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  • - The hard part of the character makeup

  • is unchanging someone into another person.

  • Anyone can point out what's wrong with it

  • without knowing what's wrong with it.

  • So that's the tough part.

  • [instrumental music]

  • My name is Kazu Hiro, I am prosthetic designer.

  • If an actor wants to change their look

  • to portray a character more than like a beauty makeup can do

  • that's when I will come into the set.

  • I started as a special effects makeup artist.

  • In the 2012 I got sick of the film industry

  • and I left the film industry and started to fine art.

  • Then I came back to the film industry again.

  • When I was in high school I contacted Dick Smith,

  • who is the Amadeus and godfather,

  • I learned from him

  • and I started in Japan, I worked with Akira Kurosawa.

  • I didn't like the situation in Japan

  • because they don't have enough time and budget,

  • so I decided to move to United States.

  • I worked on "Men In Black", "Grinch", "Click", "Norbit".

  • I was nominated for the Oscar

  • and recently I worked on "Darkest Hour" and "Bombshell"

  • and I got Oscar for both movies.

  • To do a character makeup I will need to know anatomy

  • and also the makeup technique and the sculpting,

  • and also hair work.

  • I started to use a computer and also photographing.

  • These in the computer technology is so advanced.

  • We can combine prosthetic makeup with a computer,

  • and we can do something that we couldn't do

  • in like 10 years ago.

  • [gentle music]

  • Right after I finished "Mindhunter",

  • Charlize contacted me about the project,

  • because Charlize was the producer of "Mindhunter" too.

  • Charlize convinced me to be on set every day

  • because it was really tricky makeup

  • because especially like applying eyelids,

  • such a delicate area moving all the time

  • and such a delicate thin skin

  • and if it's applied the wrong way

  • it will affect the next stage.

  • So Megyn Kelly has a heavier eyelid compared to Charlize,

  • so I had to change the eyelids on Charlize

  • and also nostril size.

  • Megyn Kelly has a bigger nostril.

  • The first thing I did was

  • took an impression of inside of her nostril,

  • that form I scanned it and put in a computer program

  • and I made this nose plug

  • So on set I can put this,

  • you can see like a one side is bigger

  • because I put on this side.

  • This is a head cast of Charlize,

  • I can use the same color clay and build the form onto it.

  • We take an impression of the actor's face with a silicone

  • and then silicone is a fixable material.

  • We put the plaster bandage on top of it

  • to reinforce the flexibility.

  • During that time actor will be breathing

  • only through their nostril.

  • The whole process will take about 25 minutes.

  • And then in that impression mode,

  • we pour resin and make a mold of it,

  • and in that mold we pour plaster and make this copy.

  • This is a printout of Charlize's face.

  • When we do a physical lifecast the way of the material,

  • pull down the face a little bit

  • because this face is so soft,

  • and if we put the heavy stuff on it,

  • it would distort the face.

  • And the great thing about the skin

  • it will that nothing touches it.

  • So that's why we can make eye open or with expression.

  • And then from that data, we print this out.

  • When they act, they really have to believe in the

  • how capable they are and what they can do.

  • Megyn Kelly is really famous.

  • And Charlize is also very famous

  • and the audience knows what they look like.

  • It was very important to convince audience

  • and also help Charlize

  • to be really immerse into the character

  • and portray Megyn Kelly.

  • Charlize's makeup took like a two hours and half.

  • [gentle music]

  • Roger has like a bull dog-ish cheek and a big neck,

  • we kind of concluded it will be like a hybrid

  • not exactly like a Roger

  • because you know, that a great actor

  • when you shoot a close-up

  • they do a lots of subtle movement around the eyes.

  • I didn't want to cover that things.

  • And what I did was I change the hairline,

  • Roger's hairline was much farther back,

  • and more like allowing the forehead.

  • John's hairline is almost at triangle.

  • We shaved the hairline to mimic Roger's hairline.

  • I gave him a nose and cheek piece in the neck,

  • and earlobes

  • because Roger had really big earlobes.

  • John didn't believe in prosthetic makeup,

  • he had a bad experiences in the past.

  • When we had a meeting first time he brought a plumper

  • the kind of device put in the mouth

  • to make his cheek bigger.

  • The issue with a plumper is always look like a actor

  • has a plumper because there's a distance here.

  • And he said, "This might work, I used it on the crunch.

