Gary Oldman claims to have sat in the makeup chair for 200 hours to become Winston Churchill in the Darkest Hour, but thats a siestum compared to some
Sometimes being a Hollywood star isnt all its cracked up to be. In fact, there are some moments the hell is downright unglamorous. Consider this: nearly every sun actor, at some phase in his or her job, has had to transform his or her own torso for a role, involving suffering and patience in equal measuring.( Sometimes, those changes are for programmes that bomb wholly .) Other periods, performers must sit perfectly still in one place for hours on end, while professional makeup artists turn their beautiful face into something ghastly.
Gary Oldman recently announced that he had sat in the makeup chair for 200 hours cumulatively to be transformed into Winston Churchill for his role in the forthcoming Darkest Hour, a historical drama about the first days of the second world war. But where does that sit in the pantheon of patience and prosthetics?
Marion Cotillard in La Vie en Rose
When performers suffer through painful changes for their artwork, they are usually have just one thing on their brain: an Oscar. In La Vie en Rose, Cotillard plays Edith Piaf, the French jazz vocalist, at nearly every stage of their own lives, involving 3 hour of makeup for certain scenes. Cumulatively, she may have endured more than was needed; the make-up artists had a hard time procuring the right look for Cotillard, involving multiple scenes to be reshot in the middle of filming. Turns out the job was merit the effort. La Vie en Rose won two Academy Awardings, for best actress and best makeup.
John Matuszak in The Goonies
Hey, you guys! You likely dont know John Matuszak by name, and you surely dont know his face. The former NFL lineman( with two Super Bowl echoes) played an unforgettable character in a childrens cinema, but he did it under makeup that took five hours to put on and construct his already unfamiliar face unrecognizable. Devotees of The Goonies can never forget Sloth, the deformed younger friend of the villain siblings out to stop a group of children from discovering interred gem. As an untrained actor, Matuszak brings to the role a powerful physicality and endearing innocence that shines through, even under so many layers of latex.
John Hurt in The Elephant Man
In 1981, makeup artists did not yet have their own category at the Oscars. But after The Elephant Man was denied such an honor, the rules were changed and a new regular category was announced. Its a well-deserved difference, if merely for the sheer sum of time involved. John Hurt sat for seven to eight hours to transform into John Merrick, the real-life Leicester-born man who had Proteus syndrome, which caused him to develop severe deformities. The makeup also took over two hours to remove after each day, and Hurt could only run every other day because of the strain the heavy makeup put on his body.
Jennifer Lawrence in the X-Men movies
As time marchings on, engineering improves, and certain processes get quicker. Thats the only reason of the reasons why Rebecca Romijns Mystique makeup took nine hours for X-Men, X-2, and X-Men: The Last Stand, while J-Law merely had to suffer for eight hours to play the same character in X-Men: First Class. Standing in place for eight hours while a squad of artists paint your naked torso is not able to sound like fun, but its surely better than doing it for nine hours.
Tom Hanks in Cast Away
Some performers go the extra mile for realism, eschewing the falseness of makeup for real, physical metamorphosi. There are countless examples Robert DeNiro gaining 60 lb to play-acts Jake LaMotta in Raging Bull, Christian Bale losing the same sum for The Machinist but its worth singling out Tom Hanks, who has suffered the most for his art. Hanks gained 30 lb to play-act a washed-up ballplayer in 1992 s A League of Their Own, then lost 50 lb for 2000 s Cast Away, playing a man who had lived for years on a deserted island. Hanks was diagnosed with type 2 diabetes in 2013, and has theorized that the dramatic weight fluctuation played a part.
Rod Steiger in The Illustrated Man
The late cinema critic Gene Siskel had a rule. He would ever devote a cinema a negative evaluation if he supposed a documentary of those same performers hanging out and having lunch would be more enjoyable. A similar sentiment could apply to The Illustrated Man. Its a Twilight Zone knock-off about a wanderer( Rod Steiger) who is covered head-to-toe in tattoos. When a young man asks about them, he launches into a series of tales that are dramatized in the film, each one inspired by some of his torso art. As a cinema, its subpar, but look for the documentary Tattooed Steiger, which details the 20 -hour process by which the temporary tattoos were applied. Steiger merely had to go through it once, but its an ordeal that lingers in the mind much longer than the cinema itself.
Read more here: http :// www.theguardian.com/ us