Issue link: https://digital.copcomm.com/i/1541402
38 • THE ARTISAN WINTER 2026 We also had to cover DJ's existing tattoos and apply MK's tattoos on top of the cover. VVD created the tattoo transfers. There were several different stages of facial swelling in the film. I sculpted five different appliances that could be layered on top of the base facial pieces, along with several body scar transfers. Those were casted by Jason James. In one scene, MK injects drugs into his arm. I sculpted detailed arm skin and designed a small internal chamber with a 3D-printed base and a hard silicone dome to hold fake blood. Benny wanted the scene shot in a single take—where MK searches for drugs, goes into the bathroom, and injects himself. The syringe first draws medication from a vial, then injects it into the arm, drawing blood before the final injection. We used a real needle, but the 3D-printed chamber protected DJ from injury. For a scene where MK's hair is shaved, I sculpted a bald cap on a positive head form scaled 3% smaller than life-size. Silicone bald caps tend to stretch, especially when cast soft and during hair punching. Hair punching was done by Sasha and Harin Choi. All prosthetics were carefully packed by Nicholas Pugliese. VVD FX studio was coordinated by Brian Walsh. There was one stunt body made by Frederic Laine, Gwen Ramsey and Daniele Tirinnanzi but not end up using them because DJ wanted to go through himself. We also created a chin piece with a deep cut, which was stitched on camera by a real doctor. Since I had a prior commitment that overlapped with filming, I had to assign a make-up artist for on-set application. I brought in Glen Griffin and invited him to participate in the test make-up process so he'd be ready. We had a great team of artists on set. Benny was incredibly enthusiastic, and his energy was contagious. L-R: Bjorn Rehbein, Rachel Solow, Dwayne Johnson, Glen Griffin, Chase Cardinal, Erica Young He created a safe and fun environment. DJ was a true gentle giant— one of the most patient actors I've ever worked with. As you know, our work doesn't function without a great actor. He was amazing. I always enjoy giving an actor a fresh canvas, in a way, leave whoever they build upon in the past and every morning watching them look in the mirror and become the character they're about to create. Felix Fox was Department Head Make-up. She designed the looks for the fighters based on real-life MMA and UFC matches that took place between 1997 and the early 2000s. It was essential that the fighters—played by world-class champions themselves—look and feel as though we were stepping directly into that era. Her goal was to ensure our work contributed to a gritty, authentic depiction of those events. One of the biggest challenges was tattoo coverage. In the late '90s and early 2000s, extensive tattooing wasn't as common as it is today. Her cast members portraying historical fighters were all heavily tattooed—full torsos, necks, large leg and arm pieces—and even her background performers, often numbering between 150 and 300 people per day, were significantly tattooed. Yet none of them could appear that way on screen. The fights were intense and physical, and the look needed to remain consistent and flawless despite the constant sweat, friction, and grappling. Creating tattoo coverage that could withstand those heavy, fast-paced sequences was her first major challenge. The second— and arguably most crucial—was choosing the right products and techniques for shooting on 16mm film stock. This format can be unforgiving, often pulling undesirable undertones through the make- up. Initially, she used a product that looked seamless to the naked eye, but once we reviewed the dailies, the flaws became apparent.