WEBVTT
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He was covered in K-Y jelly and lube
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and a kind of wet looking gel.
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So we gave Vecna this kind of glossy sort of look every day.
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That was our last part of the application process.
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Our last 10, 15 minutes would be the four of us
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literally getting this product all over him
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to make him look really glossy.
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And occasionally he'd meet producers
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or some of the other cast members, they'd come up,
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shake his hand and just regret it immediately
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because they were covered in slime.
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It's time for your suffering
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to end.
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Hi, I'm Barrie Gower and I'm gonna break down
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how we created the creature prosthetics
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for Stranger Things, season four.
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We were approached by the Duffer brothers.
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They were after their own iconic villain
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for this season and they wanted him to be very practical.
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And I think they'd seen our work
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with the Night King on game of Thrones.
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And they'd seen our work with the radiation burns
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on HBO's Chernobyl.
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They said to us, "We want our own iconic villain.
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We need our Stranger Things version of the Night King.
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Well, why don't we just approach the guys
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who did the Night King?"
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We were given various concept art designs
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by concept artist, Michael Mayer,
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who did beautiful, incredible designs
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for the Vecna character.
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We were sent those designs
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and then we took a full body life cast
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of the actor, Jamie Campbell Bower.
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From that point, we had quite a large extensive build
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to actually create the character which we started
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with this full body life cast made outta plaster of Paris.
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When you do any prosthetic makeup which involves appliances
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overlapping onto other appliances,
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there's a process called floating.
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The plaster cast of Jamie's body,
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we painted completely all over with a soap product first
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and let that dry.
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And then we sculpted Vecna over the top
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in this wax modeling clay.
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And then we needed to separate the sculpture
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into many different parts like a jigsaw puzzle
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and mold them separately.
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But to separate them, you need to submerge the whole body
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under water.
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So the water sinks into the plaster Paris
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and reactivates the soap.
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So the plasticine actually floats off the surface
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of the plaster of Paris.
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This is the biggest thing we've ever tried to float
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a sculpt off in our workshop.
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So we bought this huge paddling pool, put it in our workshop
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and it took a day to fill with water.
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And we'd built this scaffold pipes kind of frame
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that we could screw into the back of Jamie's body
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and submerge him overnight for the soap to reactivate.
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We just drilled all these holes into his back
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so all the water can basically trickle out the body
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and we'll stand him back up, get some little tools
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and start separating the sculpture down
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into many, many different pieces, make molds of those pieces
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and inject them with different materials
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such as silicone foam latex.
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It was about 24 or 25 overlapping prosthetics
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which created the entire character of Vecna.
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We decided to go down the approach
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of doing a full body makeup as opposed to a a pullover suit
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because the character was going to be...
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It was gonna have a lot of very intense,
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strenuous kind of movements in the show.
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He was gonna be interacting with a lot of the main cast
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and we wanted to avoid any kind of buckling
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that you usually get with a rubber suit.
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[eerie music playing]
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We wanted to adhere and glue all the appliances
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to the actor's skin, which in the end ended up
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with a process which started off
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at about eight and a half hours
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for the whole application process.
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Vecna's prosthetics,
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they're made of this combination of two different materials.
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We use a Silicon medical gel
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which is encapsulated between a vinyl skin
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and it's incredibly soft and you can change the density
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of the prosthetic to make it firmer or softer.
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So we made the prosthetic very soft.
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So when everything's adhered to Jamie's skin,
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it moves very well, it doesn't buckle.
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We have a lot of stretch
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and it kind of contracts very easily.
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But due to that actual material, it's quite weighty as well.
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Probably looking at about 10 to 15 kilos
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just in the head and shoulders.
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Then he had a full chest appliance, a full back appliance.
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The larger, heavier appliances were his left arm
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which was basically a large sleeve.
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And then a foam latex glove
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that went over his mechanical, left hand.
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He had dentures which went over his own teeth
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which were like clear vac-form plastic sort of shells
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which were artwork so his teeth looked rotten and blackened.
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And he had contact lenses as well,
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full scleral contact lenses.
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So we really put him through the mill.
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There wasn't anything else we could get on Jamie.
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Biggest challenges, really,
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were to obviously make sure he could talk, he could eat,
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he could see, he could hear.
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He has got ear holes through the prosthetic there.
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We had to make sure obviously that Vecna
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would be able to go to the bathroom during the day as well.
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So we devised a kind of a system
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which went under his nether regions
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that we could pop open and he could go to the loo.
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And obviously we wouldn't go with him.
