MONSTER MAKE UP - THE NUTS AND BOLTS OF MAKE UP IN HORROR FILMS
Nottingham 24 February 2011

Always looking to add to my font of potential useful knowledge about all things film production, an invite to attend the EM Media Talent Network event dealing with ‘monster’ (gah!) makeup was not to be sniffed at, especially as the luxurious offices shared by EM Media, Confetti and God knows who else at the Antenna Media Centre are a mere stone’s throw from the equally palatial Strange Things HQ.

Arriving at almost exactly 3.45 (I’m a stickler for punctuality, despite what other people claim), I settled in the surprisingly large and plush Antenna bar (what else is this used for? It’s fancier than most places in Nottingham!) where I took advantage of the first of the two free drinks that – alongside food – came with a ticket. Common sense said that I should stick to soft drinks, so of course I ordered a beer, as I scanned my fellow attendees – a mix of students and wannabe filmmakers it seemed (a correct assumption as it turned out…).

At 4pm, the event proper kicked off in a conference room upstairs, and we were introduced to Mutant Chronicles director Simon Hunter, who would be moderating the event, and make-up artists Paul Hyett (The Descent 1 & 2, The Cottage) and Jacqueline Fowler (Harry Brown, Hunger) in what would prove to be a fairly relaxed, free-wheeling discussion about the role of make-up effects in films and TV (not just horror make-up, it should be noted) – how the pair started their careers, their big breaks, budgeting, the ups and downs of the industry and so on.

During the first half of the three hour event, svelte and freshly scrubbed Mayhem man Chris Cooke was dragged ‘on stage’ to be a test subject for a couple of unsavoury looking facial wounds – a nasty gash applied by Hyett and a less specific burn / bite / boil from Fowler. It was certainly interesting to see these effects slowly take shape, and good to see that they held up quite well even under close examination - stage blood never quite looks real, but that aside, these gory effects looked pretty convincing.

The two make-up artists were good – Hyatt had a chilled-out approach to things, while Fowler was breathlessly enthusiastic, and Hunter kept things moving along for the most part. A few computer glitches and overly-long film clips marred the video demonstration section, but otherwise, everything went fairly swimmingly.

Interestingly, Hyatt had brought along several props from various movies – mutilated heads, tearaway necks, Noel Clarke’s arm (sadly not the real one) and half a dead baby – which were on display at the back. Oddly, these were not mentioned by anyone involved, and so I imagine most people didn’t even notice them!

After the event, it was downstairs for more beer and food, which came in the form of veggie chilli that everyone ate sat at amusingly school-like long tables. A few more beers (cheers Chris!) were consumed as the networking part of the evening kicked in – and for once, this actually did seem to have some real networking taking place, as everyone there (including me) pitched their movie projects to people who have yet to become bitter and jaded about the film business.

On the basis of this, I’d certainly recommend any future Talent Network events to anyone with an interest in film production.

DAVID FLINT