  • [laughs]

  • Okay, well, I told him, "No, let me do."

  • He was really sceptical.

  • As soon as I put the nose on him,

  • he looked at in the mirror, and he started to say,

  • "Wow, that's amazing."

  • "I'm done here," and I told him that I'm not done yet.

  • And he was really into it after that test makeup.

  • Into john is a little over two hours.

  • [gentle music]

  • Nicole Kidman who was portraying Gretchen Carlson

  • Jay told me that

  • she doesn't have to be exactly like Gretchen,

  • but to just give a sense in like essence of it.

  • Originally I sculpted with a nose and chin in the cheeks

  • because Gretchen has a rounder face,

  • but Nicole requested to get rid of that.

  • So we end up putting a nose and the chin, that was it.

  • Nicole was about two hours.

  • [gentle music]

  • I think it was 2015 Gary Oldman emailed me,

  • he really wanted me to work on this film,

  • and he told me that if I cannot work on,

  • he won't take the job.

  • He had big cheek pieces, the nose tip and chin and the neck

  • and we shaved his head

  • because I had the discussion with Gary,

  • "Do you want to shave it and to make the makeup time shorter

  • "or you want to sit longer?"

  • And so his answer was, "Okay, let's shave it."

  • There is a lifecast.

  • This is Gary,

  • Gary Oldman.

  • Most of the time, it's impossible to make

  • one person look exactly like the other person,

  • because the proportion of the face

  • or proportional of the face is different.

  • When I sculpt a face on a lifecast,

  • it's very important to know how the actor move their face

  • and we also have to know where to end sculpture.

  • Basically this is a silicone has a skin on top of it.

  • We would apply this with a medical adhesive

  • and we will melt the edge.

  • We call this part as the flashing.

  • Then we start to paint the skin tone on top of it,

  • sometimes blend into actor's skin or change the whole color.

  • Human skin tone it's changing all the time.

  • If they are sitting on a chair, they are not moving at all

  • skin tend to be pale.

  • And then once they stand up and start to walk

  • bad saturation start to happen

  • so skin tone get warmer.

  • We have to kind of compensate that change

  • so there won't be a too much of a difference.

  • It took I think it was like, less than three hours.

  • [gentle music]

  • "Mindhunter" was it came to me

  • right after I finished "Darkest Hour".

  • Actor for Charles Manson was Damon Herriman

  • and he was Charles Manson in

  • "Once Upon A Time In Hollywood."

  • He had a great face for that character,

  • but the big difference was eyelids.

  • Charles Manson has a more like a deep socket guys.

  • He had a whole beard and long hair.

  • I gave him eyebrow cover

  • because I had to change the shape of his eyebrow.

  • At first I made eyelid piece

  • kind of bringing the eyelid into his eye socket,

  • but he felt that is kind of uncomfortable.

  • So at the end, what I did was I glued his eyelid up,

  • and put the forehead piece on top of it.

  • We created the hairpiece and cut the hairline off

  • from a lace piece.

  • But the problem is those lace piece

  • once glued on the skin it's kind of toughen up the skin.

  • So when actor smile or change the expression

  • it buckles up and make a wrinkles.

  • What we do is cut the hairline off from hairpiece,

  • and lay a single hair on hairline with a glue.

  • It took about three hours.

  • [gentle music]

  • David Berkowitz, Oliver Cooper was actor.

  • I was asked to be a part of the casting

  • and pick the right face.

  • That was a little tricky

  • because David Berkowitz has really interesting face.

  • Oliver's face he had eyebrow cover

  • because David Berkowitz has a unibrow

  • and the nose and upper lip and lower lip,

  • chin or cheek and the neck.

  • He also had a bodysuits.

  • David Berkowitz was kind of stocky

  • like almost like a football player-ish body shape.

  • So we have to change the whole shoulder too.

  • Close to four hours.

  • And the getting Oscar is it will put the seal on you

  • that okay Oscar this guy

  • so it will be all good.

  • So that was great.

  • After the like an old project came to me

  • was the projects I wanted to work on.

  • [gentle music]

- The hard part of the character makeup

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B1 INT hairline makeup actor gentle music face skin

Prosthetic Designer Breaks Down Transforming Charlize Theron Into Megyn Kelly | Vanity Fair

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    林宜悉   posted on 2020/10/23
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