00:01There's no purpose to any of it.
00:04We never wanted to lose Charlie in too much makeup.
00:07We never wanted him to get so old or so unusual looking
00:12that we lost the fact that he's a leading man.
00:16Part of it is just making sure that nothing is too heavy.
00:21Hi, I'm Cory Castellano.
00:23I was the makeup department head on Monster, the Ed Gein story.
00:26And I'm here to talk about transformations on the process.
00:34When we're doing makeups or designing makeups,
00:39what I like to do is actually start out with good reference photos of our actor
00:44and actually go into Photoshop, start constructing what we think we want.
00:49Then we'll proceed to a life cast and do some sculpting to make sure
00:53that we can actually achieve what our vision might be.
00:56This is Ed in his early stages before he's actually gone into the darker realms of things.
01:05He's at a soda fountain.
01:08He's watching some, or reading rather, news reports and magazine articles
01:14about some things that happened in Nazi Germany.
01:18He's waiting for his girlfriend to show up.
01:25Our approach to Ed in the early stages was to try to generate a little bit of sympathy for him.
01:33For us it was to develop the hooded lid, which was a really important characteristic of the actual individual.
01:40Charlie wanted very much to incorporate that because that physicality gave him so much to work with.
01:46The process of the eye alone, we had down to about 45 minutes.
01:52For the full aging, it was closer to two hours.
01:57And the time lapse.
01:58It starts with us having already applied the eye, the hooded lid, to Charlie for this.
02:04And we're in the process of doing the aging on him.
02:09That's Mark Neiman with me in the video.
02:13He and I would tag-team this makeup just to try to keep Charlie from having to be in the
02:19chair for too long.
02:20You see the various stages of aging for Charlie.
02:24There were two discrete aging stages.
02:28Whenever you're doing any kind of a period project, you want to collect whatever reference you can from the period
02:34that you're working in.
02:35Post-World War II, the facial hairstyles were very different than what they are today.
02:39Hairstyles were very different than they are today as well.
02:42Our imagery for that is to go through various magazines and whatnot, yearbooks, that kind of thing, from the time
02:51period.
02:51I personally prefer working out of yearbooks or news footage rather than magazines, because magazines tend to have a very
02:59stylized look.
03:02Unless it's maybe Life magazine or something like that, that's just getting snapshots of everyday life.
03:09Most of our appliances were fabricated out of a platinum-based silicone, a medical-grade silicone.
03:15Out of all the materials that we could use, silicone actually has the most flesh-like look and feel.
03:24So that's generally our go-to, if we can get away with it.
03:29This is just a little bit of a signpost for us to demonstrate what the various appliances were that we
03:38did,
03:38or that we used to take Charlie from his normal good-looking self to our older Ed Gein.
03:46This scene is one where Ed is already incarcerated in a mental institution.
03:53He's getting mail and working at the craft table, basically making leather nipples, which he was known for collecting real
04:03ones.
04:04And since he doesn't have access to them anymore, he's doing it as a crafting project.
04:09This is Ed at an older phase.
04:11We've had to do a bit of aging on Charlie to get him to this point.
04:16The aging consisted of the forehead, eye bags, nasolabial folds, and it always started with the hooded lid.
04:24It's not actually on his eyelid.
04:26It actually kind of tucks up under the brow bone to create that droop that Charlie used so very well.
04:33When Gein was older, we would use a combination of a forehead appliance, eye bag appliances, and nasolabial folds, which
04:43are the little wrinkles here.
04:45All of these pieces went on in sequence, and then they were blended off,
04:49and then the very painstaking process of painting them to look like actual skin began.
04:55This is a 3D print from a scan of Charlie's face.
05:01It was done during pre-production, and that was our base template for designing the forehead, the eye bags, the
05:1011s, and the nasolabial folds.
05:13Once we've done that, we'll also take a life cast, at least of sections, and we'll take a mold of
05:23the person's face with silicone.
05:26This gives us a much more exacting copy of their face so we can actually duplicate their skin texture,
05:33which is what we did for Charlie's eye and for the aging pieces as well.
05:39Most of these life casts and molds get stored for a period of time in case there are reshoots,
05:47but once the project has aired, most of the time we just destroy them.
05:54Gotta say, I just about fell out of my chair when I heard Ed Gein thought he had a tip
05:59about these murders down in Florida.
06:02Well, I talked with the FBI a while ago. They got me thinking.
06:07You know, I always liked detective novels, stories about trucking down criminals and whatnot, so I started taking clippings.
06:16No one really knew what Charlie was going to do as far as Ed Gein's voice.
06:22When we first heard it on set, everybody just kind of looked at each other and they weren't sure,
06:27and it became second nature, and it's like, oh, that's Ed.
06:35Cut to about two weeks into shooting, and we're doing a fairly egregious scene.
06:44Charlie is in the moment, doing his thing, and I was taking photos.
06:49He asked me to, you know, can you just wait a second? And I said, sure.
06:52After the scene was done, I apologized to him.
06:55He just put, wraps his arm around my shoulder and says, oh, that's okay. You're my friend.
07:00In the Ed Gein voice, I have never been so creeped out in my life. It was amazing.
07:06And I was like, yeah, that's going to work.
07:08Help me work.
07:08What?
07:14This is a horrible mĆ³n shop but it's absolutely capturing humans because a produkt is very
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