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He wanted it to sit with all the other characters who converse with Pinocchio.” I kept saying to my team, ‘Oh, that will end up as a digital creation.’ But Matteo was really insistent. “Matteo had always said, ‘Ah, I wanna do a tuna fish makeup.’ I thought that sounded quite impossible. “Yes that’s a prosthetic head on an actor,” Coulier raved. Federico is a little bundle of energy, which is what makes him such a phenomenal actor, but it’s like sticking makeup on a restless puppy.” The hands and legs extended the time to two-and-a-half hours or nearly three, depending how restless Federico was.”Ĭoulier continued: “If you’ve ever ever done a 20-minute makeup job on a kid for Halloween, you’ll understand how difficult it is to keep a child at that age still. “And this was a 50-days shoot, so we tried to get the makeup application done in two hours. “He was very patient, such an incredible and intuitive actor, but still a kid,” Coulier said. The young actor Federico Ielapi, now 10, was 8 when the film was made.Īlso Read: 40 Actors Made Unrecognizable in Prosthetic Makeup: From Eddie Murphy to Colin Farrell (Photos) That was helpful because we still wanted Pinocchio to stand out.” “We could exploit certain levels of crudity in the sculpture. #STORYBOOK PINOCCHIO STORY CRACKED#“We were able to go a bit stronger on the wood because those characters had been puppets longer and they are more cracked and textured,” Coulier said. Pinocchio also meets a gang of fellow wooden characters in a traveling puppet theater. “But Matteo realized we could get the whole things as a prosthetic, and he preferred that,” Coulier said. The character’s limbs and his neck were originally going to be rendered digitally. But the makeup team also worked to retain that friendly and innocent nature that Pinocchio needs.” I wanted this to look real, so we analyzed real wood grain. You can pretty easily achieve what people perceive to be wood, but it looks fake. “We made the pieces very soft because we needed the movement around the eyes. ![]() ![]() “It’s actually silicone rubber, so it’s like soft skin,” Coulier said. The texture of Pinocchio’s “skin” looks strikingly lumber-like. He walked us through his extraordinary work on five characters from the new film. Albans in England, where he has half a dozen projects in various stages of development. Nominations will be revealed March 15.Ĭoulier spoke to TheWrap from inside his workshop-like office at Coulier Creatures FX near St. His work on “Pinocchio” has been shortlisted in the Best Makeup and Hairstyling category at this year’s Oscars. If he can achieve something in the camera, he’d much prefer that,” Coulier said.Īlso Read: 'Mank,' 'Hillbilly Elegy' Land on Oscars Makeup and Hairstyling Shortlist, 'Mulan' and 'Tenet' Lead VFX “Matteo is very performance-driven and that is very reassuring. Garrone wanted his “Pinocchio” to be rooted in tactile, practical effects, which was a godsend to Coulier. We looked at the Enrico Mazzanti drawings in the book and sort of drew our own versions of those.” And to be as faithful to the book as possible. “He wanted the story to be rooted in Italy, and particularly in the poor, rural Tuscany area. “When I first went to Matteo’s office, he had a little storyboard that he’d done when he was 10 years old of Pinocchio,” Coulier told TheWrap. ![]() #STORYBOOK PINOCCHIO STORY PLUS#An industry veteran for three decades, Coulier began his career creating creatures for horror films like Clive Barker’s “Nightbreed,” and his many achievements include turning Ralph Fiennes into Voldemort in the “Harry Potter” series, plus twin Oscars wins for aging Meryl Streep in “The Iron Lady” and Tilda Swinton in “The Grand Budapest Hotel.”Īlso Read: Roberto Benigni's 'Pinocchio' Acquired by Roadside Attractions Garrone turned to the British prosthetics maestro Mark Coulier. And not only a wooden puppet, but also a cricket, an owl, a dog, a gorilla, a snail - and, yes, even a philosophical tuna fish, who Pinocchio meets in the belly of a giant sea monster. #STORYBOOK PINOCCHIO STORY HOW TO#Director Matteo Garrone’s new Italian-language adaptation of the beloved story (starring Federico Ielapi as Pinocchio and Roberto Benigni as Geppetto) faced the exact opposite challenge.Įschewing digital effects in favor of practical makeup magic, Garrone’s task was how to turn the 8-year-old Ielapi, along with nearly two dozen other human actors, into an elaborate array of storybook creatures, keeping true to Collodi’s original vision. Italian author Carlo Collodi’s 1883 book “The Adventures of Pinocchio,” as most everyone knows, is about a wooden puppet that yearns to be a real boy. ![]()
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