Hey folks. Capone here in San Diego with a quick interview with makeup guru Rick Baker, who has signed on to what is probably his dream project, THE WOLF MAN, directed by Joe Johnson. Quint just put up a great account of the WOLF MAN panel from Comic-Con mere moments ago, and he's right when he says the footage is spectacular. One element of Quint's report seems to be the beginning stages of a controversial element to the WOLF MAN, one involving the transformation sequence(s), which he indicated were going to be CGI. I figured since I only had a few minutes with Rick, I'd just jump head first into the controversy. I opened the interview by showing Baker Quint's to-the-point memo to Universal (with Joe Johnston cc'd).

Guys, if you scream loud enough about the colossal mistake, Universal will hear you. They have a legacy to uphold, and Baker is the guy to pull it off. He's already proven that with AMERICAN WEREWOLF IN LONDON, WOLF, and THE HOWLING. This man knows his lupine. Jesus, the guy has won six Oscars, the first of which was for...wait for it...a werewolf movie! Go figure! Don't get us wrong, Universal, we love that this movie is being made. Please let Baker work his magic with Benicio del Toro, and all will be right in the classic horror universe. Here's Rick Baker…

Capone: Let's just get this out of the way right off the bat. You told the panel that as of right now, the werewolf transformation sequence is THE WOLF MAN is going to be CGI, you were told that. Is it true that when you were hired on for the project, you were told it would be a practical effect that you would execute?

Rick Baker: I wasn't told that specifically. I was hired to do this film, and it's a film that I pursued, which I don't normally do, and I made it clear that I could and would do a transformation sequence. But the truth is there isn't much to show. I'd already covered werewolf transformations in AMERICAN WEREWOLF IN LONDON, but this wasn't going to be David Naughton naked on the floor stretching out. Benicio doesn't require that much work. He's already half a fucking werewolf already with all his hair, and his jaw really does open up that much. When we first released that image of him with his mouth open and the teeth showing, everyone thought it was digitally enhanced, but it wasn't. His fucking jaw really sticks out like that. So many actors who wear fake fangs can't even get their mouths open enough to put space between the top and bottom teeth. We did borrow some from the Lon Chaney Jr. Wolfman in that we extended his bottom jaw just enough to have the lower teeth clear the upper. But this was never going to be some showcase transformation sequence. He was going to be a Wolf Man, a bit of work on his brow, a slightly bigger nose, a minor jaw extension, and a little bit more hair.

Capone: But I'm assuming you'd still like a shot at doing a practical transformation scene.

RB: We're ready to do it, and we have people inside the production that want us to be involved whether it's practical or CGI. I made it clear to [producer] Sean Daniel that even if they went the CGI route, I'd want to be involved. Sean has actually been great to work with and a real supporter of my process.

Capone: And his response was?

RB: Oh he agreed, but there are a bunch of producers and the director who all have an opinion on that. This was a troubled production from the early stages. First off, we changed directors [Mark Romanek was the original director], and there were decision make by him about the production that we had to live with, some of them were bad and some were good. And Joe Johnston was sort of dropped into the middle of things, and had to catch up in a hurry. "What movie am I making again?" [laughs] I think part of the CGI decision is simply Joe trying to make things easier on himself, so that he can make last-minute changes if he needs to. Part of the problem with CGI, and I'm definitely not saying this about Joe, is that it makes for lazy filmmaking. A director can say, "Oh, we can fix that in post." "And I'll be there saying, "But I can fix it right now for a lot less money and then you'll have it." Or a filmmaker doesn't have to worry as much about lighting and things like that.

Capone: I'd heard that you saw a jaw extension CGI sequence and weren't pleased.

RB: Where did you hear that?

Capone: It's been a while now; I don't remember.

RB: Yeah, they showed me a transformation sequence that included a jaw extension moment that really scared me. That's true. It just didn't make any sense. His jaw doesn't extend, and just because we can manipulate the image doesn't mean we have to. I don't want this to be some fucking VAN HELSING werewolf where the jaws just goes shooting down for no reason. When you see Benicio in full makeup, you'll see that his jaw just doesn't go out that much. That's why I wanted to be involved. And what I saw was more a test. We haven't actually worked on that sequence yet.

Capone: That has to be such a different experience for you working on THE WOLF MAN, where you seemed to have be relegated to the sidelines as opposed to working with Eddie Murphy, who worships the ground you walk on. I'm sure you saw him on "Inside the Actors Studio"; he couldn't stop praising you.

RB: Eddie's great to work with. And it was sometimes strange how I was treated on WOLF MAN because sometimes they would shoot scenes using my work when I wasn't even there. I do have some experience doing this sort of thing. [laughs] Other times when I was there if I try to look at the monitor, someone would literally stand in my way and block it. On other films, I'm usually right there side by side with the director at the monitor. It was strange. I probably shouldn't be saying any of this, and I don't want to make it seem like I'm down on the picture; I'm not. I think it's going to be a great film. I just thought it was really strange how I was treated on set sometimes. Maybe I'm just getting too old to do this anymore. I mean, I love making these movies, but if it's going to be like this from now on…

Capone: Do you think it's a sign of the digital age, that these younger directors or others on the production team just don't understand how to work with a craftsman rather than green screens and dots on the face?

RB: I think CGI absolutely has a place in filmmaking. I dabble in it myself; I like creating shit. But when I sought out this job, I actually did a makeup test on myself, just put the applications on my face and videotaped it and sent it in. I actually own [original WOLFMAN makeup man] Jack Pierce's original makeup box, and so this was my way of honoring his ways and saying that his ways were the right ways. And fortunately [those developing the film] liked it, agreed it looked cool, and asked me to do it. It certainly easier to get better performances from the actors using more practical effects. If they're supposed to be looking at some awesome landscape or some other kind of environment, and all they're seeing is green screen, you notice the change in the acting, like with the last three STAR WARS films.

Capone: I've certainly talked to a couple of people recently, mostly directors, who see the pendulum swinging back toward practical effects and real sets versus CG. Audiences are much more savvy and can tell when something is fake and it takes them right out of the movie. That's one of the things people are praising about DARK KNIGHT. And even seeing that WATCHMEN footage today, there are certainly special effects, but it's nothing like what Zack Snyder did with 300.

RB: Here's the thing: I know WOLF MAN could be cool as a CG thing. And even if it's a crappy transformation, I think the rest of the movie is going to be so cool, the fans are going to like it.

Capone: Okay, let's get off this topic for a minute. Just getting the WOLF MAN gig had to be a dream come true, right up there with something like getting KING KONG.

RB: It really was. Pretty much every makeup and special effects artist I know was inspired by those two films. You could probably throw FRANKENSTEIN into that mix as well.

Capone: I love that the film is a period piece. I didn't realize it was being handled as a story that takes place in the 1800s.

RB: Somehow that makes all of it feel more real, more believable. And they built these huge sets that look like this old English town. And the town almost becomes a character in the film. The temptation with monster movies today is to update and modernize. I've certain done that. So I admire the decision to keep it a period film.

Capone: Rick, it was great meeting you. I can't wait to see the movie. And I shouldn't have to say this to someone of your stature, but good luck with this.

RB: Thanks. I mean it. Pleasure meeting you. And I should be very clear that I'm excited too.

-Capone
capone@aintitcoolmail.com