How ‘American Primeval’ Pulled Off That Scalping Scene

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[This story contains mild spoilers from Netflix’s American Primeval.]

Dane DeHaan considered the scalping scene in “American Primeval” to be one of those special moments during filming, as he shared with The Hollywood Reporter. He explained that they managed to get it right on the first try and kept rewatching it afterwards.

Dane DeHaan found shooting the scalping scene in “American Primeval” to be a magical experience, according to his interview with The Hollywood Reporter. He mentioned that they nailed it during their initial take and continued to watch it repeatedly afterward.

The blood gag, a skillful technique used in makeup effects, left such an impression that he was still receiving messages about it even days afterward. “For a whole week, people sent me numerous videos and images of me seemingly getting scalped,” he explained, chuckling slightly. “I had to say, ‘We’re all thrilled with the outcome, but everyone, let’s put an end to this,'” he added. “It was quite unsettling.

In the opening episode of Peter Berg’s Netflix miniseries, set during the Westward expansion, a scene is expected to unsettle viewers. Here, DeHaan plays Jacob Pratt, a character caught in a growing conflict over land ownership involving Brigham Young (Kim Coates), his Mormon followers, the federal government, and local Native American communities.

The initial episode of Peter Berg’s Netflix miniseries, focusing on a mass murder during Westward expansion, contains a potentially disturbing scene. DeHaan assumes the role of Jacob Pratt, an unknowing victim in a heated land dispute between Brigham Young (Kim Coates), his followers from The Church of Jesus Christ of Latter-day Saints, the federal government, and Native American communities in the region.

In the opening episode, a gripping recreation of the actual Mountain Meadows Massacre of 1857 unfolds, a tragic event where a group of settlers from Arkansas traveling through modern-day southern Utah were viciously attacked. This incident nearly claims the life of Jacob DeHaan’s fictional character, a young Mormon, who is left severely injured and on the brink of death due to scalping. Unlike many such victims portrayed in American Western movies, Jacob miraculously survives, albeit an outcome that while less common, is not entirely implausible.

Berger describes their examination of the procedures following scalping in the 1800s, which he likens to something from a Frankenstein tale. He goes on to say that these people were stitching each other up, and during the scene where they’re sewing Dane’s head, he aimed for it to be extremely graphic and intense.

In the final stretch of this series, my character makes an appearance. It’s a brutal show, filled with pain and turmoil, reflecting the hardships we all faced during that period. The question that constantly crossed my mind was: why is he venturing out here? Why does he even choose to carry on each day?

Jacob’s spouse is a significant factor, as Abish (Saura Lightfoot-Leon) is believed to be either deceased or missing when he is discovered by a band of Mormon militiamen. His memory of the events is blurry due to head injuries and further obscured by the nature of the massacre, which was intended to falsely accuse a local tribe for the killings. The severely injured and bloodied man has his head reattached before he inadvertently embarks on a quest for vengeance regarding his wife’s destiny, unwittingly joining forces with the same men who almost took his life.

As I embark on this arduous journey, my anger swells within me, mirrored by the putrid ooze seeping from my decaying skull. The Mormon brethren accompanying me start to suspect that my sanity may be slipping away. Yet, as the bloodstained drips escape my wounded scalp, so too does the truth about the real masterminds behind the massacre begin to dawn upon me.

Howard Berger, the head of the makeup department, shared his thoughts with THR, saying ‘He starts off idealistic alongside Abish, but it concludes in an incredibly tragic manner. It’s heartrending.’ He further explained, ‘I aimed to damage him externally so that Dane could portray the internal struggle with a great deal of empathy, sadness, and broken-heartedness.’

The show doesn’t shy away from vividly portraying the gruesome consequences of America’s aggressive expansion, often referred to as Manifest Destiny. Notably, the massacre scene and Jacob’s scalping are among the most graphic depictions. Dacre Stoker, who played the role in question, expressed his astonishment, stating, “I’ve never witnessed a battle from that era depicted so realistically in a show.” He was amazed by how authentic the creators made it feel, and the practical effects used by makeup artists Jamie Kelman and Howard were instrumental in this realistic portrayal.

I, as a gamer immersed in the world of visual effects, had the opportunity to witness the remarkable creation of Jacob’s unique scalp design, which was the masterpiece of Berger’s studio KNB EFX. In an exclusive interview with THR, the legendary makeup FX artist and head of the American Primeval makeup department shared that for this particular scene on our ninth project together, Berger – a collaborator for over a decade – gave me free rein to explore my ideas.

