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40 • THE ARTISAN WINTER 2026 She quickly overhauled our approach—adjusting the products, refining the color spectrum, and developing a tailored sequence of applications. Ultimately, she found success with a custom system: micro-rolling on each performer's unique undertones, layering their pre-established bases, and finishing with four distinct airbrushed texture passes. Her focus was ensuring that the tattoos underneath didn't push green hues (from the darker tones) through the surface and that the overall look maintained the warmth that best complemented the 16mm film. The result needed to hold up through the fights with minimal touch-ups while looking as natural and true as possible. To remain faithful to the specific fights depicted—from the early Vale Tudo matches to later UFC matches—she studied the original documentary obsessively. From that research, she sculpted and produced highly softened encapsulated silicone prosthetics, along with a few Bondo transfers for each fighter and sequence, to replicate I first met Kazu when we both began at Cinovation Studios in 1996 on Men in Black. Having worked with him firsthand, I know how meticulous his approach is and how high his standards are. I've always connected with his pursuit of creating stunningly realistic make-ups. Working with him early in my career gave me a mental understanding of what's expected—our work styles are similar. We both operate best when quiet and focused, and after years of collaboration, I can read some of his cues instinctively. When we began discussing the new film—a close, dramatic adaptation of the 2002 documentary of the same name—I knew I needed to watch the original documentary right away. After viewing it, I quickly recognized the unique challenges ahead. Having worked on Creed III, I was familiar with the fast pace on set, constantly rushing in for prosthetic touch-ups, sweat, or blood. This project added another layer of difficulty: UFC-style mat fighting, which would inevitably grind delicate make-up against arms, legs, and the mat itself. On the test day, Kazu skillfully applied the brow and nose appliances while I handled the ears and tested tattoo applications. Bjorn Rehbein, responsible for extensive tattoo cover-ups, worked on concealing DJ's tattoos before I painted the prosthetics. As Kazu adjusted the color details and applied the beautiful wig and brows, we finally got our first glimpse of DJ transformed into MK. When the first day of shooting arrived, we knew it would be intense. The first completed "Mark" look featured a redesigned brow and a fully punched silicone cap prosthetic, which would be shaved on camera as MK prepared for a fight. DJ's personal groomer, Rachel Solow, joined us to maintain his skin and keep him clean-shaven each day. We first completed his regular look for production stills, then Kazu and I applied the bald cap together later in the day. Kazu trained a professional barber—who also played the barber in the scene—on how to use clippers without damaging the silicone. It worked beautifully. Benny exclaimed, "That was like a magic trick!" It set such a positive tone for the project. While shooting the stills, I had to mist DJ with sweat and quickly their real-life injuries. Every detail mattered—even a particular bruise seen on the referee in the original footage was recreated for the film. Because of the quick, handheld shooting style, she applied prosthetics as close to set as possible, often in our make-up tent as the fights progressed naturally. She loved the energy of that environment—you felt immersed in the action and in the creative synergy that Benny cultivated among the athletes, the crew, and the entire team. Her make-up team was Darah Wyant, Amanda Imeson, Tara Thorburn, Trisha Porter, Chelsea Matthews, Suzie Klimack, Emelie Qvick, Mary Pham, Katie Goett, Hayley Gilmore, Brooke Fenton, Mikaela Peterson, Kat Kou and Tray Willis. Prosthetic make-up was helped by Harlow Mcfarlane, Maiko Gomyo, Vicki Syskakis, Geoff Redknap, Carolyn Williams. Mia Neal was Hair Department Head Hair. She worked on Dwayne Johnson and Emily Blunt wigs. Other cast members were taken cared by key hair stylist Greg Cooper-Spencer, Judy Durbacz and James Dreichel. B Y G L E N G R I F F I N S P E C I A L E F F E C T S M A K E - U P A R T I S T