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There are all these things
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you need to take into consideration
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that you've got a human under there at the end of the day
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and they still need to eat, still need to chat.
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There's a lot of contributing factors
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that you have to take into consideration
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when you're doing a full-body makeup.
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But it got to the point that not only were our team
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like a well old machine,
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but Jamie knew exactly where his arm needed to be
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at a certain time or turn his head
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or, "Oh, I'm standing now and now I'm lying down."
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For Jamie, in particular, he did go into a zen-like mode.
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We would start off with music every day
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and because of the character,
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I think Jamie liked to listen to some quite aggressive,
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quite intense death metal.
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And it would be quite hardcore.
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There would definitely be a part during the process
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where he would become Vecna.
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He was kind of murmuring things under his breath.
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And you could tell he was definitely getting into
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the Vecna zone.
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I have killed everyone...
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And it was just really interesting
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because he'd be sitting there very still.
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Moving his hand around, we'd be airbrushing,
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moving around him, not really making much conversation.
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He would be [grunts].
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Basey sort of voice.
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And then an AD would step on the trailer
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and, "Jamie, is there anything I can get you?"
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"Oh yeah, could I get a coffee with whatever?"
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And he'd suddenly sort of shift back into Jamie again
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and we'd realize that we've got Jamie in the makeup chair.
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[eerie music playing]
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It was very clear from day one that we would be working
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very closely with the VFX team.
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And there would be some augmentation to the finish
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of Vecna's look.
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Most notably, it was the moving vines all over his body.
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So even though they took our physical makeup itself,
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they used software and animation
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to give all the vines a slight movement
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and everything sort of slithered all over his body.
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And they also removed Jamie's nose as well.
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On each application day, we had a black nose on Jamie
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with some little white marking dots
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so VFX could remove that in post.
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But in the end we ended up with a character
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which was about 90% practical.
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[eerie roaring sound]
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I think one of the most challenging things
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with the design was creating his large left hand
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with his extended fingers.
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So this was something that the production
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were quite keen to us to achieve practically for the shoot.
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So we created, it was a mechanical left hand
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with finger extensions,
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which was covered in a foam latex prosthetic
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that our actor, Jamie wore.
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It was sculpted by Patt Foad and Duncan Jarman.
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And Pat was responsible for Vecna's left hand
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which the original design from Michael Mayer had Vecna
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with really extended, long fingers on the left hand.
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The whole idea of Vecna killing his victims
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by using his hand and sort of penetrating their skulls
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and sucking their brains out as such.
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We were doing tests back at the workshop in the UK
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where we were using crew members and wearing the hand
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and trying to show the Duffers,
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"Oh, this is how it could potentially work."
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They looked incredible when he was moving them
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but they almost became a little comical
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when he was trying to sort of penetrate some fingers
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into the head.
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So we actually reduced the length of the fingers.
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Probably by about four to six inches.
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Jamie came over to the UK, came to our studio
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and we had a complete set of appliances
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but nothing was pre-painted, it was all bare.
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But he had the long finger extensions at this time.
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We'd been wearing it ourselves in the workshop
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and just making sure that the mechanics work correctly
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and we could only wear it for about five minutes or so.
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And we were finding the strain on our fingers,
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it was making our hands ache so much
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by the time he took the glove off,
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you could hardly move your hand because you had cramps.
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So we were thinking,
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"This is gonna be really interesting with Jamie.
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Is this gonna work?
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He's gonna be potentially be wearing this
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for hours at end on a shoot day."
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And he came in, he did the test
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and he wore this hand for like several hours, took it off,
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he was absolutely fine.
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It was like water off of duck's back with Jamie.
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[eerie howling noises]
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We looked at a lot of different color references
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for Vecna's skin tones, for his vines.
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We were given beautiful concept art from Michael Mayer.
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That was the perfect springboard for us.
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And the interesting thing is it's great having
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two-dimensional or 3D art,
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but when you have to translate that
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into physical prosthetic appliances,
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we have to use different paints, different bases.
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We always look at real life references
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for different skin tones.
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So we looked at a lot of different sea life.
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We looked at a lot of bruising on people
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who'd had severe knocks to the skin,
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lots of blues and greens and purples.
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Because we had this overwhelming amount of reference
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of different colors and what have you,
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we had to really hone it in to only a few colors.
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We actually had a makeup pallet designed by a company
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called Premier Product which had 10 different colors
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that we were able to use as a base each day as well.
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We'd only have one makeup pallet
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and we had 10 different colors.
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So those are the colors that we use
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for the entire Vecna paint scheme in the end.
