American Cinematographer - August 1983 - 93

HUNGER

Make-Up
from page 53

Continued

A

pieces are fixed to the actor with spe¬
cial adhesives and blended together,
permitting a full range of facial
expressions.

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The final effect is uncanny. Though
the resemblance of David Bowie's

.

makeup to Dustin Hoffman's LITTLE
BIG MAN may seem rather obvious,
Smith's sculptural sense perceives
them as being far removed from each

J

degree program, taught by
guished faculty.
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The
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gether as A slip-on mask for a stunt¬
where the

the broken ban¬
was

used in

a

couple of shots when Bowie had al¬
ready left. (For the shot of Deneuve
carrying Bowie to his coffin, a special
dummy was constructed wearing the
same mask.) Actually, I had less time
to do all five or six makeups than I had
to do the one for LITTLE BIG MAN!

□
□

□

Of course, I can work a lot faster now
than I did in 1970 due to

improved ma¬
terials. Unfortunately, Bowie's make¬
ups were not really finished with the
loving care that I was able to expend
on LITTLE BIG MAN. I just didn't
have the time. Also, on THE HUN¬

GER, I had molds that deteriorated
due to the inferior

quality of modern
I lost a lot of surface detail,
which was upsetting."
Dick Smith generally works well
gypsum.

with directors, but aesthetic dif¬
ferences inevitably pop up. Chrome-

unique Camraprompter*

system features:

MAN," Smith states. "But I took one
appliances and put them to¬

nister at Catherine. He

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things very skillfully, all
'gore' appliances and blood rig¬
ging with the materials I provided.
"Bowie was a complete appliance
makeup, as it was with LITTLE BIG

over

La

Hollywood, Calif. 90038

the

for the final

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Nick did those

mummies look

descrip¬

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Sarandon stabs herself in the neck.

man,

distin¬

a

a

a

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other.
''The ages were

basically 50, 65,
75, 90, and 150. Prior to age 50, the
regular makeup artist, Ann Brodie,
applied appropriate facial shadows to
telegraph the aging process. I re¬
colored his 150 year old appliances to
200, making it look mouldier. The
color change appears when he is
placed in his coffin by Deneuve. A
young man was brought in when I ap¬
peared for the effects application in
England. Nick Dudman. He did such
niceties as the throat being cut, when

I

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plated egos are hard to penetrate,
and directorial stands are often diffi¬
cult to flex. Such

was

the

case

with

LI

CORPOR AT I O f\J

THE HUNGER. Its director

Tony Scott
(his first feature) decided to let
Bowie's beard grow

for scenes pre¬
ceding Smith's appliance job. Smith
AMERICAN

CINEMATOGRAPHER, AUGUST, 1983

2037 Granville Avenue, Los

Angeles, California 90025

Telephone: (213) 478-0711 * (213) 477-1971 * Telex: 69-1339

91
American Cinematographer - August 1983

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