Wounds various

This was a way I invented of doing wounds on black skin back in the early 1990's on "The Orchid House".  When blood products are applied straight onto black skin and it doesn't register well. The dermis under Black skin is very pink and can be used to best effect if the wound can be structured to reveal it. Obviously there needs to be a logical reason or a way that some skin has been lost to reveal the pinkness in order to justify using this method so it isn't great for bullet entry wounds, but exit wounds and scrapes work well.  As I recall, the crowd guys loved it so much they wanted to have some wounds for fun; so I spent a lunchtime doing wounds on them.  They were very happy.  I subsequently used this method on Omar Epps in "Deadly Voyage".

This is a photo of the surviving prostitute of a serial killer.  After addressing the slashed neck with a prosthetic, made and applied by Jeremy Woodhead, it occurred to me that this woman might have actually cried.  So I ran her mascara into blood.  It's a small detail, but a thoughtful one, common sense really, but sometimes a make-up, especially when a prosthetic or effect is involved can become all about the prosthetic and such little details can get overlooked.  It's important to maintain a perspective.

I think Chris Burt, our Producer, was just having fun with me this sunny day in a field in the South of France on "The Free Frenchman" (1989).  

An unscripted slit throat was called for. So I cobbled this together out of a combination of latex, breakfast, greasepaint and some sfx blood products. 

It took about 40 minutes.  

The camera chaps thought it was really real.

The end of day continuity photo of the Cat and Nine tails whipping on "Hornblower".  Logic about how the whip would splay and catch the skin in so many different directions and in a variety of depths was applied to get a realistic effect.  I liked doing the detail where the whip crosses the gap to the left arm. 

This production still from "Hannah's War" shows a beating make-up done entirely with greasepaint, latex and blood products.  As I took over this artist's make-up at short notice no prosthetics were possible, and Probondo had not been invented then, so this is old school 'out of the make-up box' work. 

This end of the day continuity photo of Iain de Caesteker's hand as it was trapped in the denouement of "The Fades".  The orangey area was covered with blood which has since been wiped off.   There is no prosthetic, this is 'old school' out of the make-up box spontaneous response to a development during stunt rehearsal.

Above, and centre - these are two of my continuity stills of Johnny Harris in "The Fades".  Polus has licked his eye and caused this infection and bleeding. The stomach wound is a large prosthetic I sculpted and applied, but did not make, it was made by Rob Smith.

The George Asprey (far right), with some punch-up wounds in "Sean Devereux - The Dying of the Light"  This was one of the photos I took as one of the official Unit Stills Photographers as we filmed in some very remote parts of Ghana.

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