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[eerie screeching noises]
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Did I survive?
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So for Victor Creel, his history was many years ago,
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he had taken a razor blade and gouged through his eyes.
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The Duffers wanted quite an extreme makeup.
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We had quite severe scarring going down the face
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but they also wanted a remnant of maybe a burst
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but a scarred eyeball as well on his right hand side.
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So the difficult thing we're doing in makeup of this nature
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is obviously you're covering an actor's eyes.
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And the first thing we would normally do
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is once we have a cast of the actor
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is we would dome the eyes in front of the eyes.
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They'd almost look like half golf balls
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in front of the actor's eyes.
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And then we would make a former of the face with those,
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sculpt the makeup over the top.
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So when you have an appliance in the day
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and you stick it to the actor's face,
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there's actually a cavity inside.
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So Robert was able to open his eyes
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and look around inside the makeup.
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We were incredibly lucky with this character
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because we had Robert Englund who's an absolute seasoned pro
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with prosthetics.
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He's probably worn more prosthetics
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than any actor going, I think.
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For us, this was like a dream come true.
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I was a huge fan of Fangoria magazine
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and this was when I was starting to get into makeup effects.
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And I love creatures.
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And in my bedroom at home at my mum's,
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I had my whole wall above my bedroom
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was a shrine
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to Freddy Kruger and I just had all these posters.
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So to actually get to work with Robert Englund,
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not only did we get to work on Stranger Things,
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but to work with Robert Englund,
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it's been like a dream come true.
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And he couldn't have been nicer.
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This was the fun thing we're doing a makeup on Robert,
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he knew all the materials, he knew all the adhesives.
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We would be sticking a piece down
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and we'd be getting towards an edge and he he'd be like,
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"I think you should be using some Pros-Aide adhesive
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there on the edge.
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We're like,
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"Yeah, we're literally just getting the Pros-Aide."
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And he knew every little trick that we were doing.
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He's so experienced with having so many makeup stuck on him.
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It couldn't have gone any smoother with him,
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we were very lucky.
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So this is the sculpture of Victor Creel's appliance
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which you can see the difference in tone where the appliance
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finishes just prior to Robert's hairline,
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goes around his temples and down around onto the face.
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And even though we're basically only scarring
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through his eyes, we make the appliance a little bit larger
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and we cheat the nose forward as well.
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It comes over at the tip of his nose here.
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We cheat the cheek bones, we cheat everything forward
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because we've had to dome Robert's eyes out underneath.
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So if we were literally just going to cover his eyes
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and put scars through them,
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it would look really, really bizarre.
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So it's actually turned out
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being quite an extensive appliance
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and Robert's got this trademark great facial hair as well.
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He's got this really beautiful beard.
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So we had to make sure that we finished the appliance
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shy of his beard line as well.
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It was quite a big appliance to go on the face
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but it was all completely pre-artworked,
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we'd hair punch some eyebrows into the piece.
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Some eyelashes which kind of curled up
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a little bit the wrong way as well.
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And we put some kind of gloss materials
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onto the eyes themselves so it gave us
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this kind of horrible mucusy feel to the eyelids.
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Once it was glued onto the skin on the day,
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we would just blend into the skin with an airbrush again
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and spattering various colors onto Robert's skin.
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About a two hour process, I think on the day.
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I think approaching a character like Victor Creel
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is probably a lot more grounded and in a way easier for us
330
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because we can look at a lot of real scarring reference
331
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as well.
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As prosthetic artists,
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we look at some quite graphic material.
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We look at a lot of facial scarring, lots of trauma,
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lots of different victims who've got terrible scarring
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which sometimes we do very extensive burn makeup.
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So for somebody like Victor Creel's makeup,
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we did look at facial scarring going through eyes.
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So we knew he was human, but we had to make the appliance
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look very realistic and he had to look very grounded
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as well.
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It is a very different approach
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because obviously Vecna is a fantastical creature.
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It's supernatural, it's part of the upside down.
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So we are using lots of reference of fantasy,
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references from wildlife, all kinds of different references.
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They are two very different approaches.
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I'm just a huge fan of effects, whether it's practical
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or digital.
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I think still to this day, the work by Rick
351
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on American Warewolf is still so significant
352
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and is still the standard that we all aim to be as good as.
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There's also like Rob Bottin's work
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on John Carpenter's 'The Thing'.
355
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Which is all practical effects as well at the time.
356
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Huge fan of these kind of early eighties movies
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which, even by today's standards,
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still haven't quite been beaten.
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[Vecna grunting]
[woman moaning]