The eponymous mythical entity in David Lowery’s Arthurian reinterpretation “The Green Knight” was as tactile on set as it appears on screen. Imposing and oaken, this embodiment of the unknown (deat…
and his team at BGFX, the London-based company he co-founded with his wife Sarah Gower.
Drawing details from a variety of forestry textures and colors, they sculpted these maquettes in modeling clay. For an extra three-dimensional quality, they added fake moss. Once the final form of the Green Knight was agreed on, a concept artist did several color passes. “He painted over the clay model and we had different shades of greens, yellows and browns to come to a conclusion with what seemed like the right hue,” Gower noted.
The Green Knight’s head consisted of a large pullover, similar to a balaclava appliance, which glued around Ineson’s hairline and in front of his ears and under his chin. It then went down his neck and on the top of his chest. This appliance sat under the costume at the base. Following that large component, there was a large facepiece, which went all around the actor’s eyes and blended over the forehead.
In addition to the facial construction, the artists also designed pull-on gloves, which were skin-tight. To make prosthetic gloves the craftspeople always reduce the hand formers sculpted in modeling clay. Once on, there’s no buckling. In fact, they fit like, well, gloves. However, because Ineson had broken his wrist a few weeks before the shoot, they had to split one of the gloves to accommodate his plastic cast. Thankfully they only filmed once under those circumstances.
For Ineson, the burdensome wearable props were a tool to immerse himself in the role, disappearing under this hand-fabricated identity. With his face enclosed under multiple layers, his ears were covered, so he described hearing sounds as if he were underwater. Meanwhile, his vision was also subpar due to special effects contact lenses, which vocally he dislikes putting on.
“It’s so impressive how thin the prosthetics was around my eyes and my cheeks and the edges of my mouth meant that I could really express and I could act in a way that I was worried I wouldn’t be able to do. I didn’t want to be doing it in a mask,” said Ineson. “I had to learn to use the prosthetics and realize to what extent I had to exaggerate some facial movements bigger than perhaps I would normally without the prosthetic.
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