How 'Bombshell' Makeup Artist Turned Charlize Theron Into Megyn Kelly
Written by Huffingtonpost on January 20, 2020
Charlize Theron didn’t play Megyn Kelly in “Bombshell.” She was her. The 2019 movie recounting the a number of sexual assault allegations in opposition to former Fox Information CEO Roger Ailes even had Kelly’s family members doing a double-take.
As prosthetist and artist Kazu Hiro instructed HuffPost, that was precisely Theron’s plan.
“She didn’t wish to see herself within the mirror,” he instructed HuffPost. “It was actually vital to her to have the likeness of Megyn, to assist herself and assist others actually get into the story.”
Hiro, who additionally reworked John Lithgow into Alies and Nicole Kidman into Gretchen Carlson for the movie, labored diligently― and shortly ― to deliver these characters to life.
“The entire pre-production time was about six weeks,” he mentioned. “We did about 4 follow runs, after which I used to be finessing the look the whole time throughout filming.”
Hiro took a head solid and 3D scan of Theron, then studied photographs and movie of each Kelly and Theron to be taught their key options and variations, mapping out precisely which prosthetics he and his workforce must use and the way they must use them.
“The troublesome half is that everybody is aware of what they each seem like,” he mentioned. “So if the make-up was simply midway to Megyn, folks would assume, ‘OK, Charlize has one thing on her face, and that’s not good.’ We needed to go all the way in which. I additionally needed the make-up to be as [minimal] as attainable, as a result of the extra I placed on her, the more durable it’s to behave via. So I minimize it all the way down to probably the most important and vital components.”
Probably the most “vital components” got here all the way down to a few key options: Giving Theron Kelly’s sq., angular jaw, including Kelly’s heavier eyelid to Theron’s huge eyes and ― in all probability most visibly― getting the nostril simply proper, barely turned up and with a lot consideration paid to nostrils.
“Megyn has a lot larger nostrils, so I made nostril plugs,” Hiro mentioned. “Having one thing in your nostril is in fact uncomfortable, however I attempted to make it as comfy as attainable. It was a problem as a result of I didn’t wish to make it seem like a comedy. It needed to be refined and life like.”
Hiro took an impression of the within of Theron’s nostrils and used a 3D scanner to design the plugs on the pc, printing them with a 3D printer.
“Utilizing a 3D printer made it simpler to switch in a brief pre-production time,” he mentioned. “I used to be in a position to make a brand new one in a number of hours. I went via 5 modifications, and as soon as the design was finalized, I printed about 40 units of plugs for the size of filming.”
And the nostril plugs weren’t the one issues Hiro and the workforce continued to work on all through the course of the shoot.
“As soon as filming began, I used to be nonetheless finessing the eyelids as a result of it was one of many hardest components,” he mentioned. “The eyes are so delicate and have to maneuver together with her. I modified it three extra instances ― it’s a tiny distinction but it surely made it extra comfy and likewise made the eyelid look higher.”
The workforce additionally needed to be continually monitoring the location of the silicone, in case of any improper motion. “It’s very tender and stretchy, and we’ve to stretch it in a sure path and focus on the actions,” he mentioned. “If we don’t do this, it begins to wrinkle on the sides.”
Hiro and his workforce used prosthetics comprised of medical-grade silicone and adhered them to Theron’s face utilizing medical glue ― first the jaw, the chin, the nostril, and eventually, the eyelid. As soon as the prosthetics had been on, the workforce painted them to match Theron’s pores and skin tone, after which the remainder of the make-up and hair, led by Vivian Baker and Anne Morgan respectively, had been utilized. Theron additionally wore contact lenses to make her eyes darker.
Your entire course of, from begin to end, took about three hours every time.
“It’s a really troublesome software, however Charlize is a dancer ― she has nice physique coordination to be in a sure place each morning, wanting in the identical place once I’m making use of the eyelids.”
Hiro referred to as engaged on “Bombshell” a “nice honor,” stating the gifted workforce that labored on it, in addition to the movie’s timeliness.
“I’m glad folks acknowledge what we did,” he mentioned.” I consider it’s a extremely vital movie for what’s occurring on the earth proper now and I really feel actually lucky to work on this challenge with many wonderful skills. One of many biggest experiences in my complete profession.”
“Bombshell” is in theaters now. To see extra of Hiro’s work, take a look at his web site and Instagram.