Written by Shiva Rodriguez.
There's a certain style of film-making where people get together with
almost no money and must forsake all luxuries like insurance and safety
equipment while they pretty much act like maniacs trying to shoot their
projects as quickly as possible using whatever they happen to have
access to by way of locations and props. This is known as "guerrilla
film-making" in the industry, but some of us fondly refer to it as "Your
First Several Films."
I've worked on many such projects and I've had a lot of fun trying to figure out how to pull off no-budget FX in the great MacGyver fashion.
However, I've also seen a lot of injuries happen on the sets of such
films. Cameramen falling out of trees, actors twisting ankles while
doing their own stunts, even food poisoning from the unrefrigerated fare
on the craft services table.
I've also heard of a lot of pain and suffering from actors in regard to
the makeup and F/X while working on films. I'm not talking about
legitimate accidents, but rather little things that could have been
avoided if the people in charge would have taken just a little time for
precaution.
The most obvious of the easily-preventable mishaps is also one I see
over-looked the most often. I know that F/X makeup artists often have a
reputation for whipping together all kinds of strange concoctions and
won't hesitate to torture an actor for the sake of art. However, like
any good chef, it's very important to know your ingredients while
cooking up the nasty stuff to douse actors with. This means being very
familiar with the products you use for a makeup and how they react when
in contact with all other elements (including human skin.)
One of the most common examples is the use of latex. Many people do not
realise that it comes in a variety of types with different applications
and that there are some that you really don't want to use directly on
skin. While most retailers (like Wal-Mart and Spirit stores) will carry
bottles of skin-safe liquid latex that are clearly marked for makeup
applications, some of the professional places that I get my supplies
from in bulk don't bother with the warning labels because they assume
that you already know the difference between slush latex and old age
stipple.
And let's not forget about how many people out there are allergic to latex no matter what form it comes in.
Allergies is another thing that I've noticed are often over-looked. Often an actor will ask "What's in that?"
when you're about to drop a spoonful of blood in their mouth and then let
you know about any allergies to the ingredients. (Thus forcing you to
whip up a suitable batch of blood on the spot and aggravating the
waiting production crew on set in the process.)
However, many actors can't tell you if they are allergic to spirit gum
or collodian, because they've either never had it applied to them before
or they don't know what it is made of.
This is why testing for allergies prior to makeup applications is so
important. If I'm working with an actor who doesn't know for sure how
they are going to react to one of the supplies I plan to use on them,
they get a small dab of it on the inside of their wrist. (I always keep a
tube of hydrocortisone ointment in my kit!) Try to conduct your
allergy tests as far in advance as possible, as once in a while you'll
come across someone with ultra-sensitive skin and may have to re-think
your entire approach to the makeup.
Now, I'm not perfect by any stretch of the imagination, and I learned
the hard way never to take any type of makeup for granted when it comes
to how an actor's skin might react to it.
While on the set for Psycho Chicks Anonymous, the script called
for a woman who had dyed herself green to please her science
fiction-loving boyfriend. I figured that the quickest way to give her a
lovely green complexion was by painting her with water-based makeup. I
didn't bother to test the makeup on her because it was the same kind
used at amusement parks for face-painting kids, so I knew it was pretty
darned safe for anyone.
But what I didn't take into account was how soft and supple the
actress's skin was. The makeup when on without any problems, but when
she went to wash it off with soap and warm water she discovered that her
skin had actually absorbed the colored water in the makeup. Her skin
had a noticeable light green tint to it for about two weeks.
Makeup application isn't the only place where actors can get hurt in F/X
work. I myself do a lot of weapon gags, and many productions can't
afford the materials to do completely safe replica weapon fabrications,
so I often have to create my builds using real knives and whatnot.
The first thing I do with any bladed weapon to be used as a prop is dull
it down as much as possible using a grinding tool. Then I coat the edge
with an epoxy or other plastic-type material to give it a smooth (and
dull) edge although it still appears to be quite sharp to the audience.
My rule of thumb when it comes to building blunt force weapons is that
if I wouldn't hit my mother with it, I won't bring it on the set to
bludgeon an actor.
With that rule in mind I've built rocks and bricks
out of foam packing materials, tin cans out of cardboard and aluminium
foil, and even tree spikes out of soft rubber.
It never fails to amaze me how often I see safety concerns go flying out
the window on a guerrilla set because of time constraints or just
over-enthusiasm to get the shots done and move forward.
NEVER let
anyone rush you when you're preparing for a potentially dangerous stunt
or effect!
I can't stress this enough. When you design an effect or
plan out a stunt, you need to take everything into consideration from
the actor's physical limits to what can happen if something goes wrong.
The director will only be thinking about what he wants to see, the DP
will only be thinking about how he's going to shoot it, and everyone
else will be focusing on their own parts to play on set. It will
ultimately be your job to make sure that the effect is done as safely as
possible and no harm comes to the actor.
Make them listen to you if you have any concerns whatsoever about what they want to do!
Believe it or not, I have listened with horror as a director told me
that he planned to do a car-hitting-pedestrian effect by having a car
run into his actor at 20 miles per hour and then speed it up in post. I
told him that it was extremely dangerous and that there were many safer
and saner options to achieve the effect he wanted. However, he was
convinced that 20 mph was "not that fast and wouldn't hurt the actor."
Had I been given those orders, I would have told the director where
to stick his car and escorted the actor off the set before he/she got
seriously injured (or worse) for the sake of a shot. (I did contact
someone I knew who was on crew for that production and voiced my
concerns for the safety of the cast.)
While I could go on for days about taking preventative measures for F/X
makeups and gags, it really all just boils down to using common sense
and planning ahead. Check for allergies, know your materials, keep a
well-stocked first aid kit with your gear, make sure you always have
access to water (even if it's just kept in bottles), and a cell phone to
call for help in case of emergency. If stuntwork is involved, do your
research on how to safely execute them and consult an experienced stunt
coordinator if you have any questions.
You want your work to be memorable for the artistry put into it, not for the scars!
No comments:
Post a Comment