Master makeup artist Rick Baker on “An American Werewolf in London” and “Men in Black III”

Master makeup artist Rick Baker on “An American Werewolf in London” and “Men in Black III” (photo)

Posted by on

It’s hard to believe “An American Werewolf in London” is thirty years old. It looks way too good and scares way too hard to be a three-decade old film. A lot of the credit for the film’s longevity goes to the film’s master makeup artist Rick Baker, who designed its creatures and engineered the movie’s legendary transformation scene. Once you’ve seen David Naughton become that wolf in “American Werewolf,” you never forget it.

Baker came down to Fantastic Fest 2011 to take part in a 30th anniversary screening of “American Werewolf” that included a new ultra rare Mondo print by Olly Moss. Here’s a picture. Cue lycanthropic jealousy in 3…2…1….


While Baker was in Austin, I was lucky to get to talk to him for a few minutes. I took the opportunity to discuss the making of one of the greatest horror movies of all time, uncover a few morsels of info about his work in next summer’s “Men in Black III,” and pick his brain about the most underrated movie makeup of all time.

When was the last time you saw “American Werewolf?”

There was a screening at the New Beverly or the Nuart or something when the Blu-ray came out, and that was fairly recently.

And what did you think seeing it again fairly recently?

I cringe looking at some of the stuff in the transformation.


Yeah. It was thirty years ago and I was thirty years old and the average age of my crew was like nineteen. There were kids who had never worked on a film before. I do think it’s pretty amazing that people still hold it in pretty high regard, this thing that was done by a thirty year old and nineteen year olds who’d never done this stuff.

Looking back at a thirty year old movie, it can sometimes be hard to tell just what was groundbreaking when it first came out. In your mind, what was the really revolutionary stuff in “American Werewolf?”

People always talk about the transformation, but I think the film was so ahead of its time in so many ways: the blend of horror and comedy and the way music was used. So much was innovative about that film. That’s probably why people still like it so much. But it was definitely a showcase for the kind of stuff I do and I was so thankful to have that opportunity.

John Landis wrote this movie when he was a kid. When I did [makeup on] John’s first movie “Schlock,” when he was twenty-one and I was twenty, he had already written “American Werewolf.” We shot the movie he originally wrote back then. The only exception was the porno theater was a cartoon theater in the original script, because it really was a cartoon theater when John was in Piccadilly while he wrote it. It had since changed to a porno theater, so he changed that part. It was one of the few times in my career of forty years working in films that we had a script and we actually shot it.

How collaborative were the creature designs?

I’ve learned over the years to appreciate John because he comes to work prepared. He wrote the script and he knows what he wants. He would describe the shot to you, he would listen, and he would say things like “You’re the expert at what you do and I want you to do it. That’s why I hired you.”

He gave me a lot of freedom, although I wanted to make the wolf a biped and he said “No, I want this four-legged hound from hell.” I kept trying to talk him into the two-legged wolf. “No. Four-legged hound from hell.” So I made it. It wasn’t like it is today where I have to do 2,000 Photoshops. No, it was just “Make a four-legged hound from hell.” So I sculpted it, made a mold, and made it.

I feel like the underrated creature/monster things in “American Werewolf” are the Nazi ghouls in David Naughton’s nightmare.

They don’t get enough credit for being as truly terrifying as they are.

I wanted to do more. They’re basically Halloween masks. They’re soft rubber masks that don’t move. And John said, “That’s all I want. They’re going to be seen in really quick cuts so there’s no reason to do anything else.” But I think they do pretty much look like Halloween masks. It is still a well-done sequence.

But there’s something scary about the way they don’t move. It makes them seem more unnatural and otherworldly, which fits the fact that it’s a dream sequence.

When I do a mask, I do try to put a lot of character and a lot of expression into the sculpt. The bald Nazi guy grimacing with the machine gun, that was me, looking in the mirror making faces and then drawing and sculpting that.

Are you often your own model for a character?

A lot of times, yeah. And I think it’s true of a lot of creative people because they’re the only ones there when they’re working. “What’s it look like when a person makes that face?” And you look in the mirror and go from there.

When you say that these days you’re doing a lot of Photoshops and thousands of versions of designs, is that for “Men in Black III?”

That’s any movie these days.

That’s just the way it works now.

Yeah. I’ve been using Photoshop since 1.0, twenty or twenty-two years ago now. It was love at first sight. Never picked up a computer before that.

It’s interesting because I feel like your makeup work is so good that you’ve become sort of this de facto spokesperson for practical effects. I read interviews where people expect you to defend practical makeup and bash CGI. But you’re a guy who likes working with both sets of tools.

