Christopher Abbott’s 7-Hour Wolf Man Transformation: Behind the Scenes and His Personal Stake in ‘The Brutalist’

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Initially, Christopher Abbott was the initial actor whom Leigh Whannell discussed for the lead role in “Wolf Man“. Although the project temporarily switched hands, fate ultimately reunited the actor and director later on.

In the eagerly anticipated sequel to his critically acclaimed 2020 film The Invisible Man, actor Aldis Hodge portrays Blake Lovell, a writer transitioning into a stay-at-home father, who attempts to mend his marriage by persuading his journalist wife, Charlotte (played by Julia Garner), to temporarily move from San Francisco to his rural Oregon hometown. Despite her initial hesitation, Charlotte eventually consents to the change of location. However, as soon as their moving truck arrives at this secluded location, the Lovell family encounters an unknown threat.

After finding an injury on his arm, Blake starts deteriorating tragically, much like what happens when someone loses a cherished person due to a sudden or prolonged terminal illness. The transformation of Abbott’s body was divided into several phases, with the final one taking as long as seven hours to achieve. It goes without saying that the extensive makeup and prosthetics applications subjected Abbott to a grueling process before he had to film for extended periods.

Abbott praises the beauty of the film due to the use of authentic prosthetics, stating it significantly enhances the production. However, he finds the process to be laborious and demanding. Wearing the prosthetics for extended periods is more exhausting than one might imagine. Some parts are heavy, making movement difficult, and this sensation can leave you feeling somewhat constrained. Thus, it’s not just a physical challenge but also a mental endurance test.

Throughout the pandemic, Abbott resided with the intellectual circle led by writer-director Brady Corbet and co-writer Mona Fastvold, whom he had introduced approximately 15 years prior. As a result, he holds a certain stake in the success of their grand drama, which remains one of the top contenders for the Oscars this award season.

Abbott has consistently felt confident in them, knowing they were exceptional, and it’s satisfying to see their recognition now,” Abbott states. “Being privy to all the discussions, the struggles with finances, the ups and downs, and even the cast changes – I feel like I have a unique connection to that movie, almost as if I was there myself, just by overhearing phone conversations in another room.

In a recent chat with THR, Abbott elaborated on how the prosthetics used in Wolf Man influenced his acting style. He also shared insights about the historical musical he recently completed working on with Fastvold.

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Hi there! I hope this question hasn’t been asked before. By any chance, did Leigh Whannell draw inspiration from the ending of “Poor Things” when conceptualizing his work? Was that poignant scene a catalyst for the casting decisions you made?

(Laughs.) In several interviews, I’ve mentioned that no one has ever asked me to portray an animal before, but it slipped my mind. Then I remembered, “Ah, yes! I did play a goat in ‘Poor Things.'” Now, I find myself concerned about being stereotyped. [Writer’s Note: Whannell was already a fan, but Abbott’s stage performance alongside Aubrey Plaza in ‘Danny and the Deep Blue Sea’ was the deciding factor.]

In movies or TV shows that show an acting class, it’s common to see a scene with animals. Did you learn to handle animals as part of your early training?

Absolutely, I did engage in such activities during my school days. They often involved assuming roles like animals or trees, and indeed, there were instances where I portrayed a gorilla. Such exercises were quite common, making it enjoyable to revisit those experiences from the past.

In your career, you’ve tackled quite a bit of unconventional work. With the heavy use of makeup and prosthetics, and the intense, wild nature of the role, did you find yourself feeling particularly nervous or overwhelmed during this project?

I found it thrilling to delve deeper into the physical aspects of the character. This role is by far the most physically demanding one I’ve taken on. It requires a unique way of thinking and approaching things, which was quite challenging. Unlike other roles, for this one, I had to study my facial expressions under the prosthetics to understand how they would be perceived. I found that aspect fascinating.

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I was really excited to concentrate on the physical side of the character. This role is definitely the most physically challenging one I’ve played. It pushes your mind to think and approach things differently, which was quite an experience. Unlike other roles, for this one, I had to closely observe my facial expressions under the prosthetics to understand their impact. I found that part intriguing.

Did the prosthetics hinder anything that you would normally do? 

