This prosthetic make-up went through several different versions. We were requested to try and make a “realistic monkey” face on their lead actor. We based the structure on a flat-faced lemur and adapted that to the actor. Upon arrival in china, the Director decided he wanted a “softer” look to make him more youthful. We got to work designing in tandem with the Beijing and Shanghai make-up teams. After several variations on the theme, we ended up with this sprightly design that the Director really liked. In fact, it wasn’t too far off from the original version made for Chinese television. In recreating the work, we introduced more modern approaches to their prosthetic make-up techniques. For the first time, the Chinese crew were able to work in foam latex. In return we found them to be highly skilled in ventilating hair pieces. The final prosthetic make-up consisted of two foam latex pieces, four hair pieces and a wig. The performer also wore tinted contact lenses..
This prosthetic make-up went through several different versions. We were requested to try and make a “realistic monkey” face on their lead actor. We based the structure on a flat-faced lemur and adapted that to the actor. Upon arrival in china, the Director decided he wanted a “softer” look to make him more youthful. We got to work designing in tandem with the Beijing and Shanghai make-up teams. After several variations on the theme, we ended up with this sprightly design that the Director really liked. In fact, it wasn’t too far off from the original version made for Chinese television. In recreating the work, we introduced more modern approaches to their prosthetic make-up techniques. For the first time, the Chinese crew were able to work in foam latex. In return we found them to be highly skilled in ventilating hair pieces. The final prosthetic make-up consisted of two foam latex pieces, four hair pieces and a wig. The performer also wore tinted contact lenses.
This prosthetic make-up went through several different versions. We were requested to try and make a “realistic monkey” face on their lead actor. We based the structure on a flat-faced lemur and adapted that to the actor. Upon arrival in china, the Director decided he wanted a “softer” look to make him more youthful. We got to work designing in tandem with the Beijing and Shanghai make-up teams. After several variations on the theme, we ended up with this sprightly design that the Director really liked. In fact, it wasn’t too far off from the original version made for Chinese television. In recreating the work, we introduced more modern approaches to their prosthetic make-up techniques. For the first time, the Chinese crew were able to work in foam latex. In return we found them to be highly skilled in ventilating hair pieces. The final prosthetic make-up consisted of two foam latex pieces, four hair pieces and a wig. The performer also wore tinted contact lenses.
The man that we applied this to was constantly being referred to as “China’s Robin Williams”. He must have been funny because the Chinese crew were always in hysterics around him. Not speaking the language keeps you in the dark about a lot in these situations. This make-up was built in four separate pieces and a bald cap along with 6 hair pieces. For all of these make-ups, I was assisted by Mr. Shen of the Shanghai Film Studio’s Make-up Department. We worked out of the Beijing Film Studio’s Make-up Department run by Mr. Wong. Working internationally is one of the highlights of this industry. You meet amazing people and teach each other so much.
The man that we applied this to was constantly being referred to as “China’s Robin Williams”. He must have been funny because the Chinese crew were always in hysterics around him. Not speaking the language keeps you in the dark about a lot in these situations. This make-up was built in four separate pieces and a bald cap along with 6 hair pieces. For all of these make-ups, I was assisted by Mr. Shen of the Shanghai Film Studio’s Make-up Department. We worked out of the Beijing Film Studio’s Make-up Department run by Mr. Wong. Working internationally is one of the highlights of this industry. You meet amazing people and teach each other so much.
The man that we applied this to was constantly being referred to as “China’s Robin Williams”. He must have been funny because the Chinese crew were always in hysterics around him. Not speaking the language keeps you in the dark about a lot in these situations. This make-up was built in four separate pieces and a bald cap along with 6 hair pieces. For all of these make-ups, I was assisted by Mr. Shen of the Shanghai Film Studio’s Make-up Department. We worked out of the Beijing Film Studio’s Make-up Department run by Mr. Wong. Working internationally is one of the highlights of this industry. You meet amazing people and teach each other so much.
This was a great opportunity. Not only were we required to design his prosthetics as closely to the Chinese illustration as possible, but the actor was EIGHT FEET TALL.! His features needed to be equally over-sized so we extended his chin, built up his forehead and added four inch long earlobes. His skin tone was also shifted to shades of blue. This made it difficult since 90% of the film was shot on blue-screen. We had a tough time keeping the two tones separate. He wore five hair pieces in addition to his hair braid that was a challenging four feet long in order to wrap around his head piece and still hang down his back.
This was a great opportunity. Not only were we required to design his prosthetics as closely to the Chinese illustration as possible, but the actor was EIGHT FEET TALL.! His features needed to be equally over-sized so we extended his chin, built up his forehead and added four inch long earlobes. His skin tone was also shifted to shades of blue. This made it difficult since 90% of the film was shot on blue-screen. We had a tough time keeping the two tones separate. He wore five hair pieces in addition to his hair braid that was a challenging four feet long in order to wrap around his head piece and still hang down his back.
This was a great opportunity. Not only were we required to design his prosthetics as closely to the Chinese illustration as possible, but the actor was EIGHT FEET TALL.! His features needed to be equally over-sized so we extended his chin, built up his forehead and added four inch long earlobes. His skin tone was also shifted to shades of blue. This made it difficult since 90% of the film was shot on blue-screen. We had a tough time keeping the two tones separate. He wore five hair pieces in addition to his hair braid that was a challenging four feet long in order to wrap around his head piece and still hang down his back.

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