That’s because I’m a fan of the stuff that happened before me. Jack Pierce, who designed Frankenstein and The Wolf Man and the great Universal monsters, was eventually kicked out of Universal after saving their asses so many times because he didn’t change with the times. He was still doing stuff with cotton and collodion when other guys were using foam rubber. That’s why he lost his job, so that got tucked away in my brain. I always want to stay on top of things.

It’s fun doing new things. It’s another trick in the bag of tricks. I think it’s a great tool. The thing I dislike about digital is that it’s made for sloppy filmmaking because of the fix-it-in-post attitude that has come along with digital. So you don’t have to think about it now, you don’t make the decision now, you can think about it later and figure it out later. I don’t like that. When I did “Schlock” with John, I did two pencil drawings and said “You want this one or this one?” And he said “I like that one better.” That’s the one I made. On “The Wolfman,” for example, I did thousands of drawings. And it was like “Do one in between this one and that one. Now do one in between this one and that one.” Because you can. But I loved Photoshop the first time I used it; it was just so freeing to know that I could try things and I could always go back to what I had before, or I could take the eyes from this one and put them on this part of the face on this one.

You mentioned the famous Pierce makeups, Frankenstein and The Wolf Man. We all know those. What’s a great example of movie makeup that’s underrated, that never gets the recognition that it really deserves?

That’s a good question. In general, the things that don’t get appreciated are the human kind of makeups. The things I always liked so much about Dick Smith was he could make human makeup work. Dick was the master of doing nice, subtle makeup. People always go “Oh yeah, a werewolf, cool. Aliens, cool.” Real cool is the Father Merrin makeup in “The Exorcist.” Most people who saw the film didn’t know that was a younger man playing an older man. That’s one of the ones that gets appreciated by a lot of makeup artists.

All right, so “Men in Black III” is next. What should we expect from the movie?

I made, at last count, 105 aliens. A lot of aliens, a lot of crazy stuff.

Should we count all 105 while we’re watching the movie?

[laughs] We’ll see how many make the final cut. Something I’ve learned from working on the other “Men in Black”s is that we’ll do aliens as if you’re making a whole movie about this specific alien. It will good enough to hold any kind of close-up, and it’s usually in a panning shot for two seconds, or it’s so far in the background you don’t even know it’s there until you watch it 47 times, which I guess is part of the success of the series. It is cool to spot things you never saw before.

What drives you to pick a project at this point? Is it the director? Is it the material?

I’m definitely at a point in my life where I’m trying to be a little more selective. When my parents died, it became clear to me that there was an end in sight. Death was never a real thing to me. And then when that happened I realized I only have so many years left, if I’m lucky. I don’t want to be doing movies that I don’t want to do. They take so much out of you. I took some time off and got rid of crew that I kept on for fifteen years. And people don’t call as much anymore, actually.


Yeah. I think when my name comes up my competitors say “Oh yeah, he’s retired!” Or they say “I’m sure he won’t want to do this movie because he’s too big to do this.” “Men in Black III” they called me, and I was really happy to do it because I really enjoyed doing the other films. It felt great to be part of it again.

Is there a technical challenge that you’ve never done that you still feel like you need to conquer?

If I died today I would be happy with what I’ve done in my life. But I hope I don’t die today.

Where’s “American Werewolf in London” rank amongst your favorite horror films? Tell us in the comments below or on Facebook and Twitter.

Watch More

Weird Roles

Anthony Michael Hall’s Most Rotten Movies

Catch Anthony Michael Hall in Weird Science on Friday at 8P on IFC.

Posted by on
Photo Credit: Universal/Everett Collection

Anthony Michael Hall was the quintessential ’80s nerd. We love him in classics like The Breakfast Club and National Lampoon’s Vacation. But even the brainiest among us has his weak spots. In honor of Weird Science airing this Rotten Friday, we analyze Hall’s worst movies.

Weird Science (1985) 56%

A low point for John Hughes, Weird Science is way too wacky for its own good. Anthony Michael Hall’s Gary and his pal Wyatt (Ilan Mitchell-Smith) create the “perfect woman.” Supernatural chaos ensues. The film costars a young Bill Paxton, floppy disks, and a general disconnect from all reality.

The Caveman’s Valentine (2001) 46%

This ambitious drama starring Samuel L. Jackson couldn’t live up to its rich premise. Jackson plays Romulus, a Juilliard-educated, paranoid schizophrenic who lives in a cave. Hall co-stars as Bob, a rich man, who wants to see Romulus play the piano. The plot centers around Romulus investigating a murder, but with so much going on, the movie never quite finds its rhythm.