The absence of prosthetics or makeup didn’t prevent me from acting, but it altered my expressions of sadness and anger. Expressing these emotions becomes more pronounced when using prosthetics, so I needed to amplify my facial movements slightly, but essentially, that’s the only difference.

Since many movies are filmed out of order, I’m curious if you managed to shoot your character’s journey through transformation in one location largely in sequence due to the progressive change that Blake experiences?

Indeed, not entirely so, but fortunately, there were distinct phases for the prosthetics I used. This made it simpler for me to recall tasks on my own and within my mind, as each day’s prosthetic choice served as a reminder. In essence, I could say, “Ah, now I remember. When I position myself this way, I’m at this stage.” So, in a sense, we collaborated in managing those details together.

After spending up to seven hours in the makeup room, I must admit it was quite tiring. Can you guess how much energy I had left when I finished?

The film’s beauty leaves me thankful for the genuine prosthetics we used. It significantly enhances the production. However, let me tell you, the process can be exhausting and demanding. It consumes countless hours, and afterward, there’s shooting to be done. Wearing those prosthetics for extended periods is more tiresome than one might imagine. Some parts are heavy, making movement difficult, and the sensation of being slightly confined adds to the mental strain. In essence, it’s an enduring challenge both physically and mentally.

Did you burn through lots of podcasts and audiobooks to pass the time in the chair?

I had an excellent rapport with Arjen Tuiten, our prosthetics & special make-up effects designer, along with Pam Goldammer, our key prosthetic/makeup artist. We frequently collaborated on prosthetics, often sharing music, conversations, and setting the atmosphere. As a result, I remained fully engaged and didn’t zone out during the process.

Were you disappointed when the initial presentation of the creature’s appearance at the theme park didn’t match up to the impressive versions seen in the movie, given the amount of work that went into crafting those visual effects?

I was away working when that happened. What happened? I don’t even know what happened exactly.

Although I hold a strong fondness for Universal Studios’ Halloween Horror Nights, their portrayal of the Wolf Man character in one of their attractions didn’t align with your on-screen depiction. The Internet had its share of criticisms, but in the end, everything turned out alright.

Oh, I see. I’m a Luddite, so I don’t know what’s going on anywhere at any time, truthfully.

For the third time, you’ve portrayed a character who shared a household with a character played by Julia Garner, yet this is the initial occasion where your characters have had a chance to act together on-screen.

The third time? There was Martha Marcy May Marlene.

She additionally portrayed the role of your character’s roommate during your return episode in season five of “Girls,” specifically in the 2016 episode titled “The Panic in Central Park.

Oh, right. Wow. (Laughs.)

Have the two of you felt like ships that pass in the night? 

It sounds like a yes! In other words, it’s quite evident. (Giggles.) The movie we made together back in 2010 [Martha] feels like ages ago. That was our initial foray into films, and over the years I’ve become acquainted with Julia. We share common friends. So, if we were to collaborate again, it was delightful that it happened on this project and gave us ample opportunities to work together.

Is the striking spotlight shot of Blake truly remarkable? I’m curious, did they manage to pull off that lighting transition during the actual shoot?

Absolutely, it was on that specific day without a doubt. The atmosphere seemed quite dramatic, which I found enjoyable. It had a sense of a bright stage spotlight, if you will. This made me feel that it heightened the theatrical aspect of the performance in some way or enhanced the blend between the physical and theatrical elements.

In the process of creating the wolf’s vision, it seems like a significant portion was accomplished during post-production. However, did any unusual steps need to be taken on set to accommodate this during filming?

A significant portion of it was filmed live as well. Whenever the camera moved and changed angles, there were quite noticeable changes in lighting on the set, enhancing both the authenticity and the dreamlike quality of the scene, making it even more captivating.

I found the shadowshot in the bedroom particularly captivating, especially during the time Blake was undergoing his transformation. The shift in his posture is evident, causing his shadow to subtly depict a new arrangement of his arms and hands.

Absolutely, the development in this film unfolds at a steady pace, making it intriguing to manipulate the character’s progression. Initially, it focuses on subtle movements of his fingers, gradually building up to involve his entire body. This requires careful attention, but exploring physicality in such a way adds an enjoyable layer of complexity.

As a fan, I’d share my personal experience: “Feeling the need for a change, my family and I decided to temporarily move away from the hustle-bustle to the tranquil Oregon countryside. It’s a challenge to adapt to such remote living, but it’s also an exciting opportunity to immerse ourselves in nature.

