Issue link: http://digital.copcomm.com/i/611826
was yet to be released. Through our own research, we obtained historical information about the wounds that Glass received and with all this in mind, alongside the information that Iñárritu was able to give us, we set off to life cast Leo. Glass received wounds to his entire body so a whole day of life casting with Leo was needed; our good friend, Vincent Van Dyke, and his crew at VVD Effects, were also on hand to help. Shortly after this, Duncan and I flew back to the UK where we put together our prosthetic's team for the film, including Tristan Versluis and Leon Smikle. Our expert team were all to work from the workshop of Kristyan Mallett at KM Effects. From our first meeting with Alejandro Iñárritu, Duncan and I both knew that the bear attack would need to be our starting point. Iñárritu had explained that he wanted to be able to see all of Glass' wounds, the wounds needed to be able to bleed as well as be stitched closed with a needle and thread and all of this would potentially hap- pen in one continuous shot. Up until the point of rehearsal, which was months away, it was impossible to know which wounds would be seen in shots, we therefore realised that we were going to have to build a lot of appliances! Before filming began, the team did several full make-up tests in the UK, both photographic and on film, getting feedback from Iñárritu until everyone was happy with the results. We flew out to Calgary in Canada a month before principal photography was to start so we could perform final make-up tests and run through a technical rehearsal. Unfortunately, we were unable to take any of our UK crew to Canada so for the larger make- up applications, we enlisted the help of Adrien Morot, Brandi Boulet and Mo Gomyo on set. Duncan organised a workshop in the trailer to produce and finish appliances that were sent over from our crew in the UK. Brandon Allen from SFX was also recruited, who, along with Duncan, worked out the logistics of the blood rigs, blood consistency, opacity, colour, flow and volume. Kathy Blondell, hair stylist, was also on board as part of Leo's primary hair and make-up team. Duncan and I had been working on the film for many months before Kathy joined us, but as we are all so used to working together, it didn't take long to brief Kathy on the needs for the film. Together, Kathy and I worked on Leo's 47