All About the Benjamins (2002) 30%

Ice Cube plays a bounty hunter who teams up with Mike Epps’ con man to catch diamond thieves. Hall plays Lil J, a small-time drug dealer. It’s definitely a role we’ve never seen Hall in, but overall the movie isn’t funny or original enough to justify its violence.

Freddy Got Fingered (2001) 11%

This showcase for Tom Green’s goofy gross-out comedy is often hailed as one of the worst films of all time. Green plays Gord, a 20-something slacker, who dreams of having his own animated series. Hall is Dave Davidson, a CEO of an animation studio who eventually helps Gord find success. Too bad Tom Green wasn’t so lucky.

Johnny Be Good (1988) 0%

Hall plays against type as Johnny Walker, a star quarterback. Robert Downey Jr. is his best friend and Uma Thurman plays his devoted girlfriend. Despite the support of a future A-list cast, the movie lacks central conflict and charm. Or, as TV Guide put it, “Johnny be worthless.” Ouch.

Catch the “Too Rotten to Miss” Weird Science this Friday at 8P on IFC.

Watch More
Season 6: Episode 1: Pickathon

Binge Fest

Portlandia Season 6 Now Available On DVD

The perfect addition to your locally-sourced, artisanal DVD collection.

Posted by on

End of summer got you feeling like:

Portlandia Toni Screaming GIF

Ease into fall with Portlandia‘s sixth season. Relive the latest exploits of Fred Armisen and Carrie Brownstein’s cast of characters, including Doug and Claire’s poignant breakup, Lance’s foray into intellectual society, and the terrifying rampage of a tsukemen Noodle Monster! Plus, guest stars The Flaming Lips, Glenn Danzig, Louis C.K., Kevin Corrigan, Zoë Kravitz, and more stop by to experience what Portlandia is all about.

Pick up a copy of the DVD today, or watch full episodes and series extras now on IFC.com and the IFC app.

Watch More

Byrning Down the House

Everything You Need to Know About the Film That Inspired “Final Transmission”

Documentary Now! pays tribute to "Stop Making Sense" this Wednesday at 10P on IFC.

Posted by on
Photo Credit: Cinecom/courtesy Everett Collection

This week Documentary Now! is with the band. For everyone who’s ever wanted to be a roadie without leaving the couch, “Final Transmission” pulls back the curtain on experimental rock group Test Pattern’s final concert. Before you tune in Wednesday at 10P on IFC, plug your amp into this guide for Stop Making Sense, the acclaimed 1984 Talking Heads concert documentary.

Put on Your Dancing Shoes

Hailed as one of the best concert films ever created, director Jonathan Demme (Silence of the Lambs) captured the energy and eccentricities of a band known for pushing the limits of music and performance.

Make an Entrance

Lead singer David Byrne treats the concert like a story: He enters an empty stage with a boom box and sings the first song on the setlist solo, then welcomes the other members of the group to the stage one song at a time.

Steal the Spotlight

David Byrne Dancing
Cinecom/Everett Collection

Always a physical performer, Byrne infuses the stage and the film with contagious joy — jogging in place, dancing with lamps, and generally carrying the show’s high energy on his shoulders.

Suit Yourself

Byrne makes a splash in his “big suit,” a boxy business suit that grows with each song until he looks like a boy who raided his father’s closet. Don’t overthink it; on the DVD, the singer explains, “Music is very physical, and often the body understands it before the head.”

View from the Front Row

Stop Making Sense Band On Stage
Cinecom/Everett Collection

Demme (who also helmed 1987’s Swimming to Cambodia, the inspiration for this season’s Documentary Now! episode “Parker Gail’s Location is Everything”) films the show by putting viewers in the audience’s shoes. The camera rarely shows the crowd and never cuts to interviews or talking heads — except the ones onstage.

Let’s Get Digital

Tina Weymouth Keyboard
Cinecom/Everett Collection

Stop Making Sense isn’t just a good time — it’s also the first rock movie to be recorded entirely using digital audio techniques. The sound holds up more than 30 years later.

Out of Pocket

Talk about investing in your art: Talking Heads drummer Chris Frantz told Rolling Stone that the members of the band “basically put [their] life savings” into the movie, and they didn’t regret it.

Catch Documentary Now!’s tribute to Stop Making Sense when “Final Transmission” premieres Wednesday, October 12 at 10P on IFC.

Watch More
Powered by ZergNet