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  • Berger: WHEN YOU PUT A MASK ON, YOU CAN BE ANYBODY,

  • EVEN IF IT'S JUST LIKE A SMALL LITTLE MASK,

  • YOU KNOW, ON HALLOWEEN.

  • WHEN WE DO SOME SORT OF VERY LARGE MAKEUP,

  • YOU START BASICALLY WITH A CLEAN SLATE.

  • YOU HAVE THE ACTOR AS YOUR CANVAS,

  • AND THEN YOU'RE ABLE TO CREATE WHATEVER YOU WANT,

  • WHATEVER YOUR IMAGINATION BRINGS TO THE TABLE.

  • THAT PERSON BECOMES UNRECOGNIZABLE.

  • I'M HOWARD BERGER.

  • I'M A SPECIAL MAKEUP EFFECTS ARTIST AND MAKEUP ARTIST.

  • WE'RE HERE AT MY STUDIO, KNB EFX GROUP,

  • AND WE MAKE MONSTERS ALL DAY LONG.

  • SPECIAL MAKEUP EFFECTS

  • IS RELATED TO SPECIAL CHARACTER DESIGN.

  • LET'S SAY, LIKE, WHAT JACK PIERCE DID

  • FOR FRANKENSTEIN.

  • ANYTHING SPECIAL THAT GOES OUTSIDE OF WHAT CAN BE DONE

  • IN A MAKEUP TRAILER BASED ON WHATEVER THE FILM'S NEEDS ARE.

  • THE FIRST STAGE IS SCULPTURAL.

  • YOU WILL START WITH CLAY AND START ADDING CLAY

  • TO THE ACTOR'S LIFE CAST UNTIL YOU BUILD UP

  • THE FORMS THAT YOU WANT FOR THOSE PROSTHETIC MAKEUPS.

  • TO ME, FORM IS WHAT IT'S ALL ABOUT.

  • YOU CAN DO AMAZING DETAIL BUT HAVE REALLY KIND OF

  • A VERY LOOSE, YOU KNOW, NONDESCRIPT FORM,

  • AND IT DOESN'T REALLY WORK.

  • YOU HAVE TO ACTUALLY STAND BACK FROM THE SCULPTURE

  • AND TAKE A LOOK AT IT AS A WHOLE,

  • AND IF IT WORKS WITHOUT THE TEXTURE AND THE DETAIL,

  • YOU KNOW YOU'VE GOT SOMETHING COOL THERE.

  • ONCE THE SCULPTURE IS DONE, THEY GO TO THE MOLD DEPARTMENT,

  • AND THERE IS WHERE WE TAKE THE NEGATIVE IMPRESSION

  • OF THE SCULPTURE, AND THERE'LL BE A VOID

  • BETWEEN THE ACTOR'S POSITIVE AND THE NEGATIVE IMPRESSION.

  • WE'LL INJECT THE FOAM RUBBER INTO THAT.

  • THAT FILLS UP THAT VOID,

  • AND THAT'S WHAT CREATES THE PROSTHETIC.

  • IT THEN GOES INTO THE OVEN.

  • IT GETS BAKED IN THERE FOR LIKE SIX HOURS AT 165 DEGREES.

  • ONCE THAT'S DONE, WE PULL IT OUT OF THE OVEN,

  • OPEN IT UP, AND YOU HAVE YOUR FOAM-RUBBER PIECE.

  • FROM THERE, YOU DO PRE-PAINTING,

  • AND THEN IT COMES INTO APPLICATION.

  • A MAKEUP UP LIKE THIS,

  • I'M ESTIMATING WE'RE PROBABLY LOOKING AT

  • AN HOUR AND A HALF, TWO HOURS.

  • THE DAY COMES WHEN YOU FIRST APPLY IT,

  • AND THAT'S VERY EXCITING.

  • YOU START, YOU KNOW, GET YOUR ACTOR PREPPED,

  • YOU SIT THEM IN THE CHAIR, AND BALD-CAP THEM,

  • AND START APPLYING THE PIECES.

  • IT JUST FITS RIGHT OVER.

  • I'LL JUST TACK IT AROUND THE EDGES.

  • WITH EACH PIECE, YOU SEE A LITTLE BIT MORE.

  • YOU KNOW, UP UNTIL THAT POINT, IT'S JUST A SCULPTURE,

  • IT'S A MOLD, IT'S FOAM PIECES OUT OF THE OVEN.

  • WHEN YOU START SEEING IT BECOME APPLIED, THEN YOU GET IT.

  • THE ACTOR STARTS HIS DAY WITH US AND FINISHES HIS DAY WITH US.

  • HE COMES IN, WE ALWAYS HAVE A NICE ENVIRONMENT.

  • SOMETIMES WE'RE KIND OF LIKE THE BARTENDERS OF A FILM.

  • EVERY TIME I DO A MAKEUP, I DO WHATEVER WORKS.

  • IT'S NOT ALWAYS THE SAME THING.

  • AND EVEN EVERY DAY I DO THE MAKEUP,

  • SOMETIMES I CHANGE IT A LITTLE BIT,

  • YOU KNOW, MAKE IT INTERESTING FOR MYSELF.

  • SO WHAT I'M DOING NOW

  • IS I'M JUST DOING LIKE A LITTLE SPLATTER THING.

  • IT'S JUST AN OLD TRICK OF USING AN OLD CHIP BRUSH.

  • THIS TECHNIQUE HAS REPLACED MY AIRBRUSH.

  • IT'S KIND OF LIKE THIS IS THE WAY I USED TO PAINT

  • WAY BACK WHEN, AND IT'S ONE OF THOSE THINGS

  • WHERE YOU REDISCOVER A TECHNIQUE.

  • YOU'RE LIKE, "OH, YEAH. I FORGOT ABOUT THAT."

  • WHY DON'T WE DO THE WIG?

  • COOL.

  • Woman: YEAH? Berger: YEAH.

  • WHAT WE'RE GONNA DO NOW IS PUT THE CONTACT LENSES IN.

  • WHEN YOU DON'T USE CONTACT LENSES

  • AND YOU HAVE A YOUNG PERSON,

  • THEIR EYES STILL LOOK YOUNG,

  • EVEN IF YOU HAVE AN OLD-AGE MAKEUP.

  • SO IT'S ALWAYS NICE TO TEMPER THE EYES DOWN

  • AND JUST KIND OF TAKE THE LIFE AWAY FROM IT

  • TO JUST ADD MORE TO THE CHARACTER.

  • GIVE ME A LITTLE BIT OF A SNARL.

  • [ SNARLS ] A LITTLE SNARL.

  • I LOVE MONSTERS, YOU KNOW?

  • AND I LOVE CREATURES.

  • I COME FROM A GENERATION KNOWN AS THE MONSTER KIDS,

  • PEOPLE THAT ARE SO YOUNG AT HEART,

  • AND IT'S JUST COOL THAT THERE HAPPENS TO BE

  • A FACET IN THE FILM INDUSTRY THAT ALLOWS FOR THAT,

  • THAT WE CAN, YOU KNOW, BREATHE LIFE INTO OUR CREATIONS

  • AND THEY GET TO APPEAR ON FILM

  • AND AUDIENCES GET TO SEE THEM ALL OVER THE WORLD.

Berger: WHEN YOU PUT A MASK ON, YOU CAN BE ANYBODY,

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