Talent comes in many forms, the artistry of hair and makeup in a movie. The category was among those recognized at Sunday’s Academy Awards ceremony in Los Angeles, with performances, of course, in cinematography, writing and sound. This year, prosthetics proved victorious as Adrien Morot, Judy Chin and Annemarie Bradley took to the podium, winning Oscars for Best Makeup and Hairstyling. Respect acknowledged his broadside over Brendan Fraser, turning the actor into Charlie, the main character of “The Whale”. Fraser plays an obese man living behind a computer screen, who tries to form a bond with his distant daughter, while adapting to the reality he faces of his situation.
For “The Whale” to win this award, the use of all-digital prosthetic make-up was a major breakthrough. The Academy noted that this was done for the first time, allowing Fraser’s emotional range of expression to radiate.
Dubbed by the motion pictures as the “Prosthetics Wizard”, Morot had the task of creating prosthetic makeup for Fraser’s character Charlie. Every day on set came with hours of meticulous preparation as Fraser created a mold for every part of his body, from chin to arms and legs.
Brendan Fraser as Charlie in “The Whale”.
Courtesy Everett Collection
Morot’s skills have been recognized for more than a decade, including an Oscar nomination in 2011 for Best Achievement in Makeup for the film “Barney’s Vision.”
Other nominees in the category included Marc Coulier, Jason Baird and Aldo Signoretti, with their nostalgic transformations of Austin Butler and Tom Hanks for “Elvis”; Camille Friend and Joel Harlow create ethereal glamor on the entire cast of “Black Panther: Wakanda Forever”; Naomi Donne, Mike Marino and Mike Fontaine, who modernized the characters of Gotham for “The Batman”, and Heike Merker and Linda Eisenhammerova for “All Quiet on the Western Front”, which also won the Oscar for Best . International Pictures.
Academy Award winners Judy Chin, Adrien Morot and Annemarie Bradley win Best Makeup and Hairstyling for “The Whale” at the 95th Annual Academy Awards on March 12 in Los Angeles.
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As Morot, Chinn and Bradley rejoice in their accomplishment, WWD looks down at their work through the years, including the striking special effects makeup Morot in 2014’s “X-Men: Days of Future Past” and the avant-garde. Black Swan” as Chin envisioned on Natalie Portman’s face in 2010.
Judy Chin for “Black Swan”
Natalie Portman as “Black Swan”.
© Fox Searchlight / Courtesy Everett Collection
In the 2010 film “Black Swan,” Chin brightened Natalie Portman’s face with a white base and faint red lip, experimenting with the ballerina’s earlier look with darkness in her gaze. The black and bold eyeliner represented a transcendental scene, using the plot of the film with eyeliner that covered the entire eyelid and temple, sharpening at the inner corner of the eye.
Natalie Portman in “The Black Swan”.
© Fox Searchlight / Courtesy Everett Collection
Judy Chin for “Little Women”
Laura Dern as Marmee, Meryl Streep as Aunt March and Florence Pugh as Amy in “Little Women”.
© Columbia Pictures/Courtesy Everett Collection
Chin’s work as head of the make-up department in Greta Gerwig’s film “Little Women” showed female actors in a natural light, though with a subtle tint of blush and lip color eclipsed with a thoughtful approach to the era of the plot. Did.
Chin received two Emmy Award nominations for her work as principal makeup artist and makeup department head for “Sex and the City” in both 2001 and 2003.
Adrien Morot for “X-Men: Days of Future Past”
Jennifer Lawrence as Mystique in “X-Men: Days of Future Past”.
©20thCentFox/Courtesy Everett Collection
Montreal-born special effects makeup artist Morot worked on “X-Men: Days of Future Past.” Jennifer Lawrence was re-imagined as Mystique, with her blue figure and black ink pupils fully dilated with a yellow eye.
Nicholas Hoult as Beast in “X-Men: Days of Future Past”.
©20thCentFox/Courtesy Everett Collection
Portrayed by Nicholas Hoult in “X-Men: Days of Future Past”, Beast had an intense stare with his brushed-up eyebrows and razor-sharp teeth. Morot reduced the character to a hideous state, spitting out body hair through tears in his clothing.
Annemarie Bradley for “In the Heights”
Melissa Barrera, Stephanie Beatriz, Nina Rosario, Daphne Rubin-Vega and Dascha Polanco in ‘In the Heights’.
© Warner Bros. / Courtesy Everett Collection
Hairstylist Annemarie Bradley received a Make Up Artist and Hairstylist Guild Award nomination for Best Contemporary Hairstyling in a Feature-Length Motion Picture for “In the Heights”. The musical evoked the charisma of a hair salon, and Bradley completed the venture with voluminous hairstyles and playful hair accessories.
Annemarie Bradley for “A Bad Mom’s Christmas”
Kathryn Hahn and Justin Hartley in “A Bad Mom’s Christmas.”
Everett Collection / Everett Collection
Bradley was behind the hair colors and styles in “A Bad Mom’s Christmas”. The character of Kathryn Hahn plays the daughter of Isis Dunkler, played by Susan Sarandon, in which they are both portrayed with auspicious colors and free-spirited personalities. Whether with disco curls or pinned to one side to finish, Bradley channeled the actress’s features with a hairstyle similar to hers.
Cheryl Hines and Kristen Bell in ‘A Bad Moms Christmas’.
Everett Collection / Everett Collection
The annual Oscars celebrates the film, the cinematography and the actors who brought the characters to life. This year the show was hosted by Jimmy Kimmel. The performance included Rihanna and Lady Gaga, and presenters included Dwayne Johnson, Emily Blunt, Janelle Monáe and others. For the 95th annual ceremony, the red carpet was changed to a champagne color due to an aesthetic choice to enhance photography during the arrivals. The champagne carpet was the first carpet to change color to red since the 33rd Oscars in 1961.