Beetlejuice’s Spooky Transformation: Unveiling the Ghostly Makeup Secrets

by

In an interview, Christine Blundell, a renowned hair and makeup artist who worked with Tim Burton for the first time on “Beetlejuice Beetlejuice”, shared that Burton allowed her complete creative freedom to immerse herself in his unique world, leaving it to viewers to decide if he was pleased by his expression. The film earned three nominations at the Make-Up Artists & Hair Stylists Guild Awards (best special makeup effects, best period and/or character makeup, and best period and/or character hair styling) and one in the fantasy feature film category at the Art Directors Guild Excellence in Production Design Awards. Prior to two award shows in L.A. on Feb. 15, we spoke with Blundell, who is currently working on “Jack Ryan” with Andrew Bernstein in Dubai.

What was your process like with Tim Burton?

At a crucial juncture in my life, the urge to work on “Beetlejuice” became irresistible. I found myself growing increasingly dissatisfied with my corporate path, feeling that my career was no longer as fulfilling as it should be. My initial conversation with Tim revealed his passion for practical effects and camera work. That moment felt like a lightbulb going off. The filming process reignited my passion for hair and makeup.

How did you approach Beetlejuice’s hair and makeup?

You can’t alter Beetlejuice’s appearance; it’s a classic icon. However, I wanted to add my personal touch, so everything appeared more crumbled and decayed. The texture of his skin was enhanced. When Michael Keaton arrived, he had his unique spin on the character, as he played a significant role in the original look. He requested decomposed fingernails, so we created rough, old nails for the role. Additionally, Beetlejuice’s hair style was very important to him, so I was styling the wig almost immediately in front of him.

I imagine you worked closely with Neal Scanlan, head of creature effects?

Indeed, I was involved in fitting sessions for characters destined for an afterlife scene. These included the javelin-wielding woman and Jeremy’s parents, both equipped with devices to bear weight – their heads were adorned with a saw and whisk, not replicas made of fiberglass or polystyrene. For the cat lady, we concealed the actor’s legs beneath the couch, and crafted dummy limbs to replace them. We also added Pro Bondo imprints where the cat had supposedly been gnawing on her character.

The creativity is quite genius.

Everything is playfully intended to amuse you, showcasing Tim’s unique brand of dark humor. You need to discard any rigid expectations, as there are no absolute endings. You’re stepping into Tim’s realm, experiencing things from his perspective. Impulsive and visionary, Tim often acts spontaneously. One morning, he proposed that Beetlejuice should gaze at the sun and have his eyes burst like an exciting “kapow” scene in a cartoon. Consequently, we swiftly made a fiberglass mask with ping-pong balls for eyes and placed it on Michael.

Which looks were most challenging?

Beyond life, the illumination varies significantly in the holding area, customs checkpoint, and spectral train. Both living and deceased characters traverse these realms, necessitating our careful adjustment of their makeup for a harmonious appearance. It was particularly challenging to nail Danny DeVito’s green-tinged pallor and that peculiar yellow goop around his visage. Upon Willem Dafoe’s arrival, he suggested dividing the portrayal into two parts: one mirroring Jack Lord from Hawaii Five-O, with an impeccable coif and deep tan as the icon of Hollywood at that time. Given his background as a troubled stuntman, the other side was designed to reflect the intentionally aged appearance of the classic Phantom of the Opera.

The article you’re reading was published in the February 12th edition of The Hollywood Reporter. To get more stories like this delivered directly to your inbox, consider subscribing.

Read More

2025-02-17 22:24