How ‘The Substance’ Transformed Demi Moore and Margaret Qualley into Monstro Elisasue!

(Warning! This story contains spoilers for The Substance).

When discussing the prosthetics work in Coralie Fargeat’s disturbing body horror film, The Substance, it might be clearer to explain what wasn’t involved in the use of prosthetics.

Pierre Olivier Persin explained to The Hollywood Reporter that the image of Demi Moore on Monstro Elisasue’s back is digital. Specifically, he said, ‘The screaming face – we had a silicone head of Demi, but it wasn’t quite what Coralie desired. It required an actual actress for the subtle nuances.'”

(This version attempts to simplify the sentence structure and make it more conversational while still conveying the original meaning.)

He explains further: “At the far end, you’ll notice a blob that bears Demi’s likeness in the center – this part is computer-generated special effects (VFX), but we carefully crafted its design. As for the blood spurting from Monstro’s arm, there’s an actress within the costume, wearing a green sleeve. The rest of it, however, is entirely practical – I assure you, every bit of it.

Based in Paris, the skilled makeup artist specializing in special effects has been nominated for an Oscar. His team’s work on “The Substance” was recognized with a nomination for best achievement in makeup and hairstyling, one of four nominations the film received, including those for best picture and best original screenplay. The term “achievement” is fitting as, if you’ve watched the movie starring Moore and Margaret Qualley, you’ll understand that Persin and his team truly created something extraordinary – a satirical reflection on beauty standards and aging in the public eye.

Elizabeth Sparkle, once a renowned superstar in her prime, finds herself replaced on a daytime exercise show due to the producer’s preference for a younger host, someone half her age. Overwhelmed with the realization that she is no longer the youthful beauty she once was, Elizabeth resorts to an illegal substance called The Substance, which transforms her into a more youthful and enhanced version of herself – Sue, portrayed by Qualley.

The duo are frequently made aware of a vital aspect: they are essentially the same individual. However, due to circumstances, one lives as Sue for weeks at a time while the other, Elisabeth, spends most of her time in a dark room with a feeding tube. Over time, Qualley’s character starts misusing a certain substance. She gradually takes more and more time away from Elisabeth, who awakens in a furious state, resembling Dorian Gray’s portrait aging rapidly, to discover she has aged at an alarming rate.

Towards the end of the film, Elizabeth appears as a worn-down, frail figure: her body is slack with numerous drooping parts, every inch of skin looks wrinkled, and she barely has any hair left on her head. According to Persin, it was these aging prosthetics that portrayed Moore that proved to be the most challenging to apply. “Demi’s the real hero,” he shares with THR. “She’s an amazing companion to have in the makeup chair from a professional perspective, especially when dealing with heavy prosthetics. She was always fun, extremely professional, and helpful.

Applying those prosthetics took six and a half hours, but it appears to be well worth it now, considering Moore’s Golden Globe victory and Oscar nomination for best actress. Monstro Elisasue, the flawed creation that resulted from Sue reapplying the initial Substance activator, was a large body suit and head that took Fargeat and Persin quite some time to develop – approximately two months, from design to completion.

Coralie told me: ‘She was blended together,'” Persin explains about developing Monstro Elisasue. “This line from the movie, where Monstro says, ‘It’s me!’, was constantly on her lips. I believe it held significant meaning for both Coralie and us. The character wasn’t meant to be a monster that harms, but a tragic figure instead. Perhaps in retrospect, this could have been the most joyful moment for Elisabeth, mentally and physically. However, Coralie insisted on the elephant woman.

Coralie was content with the body part, but we hadn’t located the head yet, Persin adds. ‘I recall I repeatedly emphasized, “It’s time to begin working on Monstro, as it’s a substantial project for quality purposes.” She insisted, “I won’t start until I’m completely certain that’s the perfect design.” I remember she was in the workshop when she saw one of the final sketches for the heads. She hugged me excitedly, exclaiming, “Yes! We’ve found her!”‘

Monstro Elisasue was a tailor-made costume, designed using full-body scans of the two lead actors in the movie. It featured an arm on its back, teeth on its chest, and buttocks on the back of its head. Looking back, the monster seemed to Persin almost like a miniature Picasso. “I aimed for her body to be voluptuous yet not sexual,” he explains. “I wanted her to resemble a ballet dancer, possessing both elegance and large stature. Yet, she should also convey grace. Furthermore, our characters are three-dimensional; they are not flat drawings. I desired her to be intriguing from every angle.

The suit was primarily crafted by hand, utilizing materials such as silicone gels and incredibly lifelike puppet heads. Once completed, the team proceeded to add contact lenses, teeth, and hair – each individual strand. Qualley mentioned that it took approximately a year for her skin to heal after wearing the prosthetics.

From a psychological perspective, Persin explains that it’s quite challenging, as one can quickly grow to dislike it and experience feelings of claustrophobia. The suit, consisting of two sections including gloves, boots, and suspenders, took Qualley approximately eight to 10 days to wear for the film’s climactic scene drenched in blood. He also mentions that fitting the headpiece took around 2.5 hours, while the rest of the suit required about 45 minutes. Persin compares the experience to visiting a dentist: it might be enjoyable for the professional, but certainly not for the patient – in this instance, Qualley.

Demi’s prosthetics required more time due to the character’s extremely slim figure, which necessitated gluing them directly onto her body. The creators opted against using a suit because Demi is portrayed as completely nude and they wished to avoid unnatural wrinkles or limiting her movements. In contrast, for Monstro, with its blue dress and less movement required, they took a different approach.

Despite the infected wound on Moore’s back being tended by Sue, it was actually crafted by the team of fifteen prosthetics specialists. They explained, “We were responsible for that. We created it as a blend of prosthetics and dummy materials to build a realistic fake back. We made several stages of this back prop so we could accurately simulate a needle going through the skin.

The final outcome is a remarkable achievement, but Persin is quick to emphasize that his Oscar nomination is a joint effort with fellow nominees for The Substance: Stéphanie Guillon, Marilyne Scarselli, and the entire team. He can’t help but share the tale of the moment he learned the news last week. “I was on set filming an American movie in Paris, when the first assistant director approached me and asked, ‘Have you heard about the nominations?’ I replied, ‘Yes, I got nominated.’ She exclaimed, ‘Oh my goodness, that’s fantastic! I need to make an announcement,’ so everyone cheered and applauded, the entire crew. That was quite heartwarming.

Persin has noticed a broad spectrum of audience responses to “The Substance“. He highlights that many of these reactions have been deeply personal. “It’s amazing, but while filming, you’re right in the heart of the storm,” he says. “Some days I would return to my car in the studio parking lot, contemplating my work… There are days when you feel down, you can’t see the bigger picture and you’re just exhausted.

He goes on to say: “Yet, I wouldn’t have imagined the accolades that came with success. Still, it brings me immense joy.

Regarding Fargeat’s recognition as Best Director – the unique female filmmaker to receive this honor this year – Persin comments: “It’s thoroughly deserved. I know she was tirelessly working for quality, striving to create the best film possible, and standing up for the right individuals if necessary. There were no compromises. Coralie truly aimed high,” he continues. “And she’s not reticent in the least.

The Substance is available to watch now on MUBI.

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2025-01-29 22:56