The Cinefex Vault of online articles contains some curiosities, including some accounts of films so off the beaten track they might not at first appear to contain any special effects. Such was the case with director Patty Jenkins’ Monster, which – despite its title – contained no creatures of fantasy. Instead, the title referred to a stunning performance by actress Charlize Theron who slipped completely into the skin of a convicted psychopath, earning her ‘Best Actress’ at the 2004 Oscars and Independent Spirit Awards. A key collaborator in Theron’s transformation was makeup designer Toni G, who in the run up to the 2004 awards season reflected here on her experience helping to transform one of cinema’s great beauties into the face of brutal killer.
Skin-Deep Monster – article by Jody Duncan / interview by Joe Fordham
Among those nominated for the best actress Academy Award this year is Charlize Theron, whose chilling turn as serial killer Aileen Wournos in Patty Jenkins’ Monster has garnered ecstatic critical reviews – many of which note how thoroughly Theron disappears in the role. Gone is the svelte, creamy-skinned, blue-eyed beauty; in her place is a near-perfect re-creation of Wournos, complete with ravaged hair and skin, crooked teeth and dumpy body.
Historically, Oscar has honored beautiful women who have shed their vanity for the sake of a juicy role. Elizabeth Taylor as the frumpy Martha in Who’s Afraid of Virginia Woolf? won the best actress statuette, as did Hilary Swank playing the boyish, gender-confused Brandon Teena in Boys Don’t Cry, and The Hours’ Nicole Kidman, whose natural beauty was obscured by a prosthetic nose. If Theron continues that trend with a win on Oscar night, she is likely to acknowledge the contribution of Toni G, the makeup artist responsible for her startling physical transformation.
Recommended to Theron and Jenkins by Rick Baker’s Cinovation Studio, Toni G met with the actress and the director well before the start of filming to devise an overall approach to the makeup assignment. “When they first called me,” Toni G recalled, “I thought that Charlize Theron as Aileen Wournos was a bit of a stretch. But when I met with Patty and Charlize, I realized that it was definitely achievable. Charlize was so completely inspired, she inspired me! I thought, ‘Yes, this is possible.'”
At that first meeting, Jenkins and Theron made it clear that they wanted to pursue a non-prosthetic approach. “Prosthetics weren’t even considered,” Toni G said, “mainly because there wasn’t the budget to do that. But I never thought prosthetics were necessary, anyway.” The plan was to have Theron gain 30 pounds – which, in itself, would go a long way toward changing her appearance – and then implement the other changes through straightforward makeup and hairstyling techniques. As a start, Toni G researched a wealth of archival material on Wournos. “There were so many great photographs of Aileen and so much video coverage, it was a dream. I had a plethora of research material.”
In the days leading up to the shoot, Toni G applied test makeups on friends in her garage, arriving at a final makeup that emphasized Wournos’ key characteristics. Among the most crucial were her misshapen eyebrows and dry, over-bleached hair. Rather than wear a wig, Theron gamely endured a day-long hair-frying and hair-thinning session with hairstylist Katie Swanson. Her eyebrows also took abuse. “Charlize’s eyebrows needed to be completely changed to frame her face differently,” Toni G noted, “so I took off all the outside part of her eyebrows, and also bleached them. Eyebrows are an amazing representation of what people go through in their lives. You can see an angry person, a happy person, a gentle person, all through the eyebrows. Aileen’s eyebrows had a tendency to angle upward towards her forehead, which created an angry expression.” Contact lenses further altered the actress’ eyes, changing their color from blue to brown and giving them a deeper, more haunted look.
Wournos’ crooked, stained and rotting teeth were another distinguishing feature. Toni G covered Theron’s straight, white teeth with prosthetic dentures, which also served to push out her mouth slightly, making it appear wider. Toni G hired Yoishi ‘Art’ Sakamoto, with whom she had worked at Cinovation, to make the dentures. “Art took a dental impression, and then came up with some prototype dentures, painting on the discoloration and detail. We discussed what needed to be changed, and went from there. It was important that the dentures be thick enough to look realistic, but thin enough not to impede Charlize’s speech. We got a practice pair out to her as soon as possible – about a month before they started shooting – so she could get accustomed to speaking with them. It takes time for a person to learn how to speak properly with prosthetic dentures, so that they don’t distract from the performance.”
Even with the excess weight, damaged hair, crooked teeth and bleached and over-tweezed eyebrows, Theron’s beauty shone through. “We had all those things together,” Toni G recalled, “but she still had this creamy, poreless, gorgeous skin. With makeup, I had to create the years of abuse to her skin – all the freckles and capillaries and sun damage – either through hand-painting or working with an airbrush.” The makeup artist used an alcohol-based, makeup-industry ‘tattoo ink’ to create layers of translucent washes, building up the skin damage to suggest depth and dimensionality. A sealant called ‘Green Marble’ was applied to create additional texture, and was also used liberally to prevent the makeup from running off in a scene in which Wournos appears in the shower.
With practice, Toni G got the makeup application time down to a single hour. “I remember the first day we did the whole makeup on Charlize. It gave me goose bumps. She walked out of the trailer, lit a cigarette – and Charlize was gone.”
A symbiotic fusion of Toni G’s makeup and Charlize Theron’s extraordinary performance resulted in a stunning on-screen representation of the troubled Aileen Wournos. “If Charlize had given a brilliant performance, but still looked like Charlize,” Toni G concluded, “that would have been very distracting. But if not for her brilliant performance, the teeth, the makeup, the hair – none of it would have worked.”
Photo copyrights © 2003 by Newmarket Films.