Actually, I reside in New York City. Quite to the contrary, I enjoy having companions nearby and appreciate the closeness they bring. While I do appreciate a brief escape to a beach resort every now and then, I’m content where I am currently.

In the behind-the-scenes info, it’s stated that Blake’s mom had ALS, but I can’t remember seeing it depicted in the film. Could it be that this aspect was left out?

Indeed, my assumption aligns with yours. The storyline seemed to involve her lying in a bed, or something of that nature. The depiction wasn’t extensive, but the underlying sense of unease was evident. It’s a compelling choice, however, it raises more questions that Leigh might be able to clarify during his interview on January 17th with THR. [Writer’s Note: Whannell will provide additional insights on Jan. 17 when THR publishes their interview with him.]

Before we shift gears, what day best sums up your escapades as Wolf Man? 

Regardless of the cause, it’s the arm-biting scene that everyone seems captivated by, and for some reason, this keeps coming to mind thanks to others. I believe this is the scene that stands out the most.

It has been recently announced that you worked on another film with Mona Fastvold (previously known as Ann Lee). Given your longstanding relationship with the Fastvold-Corbet family, are you thrilled to see them receiving such recognition for their work?

Absolutely, I’m extremely pleased. The word ‘proud’ seems odd because they are contemporaries, but Brady and Mona have been friends for a long time, and Mona was one of the first friends I made when I moved to New York. Soon after, I met Brady separately. Over the years, I’ve always had faith in their abilities and knew they were talented. It’s gratifying now to see the world recognizing their greatness too. [Writer’s Note: Abbott actually introduced Corbet and Fastvold to each other roughly 15 years ago.]

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I’m really thrilled! The term ‘proud’ seems unusual because they are contemporaries, but Brady and Mona have been friends for a long time. Mona was one of the first friends I made when I moved to New York. Afterward, I met Brady separately. Throughout the years, I’ve always believed in their talents and knew they were exceptional. Now it’s rewarding to see the world acknowledging their greatness as well. [Writer’s Note: Abbott actually introduced Corbet and Fastvold to each other roughly 15 years ago.]

Since I discovered that you resided with Brady and Mona throughout the pandemic, did you already know The Brutalist quite well before it officially started operating?

Absolutely, by being friends, I was made aware of all the discussions, struggles with finances, and the cycle of gaining and losing money, as well as changes in cast. In an unusual sense, I feel deeply connected to that movie because I overheard phone conversations from another room.

Is Ann Lee your first musical of any kind?

I’ve never been in a musical production before, but Mona’s latest film is indeed a musical. As for its style, while I can’t reveal too many details, I’d say it leans more towards the realm of “Dancer in the Dark” compared to something like “Wicked.

As a huge fan, I recently caught up with Josh Mond’s latest work, “It Doesn’t Matter,” following your recommendation in our previous chat. I was wondering if you could share some insights about the storyline and inspiration behind this film?

During the years 2020 and 2021, I immersed myself deeply into this project. It’s an incredibly progressive work, with a unique blend of styles. There’s animation involved, which adds a dynamic touch to it. Admittedly, my contribution is rather minimal, as I only have a minor role in it. However, it’s a fascinating mix of genres: animation, documentary, and fiction all rolled into one intriguing piece.

In our recent conversation, Alessandro Nivola and I discussed Kraven the Hunter, and I must say that both of you have crafted characters that left a lasting impression. Regardless of an impressive cast, a skillful director like J.C. Chandor, and ample resources, isn’t it true that every film is ultimately a gamble? After all, one can never truly predict the outcome.

Indeed, you’re right. It can be quite unpredictable at times, that’s for sure. What I mean is, this field is fundamentally about teamwork, and in essence, it’s a costly endeavor. Consequently, there are often many individuals involved, ranging from actors to directors, and sometimes even more. In other words, success in this arena requires a collective effort, similar to how it takes a whole village to raise a child.

Lastly, how’s East of Eden treating you?

I’ll be resuming my work shortly as I’ve reached the midpoint, which is actually the first part. It’s quite thrilling being right in the thick of things!

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Wolf Man opens in movie theaters on Jan. 17.

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2025-01-15 23:56