underworld is: "You're acting like a pack of rabid dogs! And that, gentlemen, simply won't do." That Michael Sheen says in Underworld 7. And we said, well, let's turn them into those rabid dogs now. They-- You know, they have lived here underground for so long... ... that they actually became these rabid dogs. Yeah, we actually don't see these guys as being human anymore. They're just Lycans. - And they... They turned out beautifully, James. Really beautiful. - These are my favorite Lycans. I think if there is a part five, there should be just these guys. I love them, just those.... The horde. - Yes. Really sick. It was the first time we moved away from suits. We always relied on practical prosthetic suits... ...and this was the first. This and the Uber are the two creatures that are purely CG. The Uber was hard to cast, so we had to go CG. This is an important moment. I loved shooting this. - This is where Selene sees... ...this child for the first moment. Without realizing who it is. - Right. She thinks it's Michael. I remember when shooting it... - She expected to find Michael. Right. Exactly. And she was so beautiful, and she looks so scared. Vulnerable. - Yeah. And the whole thing here we set up, you know.... We're gonna reveal later in the van, when she rips the Lycan's head apart. Hopefully that works, because we set up this girl as weak... ...as we see here, and vulnerable and so on... ...but she is the daughter of Selene, which means the girl's got powers. She's got the kick-ass gene. - Her name is Eve... ...which is never pronounced. - No. It isn't? We never say it? - We never say it. She says, "I'm Subject 2. You're Subject 1." So we might give her another name if we want to for the next one. Eve is perfect, I mean. No, but I think Selene is so beautiful... ...because Selene means moon in Greek. Is that right? - Yeah. Selene means moon in Greek? - Don't you know your Greek? Apparently not. Good Lord. Yeah. So here's the car chase, as we Call it. And it is pretty much... ...on the money on every shot that we storyboarded... ...which is extremely rewarding for a director... ...to see that it pulls off. This is also a triumph of visual effects. Probably half of the scene it was pouring down rain... ...and shooting in 3D, which means you can't really shoot. Shooting in 2D. We shot most of it in 2D. Because you can't shoot in 3D, the rain hits the mirror. The half-silvered mirror that you use in a 3D rig. So this whole thing was pieced together... ... from very, very rudimentary pieces.