Before stepping onto the set, Berger and his team experimented with various looks using Photoshop, ultimately settling on an exquisite silicone prosthetic piece that caught my eye. The transformation didn’t stop there, as I, myself, went through multiple stages of makeup application.

In a previous collaboration with [Berg], he introduced Jamie Kelman, who was responsible for my makeup in Oppenheimer. Kelman is a true team player, so we jointly explored this script and the story’s narrative to determine the various looks and stages of my wound. Was I just scalped or had I been stitched up? That was the question we sought to answer.

In their analysis, DeHaan and Berger pointed out that the filming process started with one of Jacob’s final scenes in episode six. This meant that Kelman had to make some educated assumptions about the final condition of Jacob’s head injury and monitor its progress, working backward over a period of nearly seven months. According to Berger, this method was much like the approach they used during their collaboration on Berg’s 2013 film “Lone Survivor”. They would go through the script together, mark every instance where Jacob’s scalp would be seen, and then in a spreadsheet, record the specific details of the head wound’s deterioration at each stage.

Berger explains that the initial phase involved the realistic portrayal of scalping, followed by deterioration and decomposition in subsequent stages. This effect was achieved using a mix of various prosthetics and contact lenses to make Dane’s eyes appear hemorrhaged. Jamie took care of Dane’s makeup application, ensuring everything looked flawless and stunning. The collaboration between these two works exceptionally well because Dane has a keen eye for detail. If there were any inconsistencies in continuity, Dane would immediately point them out, commenting, ‘That’s not where the blood should be. It’s more here.’

According to DeHaan, my collaboration with Jamie was focused on being thoroughly prepared so that our work not only appeared visually stunning, but also followed the narrative given the intense journey taken by my character. Working alongside director Pete Berg was like playing jazz; nothing is predictable, each day brings new surprises and you have to adapt quickly. Our goal was to create makeup effects that aligned with the story, yet we had to be ready for any unexpected twists.

It’s true that this particular scalping scene, filmed halfway through production, followed the intended sequence. At first, it was planned to digitally add blood to save on set and costume adjustments. However, when Kelman approached Berger on behalf of both him and DeHaan, they requested to physically rig a prosthetic for a bloody take. Given that the makeup FX expert was already inclined towards practical methods, he agreed to create a double-layer appliance as a backup in case the bloodless takes didn’t work out.

The decision was crucial for filming when, following only two attempts, Berg indicated he wasn’t achieving the desired result. At this point, Berger unveiled his practical blood effect, and despite the time constraint, the director consented to one trial run. For the third try, they employed a two-piece prosthetic; as Berger details, it had “a part beneath with the blood bladder resembling the top of his skull, and a piece featuring a full wig that adhered to Dane and could be removed and lifted.

To infuse the sample with blood, a makeshift pump was set up. As the incision started, Berger tapped the back end of the plunger, causing blood to spatter out. I opted for a conventional method; it wasn’t high-pressure sprayers. I asserted that I could manage this with a standard horse injection syringe.

DeHaan remembers the procedure as follows: I wore makeup similar to my usual look, and then there was a tube that ran down my back which they used to expel blood. The man who scalped me came up behind me, mimicking a cut as he removed the skin, while someone else stood by with a syringe full of blood, essentially like a dynamite plunger.

Whenever the pump would run dry with fluid, Berger would refill it. Throughout this process, the makeup artist claimed, his pulse was rapid.

When you’re decapitating someone, there’s bound to be a lot of bleeding due to the numerous capillaries in the head. I’ve gained a lot of experience over my 41 years, so I have a good understanding of how much blood would flow. The key is knowing when to let the blood flow. As soon as the knife touched Dane’s forehead, I started pumping the fake blood, ensuring that it sprayed out of his head just as he pulled back. It takes skill to master the timing.

In the end, everything turned out great as Pete exclaimed, “Wow, that was amazing! That’s the one I’ll use,” according to Berger. Then he said, “Alright, let’s move on. Let’s try this angle now. We’re going to ascend that hill.” (Laughing) That’s what it’s like in Pete Berg’s training camp.

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American Primeval is now streaming all six episodes on Netflix.

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2025-01-12 01:55