Prosthetic Makeup Quotes

I always do makeup touch-ups myself, especially for blood, wounds, and dirt. It saves so much time.

In 'Twice Born' I play my character in her 20s, 30s and 50s. For the fifty year old scenes, I had some prosthetics; it was interesting to see how I'm going to look when I'm fifty-five or so. I actually saw similarities between my grandmothers and my mother.

When they took me to do the camera test for the vampire make up, after they put the prosthetic on, I went though the entire process, I went back to my trailer and I looked in the mirror and I smiled.

At the worst it was eight hours of makeup, and I couldn't sit down; I was in this crouched position. [on the traumas of being an actor in full make up]

It was so hard [to do Gigi Does It show]. On paper, that formula is almost impossible to create a winning show with, but then you add four and a half hours of prosthetic makeup every morning, three-inch nails, acrylics, the whole thing, and it nearly killed me.

As a result of playing Freddy Krueger, I can remember having to look at some medical books, and at some of the disfigurement that fire can cause on people, because they were the source material for some of the prosthetic makeup that I wore. That aided and abetted this fear of death by fire. Which is sort of what happened to Fred Krueger.

I did 'Slither,' so I've done seven hours in the makeup chair. So two hours for zombie makeup is like nothing. That's a walk in the park for me. When you do seven-hour makeup and then eight hours of work, you're thinking, 'Oh God, what did this do to me?' You're under that rubber forever. It's crazy.

Well, for Blow I had to age from 20 to 60, starting out in shape and then later putting on fat pads.

I did 'Vice' with Christian Bale and 'Foxcatcher' with Steve Carell - both of those films had significant prosthetic work. You do need to be cognizant of the fact that the material that you're photographing is not skin.

I trip off it. You know what's interesting about the makeup is when you get up close and you know he's been working on your face, and you see where the makeup starts and it stops, and how seamless it is. You could look at it for hours.

My agent sent me the script and I loved it. I wondered how they would turn me into a chimp. My agent said it would probably not entail to much time. Just some hair and make-up. I found out that it was not so simple.

Initially I objected to the Data makeup. I said, "Why do I need this makeup? Why can't I just look like me?" In fact, I said to Gene Roddenberry, "Don't you think that by this time in history, they would've figured out how to make skin look like skin?" And he said, "What makes you think that what you have isn't better than skin?" And I went, "Um, okay."

In 'Deadwood,' it was just extremely unaesthetic. They actually put underarm merkins on and covered me with dirt!

When I did 'Kapoor & Sons,' I had a prosthetic look. It would take me six-and-a-half hours daily for 20, 25 days.

To be an actor for 30-odd years trying to become recognized, and to end up playing a full prosthetic and a character 3 foot 9', or something like that, is... well, it just shows that you can get actors to do anything.

I love playing 'Madame Vastra.' Although I do suffer, spending three-and-a-half hours in make-up every morning to have her lizard skin put on. I was so excited the first day when we did the make-up test, but after six hours, I was like, 'Can we finish now?'

When you're with another actor who's also been through five hours of prosthetic makeup, and you're eating another person's neck, and fake blood is being spurted out at you for two minutes, it's incredibly fun, and you're in character for that time. You can't really believe that that's your job.

The cool thing about my character was that it's not that digital. I get to put hours of prosthetic makeup on and see a different creature altogether. I've seen how he looks and it's really cool.

Of course when you spend four hours in prosthetic makeup and you really are looking at yourself and you see how revolting you've become in a way, it obviously adds another strand and helps you... a little bit more.

Rubber looks different to skin and it's very, very hard to make a prosthetic on a human look convincing if you don't light them correctly.

The prosthetics were interesting because the artist was so good that they could just put a Hitchcock mask on me, but you don't want to do that. You're an actor playing Hitchcock, so it's about how much of that you're going to do.

When I go from a role with heavy prosthetic makeup, which I've done quite a bit of as well, and then do a role where I'm not wearing any, I have to be conscious of toning everything down. Because when you're wearing prosthetic makeup, of course, you have to really move your face a lot more to convey things through the makeup.

All that prosthetic makeup drains you. By the time it's lunch, you're done.

But I think our humour is exactly the same today. Only, we've made rules now. We've said we are not going to do prosthetic make-up scenes, because when they take it off half your face comes off.

When I go from a role with heavy prosthetic makeup, which I've done quite a bit of as well, and then do a role where I'm not wearing any, I have to be conscious of toning everything down.