American Cinematographer - August 1983 - 94

immediately protested via long dis¬
apparently talked Scott
into dismissing the idea. The conver¬
sation came to naught when Scott

tance and

THE LONDON INTERNATIONAL
FILM SCHOOL

later told Smith that he couldn't de¬

vise
on

logical reason for Bowie to
possibly predicated

a

shave,

an excuse

Scott's refusal to reshoot those

scenes.

"Normally you can't glue stubble
appliance coated with rubber
mask grease paint,'' Smith explains.
"The stubble covered his jawline. For¬
tunately, I had been developing this
rub-proof, tremendously adhesive
paint that would work both on human
skin and appliances. It came about
during my early experimentation with
Dustin Hoffman's TOOTSIE makeup
in order to deal with the problem of
concealing Dusty's five o'clock
shadow, and from keeping the
makeup from rubbing off on his dress,
which was originally a white nurse's
uniform! (Smith was on TOOTSIE
with director Hal Ashby. When Ashby
walked, so did Smith.) So the paint
was partially developed. I went on
THE HUNGER right after I left TOOT¬
onto an

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SIE, and was thankful that I had ex¬
perimented with the adhesive paint.
As it turned out, I had no choice but to
apply the stubble, and it worked out
fine. I've now given up the old rubber
mask grease

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In addition to the

appliance work,
belly pads, a back hump,
special knee pads to create the

Bowie
and

wore

illusion of boniness. Bowie, a skier,
has

heavy upper legs, making all of
camouflage work imperative.
Contact lenses completed the effect.
Smith flew to England in April 1982

the

and transformed Bowie before Ste¬

phen Goldblatt's camera during a
three-week shoot, while his expert
mini-crew back in Larchmont worked
at breakneck speed on a myriad of
other

problems.
production's time constraint
proved to be Smith's major source of
heartburn. THE HUNGER began in
the fall of 1981. Initially, he estimated
that the job could be completed in six
or seven months. He managed to talk
producer Richard Shepherd into al¬
lowing him to bypass the shooting
schedule, wincing at the memory of
his entanglement during the produc¬
tion upheaval on ALTERED STATES.
Here, Smith was faced not only with
doing Bowie's appliances, but fabri¬
cating a cadre of living corpses (which
The

AMERICAN

CINEMATOGRAPHER, AUGUST, 1983
American Cinematographer - August 1983

Table of Contents for the Digital Edition of American Cinematographer - August 1983