10:50 · jump to transcript →

At a certain point, you really can do the entire dialogue. It's not so hard in this one because they don't talk. There's 12 lines in the movie. But we loved shooting this one. When me and Bjérn... We do it, like, every second day. But there's one exception is that if one day goes on until the next day... ...we don't change. And I think this one took two days to shoot this whole thing. And I loved this because If you think about what she's talking about... ... you know, it's hard to do this for real. She's talking about Werewolves and so on. But she does it for real. - She sells it. Yeah. She sells it. Yeah. - She really does. Yeah. And, I mean, every good actor finds truth in anything. They can find truth in anything. And then they get... And it was also-- I remember when... - Hang on. This scene here. This scene is one of the trippiest scenes in any of the Underworld films. And it is real. - Yes. No CG. That's so fun. Because it's an entire thing... ...we built up. - That's CG. That's CG. Other than that. - That's CG. No, but the shot is actually done... It's actually set up so that we could do it live in-camera. Todd Masters and the guys did a great job with his stomach. This is your revenge on Theo. - Bollocks. That's a real stomach. The blood pouring? - Yeah. Well, yeah. But the stomach is real. - Now, now, boys. Boys. The old hand squeezing. The heart-squeezing shot. Well, remember she has the blood of Alexander Corvinus. That's right. That's the old Corvinus injection... ... that he's gotten there. I always call this the Videodrome shot. Yes. - Yep. That of course Is... - "Long live the new flesh." ...a prosthetic chest that's put on top of him. His body is underneath. - No, it was me cutting Theo. We knew you wanted to. The audience was applauding when they saw this scene. They thought it was great. - Yeah. Here is Richard's shot coming up. Thank you. I like that shot. - It's a great shot. You said we needed it so we got it, and I'm happy we got it. It's in every trailer. - Slow-motion too. Yeah. This worked out well too. - Yeah. This, I thought was a waste of money, these two shots. And it's really, really cool in the end result. This was one... My biggest fear actually... ...because Goth people don't look good at daytime. They are born... They are made for the night. They're plain silly in daylight. Exactly. So I was concerned that will she look silly in daylight. Yeah. This is the darkest-looking daytime... ...and maybe that's the Swedish influence. Don't you have half the year where it's dark? This is sun everywhere. It is, but it's inside a dark... - It's not a beach. Scott lit it... - I agree. What else did we shoot this day? That was cool. The old cowboy switch there. Yeah. - Love it. Then we think-- I think we shot the exterior of her coming out... ...of the tunnel or something and the Lycans following her? That's it. Yeah. - There's something called ADR... ...which means additional dialogue recording. It's when you get bad sounds so you re-record the sound. Right. - This scene was ADR"d... ...and you usually hate ADR because you always lose performance. It's not the same when the actor's standing there with... ...a cup Of latte in their hand and everything. Or mocha latte. - Mocha latte. Whatever. In Burbank rather than in the real world. But that scene was so good in ADR. Because she was able to whisper... ...which she couldn't do on the real set. Right. And get the... - Yeah. So she-- It's so much better. It was so noisy, so they wouldn't have heard each other... ...If she whispered. - Yeah. This is one we call the All the President's Men scene. Yep. Our homage to... I loved this ceiling. - ...Investigative reporting movies. Yeah. - And this is the-- What was this? It was the legal library of the university. That was being rebuilt. It was gorgeous. It's not there anymore? It's gone? This is the last thing that happened... ...and then they tore it down and rebuilt it. That's just brutal. - Yeah. That was brutal. To destroy something brutal as that. But you see the squares and the concrete. Yeah. Wow, what a place. We talked for hours what kind of concrete should be used. Some concrete was wrong. And this concrete is right. Michael. Cool guy. - Yep. Loved him. - Yep. First thing that-- The scene we just saw. He walks up to the set. He never worked with Kate. Kate says, "So, Michael, sexiest black guy on the planet." That rocked him on his heels. He should have said: "SO, Kate, sexiest woman on the planet." He could have. And if he was British, probably he would have said that. Who are the two ugly gimps next to them? That's not fair.

50:54 · jump to transcript →

Wes Anderson

I was gonna say, both Jeff and Roman, you-- We-- It had an effect on how we made this movie, Grand Budapest Hotel, because, Jeff, you know, you and Willem both-- I saw that you would stay on the set and you were always watching what's going on. By the time we got to where we're gonna figure out what we're doing next, you already always know everything. You've seen anything that would be happening while other people might be off in a trailer. And on Life Aquatic, there were like 1 1 of them. And starting then, I thought: "I want everybody to stay on the set all the time now as much as we possibly can." And if there's a place to go, it needs to be within range that I can shout to it. If there's some chairs and a thing behind a screen or a greenroom or something, it can't be too far that we can't just shout to it. When we did Darjeeling Limited, as Roman was talking about, Roman in particular had some thoughts such as: "Let's not have... Let's have everyone do their makeup themselves, like a play. Everyone can be responsible for their makeup." In fact, we had then-- We wrote a script where there are different makeups. Owen Wilson's face has been damaged by a motorcycle accident. He's covered with bandages. We needed some makeup. In fact, we have a great makeup artist, Frances Hannon, who was with us. But nevertheless, it was part of our-- Of a new system where we say, "We're gonna keep everything very contained." And especially this thing where we started all living together when we do the movie, and we have-- Someone's gonna cook for us, and when we finish the shooting day, we're all gonna go to the same place. And at the end of the movie, everybody can go off where they would like to go again. But during the movie, let's just stay in this little bubble until we finish the thing. And I have to say, not only has that been wildly more efficient for us in so many different ways, but I find it to be a more fun way to make a movie.

