The hardy way

PROSTHETICS DESIGNER MARk COULIER TALkS ExTREME MAkEOvERS…

Where did the process begin for transforming John C. Reilly into Oliver Hardy?

It was looking at John’s pictures, and seeing what we need to do to make him look like Oliver Hardy. Fortunately, John’s got a pretty similar nose and forehead shape, so it was just a case of building the prosthetics on the face to give him the weight, and building a fat suit. It’s a complicated job, making a fat suit that’s like real skin.

Steve Coogan’s transformation is more subtle…

That was really just finding some recognisable things about Stan Laurel, and pushing him in the right direction. Stan’s ears stick out. And I really wanted to flatten Steve Coogan’s chin. He’s got quite a cleft under his lower lip, and Stan Laurel’s chin is really flat. That’s one of the things that I thought was key.

How are the prosthetics made?

We do a computer scan or a head cast to get a 3D model of their head shape, then we sculpt in clay on that head. Once we’re in the right place, we make moulds from that. And then the [silicone] pieces will come from those moulds. Every day, we’re running a new set of pieces. We did 56 sets for John C. Reilly. It was a new one every day.

How long did it take to apply?

John’s was pretty quick, actually. We did it in around two hours. He had hand prosthetics as well. The whole process was just over two hours, which is quick in prosthetics terms. And Steve’s make-up was about the same, really. He had [fewer prosthetics], but more paint work on the face.

How long does one set last during a shooting day?

It depends totally on what the actor is doing. John and Steve were very respectful of what we do, and looked after the make-up really well. They ate carefully at lunchtime – it’s only when the edges of the prosthetics around the mouth start to get destroyed that the make-up doesn’t look at its top. On days when they were doing a lot of dancing on stage and sweat got involved – that was when we were fighting to keep the make-up looking pristine.

What are some of the most extreme makeovers you’ve done?

We did Mark Strong for Sunshine in a full-body prosthetic make-up. We did some pretty intense, horrific make-up for Suspiria. And then we’ve done some other ones that are really difficult but are really simple. Like The Iron Lady. The younger stage was just a nose piece. But it’s always very difficult when you’ve just got one really little tiny piece… The nose is right in the focal point, with 4K cameras looking at it, and huge projections on massive screens. Even doing Rami Malek’s nose for Bohemian Rhapsody, which we sculpted and designed; the really brutal close-ups that they did… it’s very hard. Those can be really intense, even though it’s only one nose! Matt Maytum