16:30 · jump to transcript →

Wes Anderson

Yeah. Oh, yes. I remember it very well. In fact, that hotel where we filmed it, it's the Hotel Börse in the middle of Görlitz, and it was the center of everything for us. When we first scouted the place, I saw this location where we made the hotel and thought, "Well, that could work. What can we build around here?" And the first thing we did after that was we walked through the town and went to all the hotels, and we found this place, Börse. I said, "You know, this could be a makeup area. And this is big enough for us to have our dinner each night here." And there's this many rooms, but they have some other rooms across the street. And a lot of things like that happened in that hotel. That's where we had our first rehearsal with Deputy Vilmos Kovacs.

30:17 · jump to transcript →

Joss Whedon

The Avengers have so much power at the beginning of this, and one of the things that I knew, and I had this problem in the first one, is nobody roots for the overdog. And so it was very important to me that they be brought down a peg, but not just by circumstance, but because they have... In Tony's case, dramatically, but in every case to an extent, lost some aspect of the mission. Lost some aspect of their humanity, because that's the thing about being a superhero, it's the thing about having power. When your decisions affect more than the people around you, inevitably, you are going to destroy something. You're going to harm someone in a way that removes you from humanity. The more power you have, inevitably, the less a part of the human community you are. And so Ultron himself says that, although he doesnt always realise how much it applies to him. And once again, the Frankenstein. And also the Pinocchio, which was, by the way, an idea I had for the Comic-Con teaser that played so nicely, it got used a whole bunch. And then I ended up saying, "Let's just go ahead and stick it in the film because it is creepy." She's picking glass out of her feet there, by the way. In the longer version of the fight we had just seen, Maria slid down and jumped in after Rhodey in her bare feet. And the jacket she's wearing, by the way, is Steve Rogers' bomber jacket, which I have yet to hear anybody comment on. But I thought it was an interesting little detail. I wanted to, obviously, make them more casual. And we had to sort of "de-mom" her makeup a little bit when she arrived on set, and kind of make sure she felt as cool as everyone else. I

31:53 · jump to transcript →

Joss Whedon

There's a lot of buys in something like this. And to have a purple guy show up in the beginning of the third act, uh, it's a big buy. And so to be able to have these little moments that help explain the story of his rather convenient consciousness, it's both necessary and an exciting piece of texture. I can barely talk about how cool Bettany is, and what great work they did on his face, both in makeup, and then after the fact, because all the rendering of textures on his face made it very easy to give him what we refer to as digital Botox, to take away the expressiveness in his eyes, and so the little wrinkles and things that you wouldn't expect to see on an android, that you need for him to be what Bettany brought, is actually very difficult to render and very beautifully accomplished. This moment when he asks, "

1:34:29 · jump to transcript →

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 Neil Scanlon and his people, the makeup and hair people, you know, again, it's part of the DNA of the film.

20:00 · jump to transcript →

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

40:34 · jump to transcript →

It has to do with his bearing, his voice, his size. But he was fond of makeup as well, and was fond of the makeup in this film, and enjoyed getting older. Also, I mean, he was treated as a king while he was growing up. I mean, you know, it seems like that has a lot to do with... Well, that may be so, but I think as an actor type, if you're casting a play, he's a king type. Wasn't he ever in love with her? He married for love. Love.

53:54 · jump to transcript →

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.

38:29 · 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 →

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 Letitzia 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.

58:32 · jump to transcript →

He's going to kill us. He's going to kill you and he's going to kill me. He's going to kill us. Hey, man, just be glad I had five reflexes. My brother's going to shit. Make up your mind, dude. Is he going to shit or is he going to kill us? First he's going to shit, then he's going to kill us. Relax, all right? My old man, he's a television repairman. I think that was Sean's. Really? Yeah, I think it was just, I can fix it. You can't fix this car, Smacali.

45:26 · jump to transcript →

Hoyt Yeatman

So this was an extremely complicated scene to shoot. Here, we're on the stage doing the actors... ...against rear projection. And now these images here, there was-- It had to be done in a very low-tech way. All the actors were put in white suits and had white makeup on. So we shot them in this room, doing all of this action... ...in their normal wardrobe. And once we had finished shooting the scene, we sent them off... ...where they put on the white suits and the white makeup. They came back and we reshot it... ...on a black stage that duplicated the same office. And now you had these weird images... ...that were run through all kinds of video process... ...to make them look like the way they are... ...reflecting, supposedly, the heat of the bodies. This is in kind of a pre-digital era, too, when we're doing this. We had television effects, but we really didn't have digital technology for film. If I remember right, this was done at Warner Bros... ...in one of their little video studios that the man built... ...who kind of invented 24-frame video for movies.

1:02:38 · jump to transcript →

more internal in trying to put her makeup. And I think this is a remarkable moment for this character and clearly in the performance. That she just can't bring herself to go back to China Blue in a way. Yet she knows she has to, yet

1:22:53 · jump to transcript →

Here's the toxic waste guy. Okay! Now I gotcha! I like the way he looks back. It's interesting. The other thing I learned here was... It was difficult to... It was a hard time to find him here in this stuff, you know? Yeah, but that kind of makes it nice, doesn't it? Yeah. Uh-oh. Makeup by Roboteam, folks. The Incredible Melting Man.

1:29:26 · jump to transcript →

and let that evolve and become part of the film. It's almost 19 minutes to 11. You have to be in bed at 11. Lights out. We're not flying. We're not in the interstate. I'm on some shit secondary road. I got to make up some time. I got to get to Los Angeles. I should have been there this afternoon. My business needs me. I got to make up some time. Definitely watch TV, but you have to be in bed at 11. Lights out. Forget it. Uh-oh. 19 minutes to 11.

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Macaulay Culkin

Didn't you shoot at Midway? Yeah, we shot at Mid-- I think we shot... There is my daughter, Eleanor. And my mother-in-law, right there. Eleanor just started high school today, so there you go. Oh, wow. - Yeah, so.... I'm getting old. - Time has passed. And there's my wife, Monica, as the stewardess, so it's a family affair. You're in the second one with your daughter. I'm in the second one. - In the toy shop. Yes, having looked as if I'd eaten most of New York City at the time. Yeah, yeah. - I was enjoying myself. Uh.... - Welcome to my world. Uh, this was one of the funniest shots, I remember. When people first saw you open that door, and your hair was all sort of... Because usually in movies people don't think: "We're gonna mess up his hair to look like he had a night's sleep." People wake up and they look like... - The Lindas. Hair and Makeup. Scratch my butt. - That was in the script, actually. That was a John Hughes-ism. That was very-- John was very perceptive, and the script read wonderfully, you know? It was like... It was a movie on paper, essentially... ...and you realized that this had a lot of potential.

17:07 · jump to transcript →

with the autopsy of Newt. The autopsy, yeah. The makeup guy who's used to Gaul was like, oh, he couldn't stand it. And why? But, I mean, why did they want to do that? I don't understand the appeal of... Maybe I'm getting soft in my old age, but I don't understand the need for... I mean, this is one of the first scenes in the movie. It's Newt's autopsy. Why? We don't need that. We don't need to see that. Yeah, I think she's just desperate to find out how, you know...

23:31 · jump to transcript →

What I know about that is he had a horrible night's sleep the night before. So he was all out of sorts anyway. And had like an early, early call time. And then spent four hours getting his face smashed in with makeup. And he couldn't really see with the makeup and had to run. So there's a lot of running blind going on in this movie. Anyway, so when he falls down the stairs, that was actually him falling down the stairs. I always suspect it because it looked like a very realistic trip. That man is a professional faller. Yeah.

1:27:00 · jump to transcript →