Summarize this content to 2000 words in 6 paragraphs in Arabic Mike Marino has spent the past three decades transforming Hollywood\u2019s most bankable faces. His hands have conjured every metamorphosis a body could go through \u2013 from the ravages of time and loss (The Marvelous Mrs\u00a0Maisel) to botched fillers (The Weeknd\u2019s \u201cSave Your Tears\u201d music video) to grisly violence (Matilda De Angelis in The Undoing). His lifelike replica of Natalie Portman\u2019s head allowed her to stretch her neck alarmingly far in Black Swan, and he is the hand behind Heidi Klum\u2019s legendary Halloween costumes, including ET, a worm and Jessica Rabbit.Last month, two Golden Globe winners acknowledged performances defined by Marino\u2019s handiwork. Colin Farrell took best actor in a limited anthology or series for\u00a0The Penguin, while Sebastian Stan triumphed for A\u00a0Different Man, Aaron Schimberg\u2019s wildly inventive thriller about a shy would-be actor whose disfigured face \u2013 marked by neurofibromatosis, a genetic disorder \u2013 has come to define his identity. In his acceptance speech, Farrell joked that \u201call it took was three hours\u201d in Marino\u2019s chair to become the limping, beak-nosed Gotham gangster Oz Cobb in The Penguin. \u201cMike\u2019s imagination as a co-creator and his astonishing brilliance as an artist and sculptor really brought the character alive for me in ways I wasn\u2019t fully able to access until I first saw his design,\u201d says Farrell by email. \u201cOz\u2019s physicality, his limitations and physical handicap, his \u2018otherness\u2019, basically, was so profound and\u00a0singular\u2026 like nothing I\u2019d ever ventured into before.\u201d He very much sees their work as a collaboration. \u201cI took what he did and ran with it\u2026 or limped, as the case was.\u201dBut it\u2019s for his work on A Different Man that Marino has been nominated for a third time for an Academy Award. \u201cIt\u2019s always an honour to be recognised by your peers,\u201d says the 48-year-old from Nanuet, New York, who has piercing blue eyes and black guitar-god hair, \u201cespecially when the subject matter has a positive message about who we are and how we\u2019re treated by others.\u201d \u201cIt was amazing working with Mike, and I really don\u2019t feel that we could have made the film without him,\u201d says Schimberg. \u201cThe thing that is so striking about [Stan] in the prosthetics is that you can read his emotion. He feels like a fully fleshed-out human being. It\u2019s a very humanistic design.\u201dMarino was keen to take on the challenge of creating prosthetics that\u00a0would reflect the medical condition with as much accuracy as possible. The challenge, he says, was to evoke the \u201ccomplexity and sensitivity of the character\u201d. Marino modelled his prosthetics on Stan\u2019s co-star, the actor Adam Pearson, who has neurofibromatosis. His facial details were replicated using photographs and 3D scans. The experience of wearing the prosthetics affected Stan deeply. \u201cOne, they were so real it allowed me to walk around New York freely and nobody doubted me,\u201d says the actor. \u201cSecond, they informed a large part of my performance. From walking to standing to witnessing to being, [the prosthetics] gave me everything.\u201dMarino strived to make an \u201cauthentic piece\u201d that was \u201cinfluenced by the best auteur filmmakers like David Lynch, David Cronenberg, Charlie Kaufman\u201d. He particularly recalls his early experience of seeing Lynch\u2019s The Elephant Man: as a small child terrified of the film, Marino would black out its title whenever he saw it in TV Guide. \u201cWhen I watched it later in life I\u00a0came to understand how beautiful it was.\u201d The film came to be a formative inspiration. \u201cIt really got my brain churning: \u2018What is this\u2026 make-up? What is this thing? How did I see that? How did they do that?\u2019\u201dYears later, he watched make-up artist Rick Baker turn a young Michael Jackson into a werecat in The Making of Thriller: \u201cI was like, this is what I want to do with my life.\u201d He hit the library, holding on to books for months while devouring Wolverine comics, Michelangelo sculptures and anything his heroes Baker, Rob Bottin and Kevin Yagher had worked on, which meant watching lots of RoboCop and Tales from the Crypt. His journey into prosthetics began when he started experimenting at high school, turning his friends into monsters, elderly men and injured teens. \u201cThere were monster faces and burn make-up and scars and scratches \u2013 just trying to scare people,\u201d he\u00a0says. But as he improved, the prankish urge was swept away by a deeper question: \u201c\u2018Can I fool you to think this is\u00a0real?\u2019 And most of the time I was fooling everybody.\u201dEventually, he found the address of Dick Smith, often called \u201cthe godfather of make-up\u201d for his work on The Exorcist and Amadeus. Marino wrote to him explaining that he wanted to pursue special effects as a career. \u201cHe wrote back right away.\u201d Soon, Marino was spending hours on the phone with the Oscar winner, asking technical questions and soliciting feedback. \u201cHe would say, \u2018When you do this make-up, just send me another picture, and we\u2019ll talk about it,\u2019\u201d says Marino. \u201cAnd then I started corresponding with him, and I got much better, quickly.\u201d There was no training. There was no art school. Marino simply learned as he went along. A friend referred him to Saturday Night Live, where he spent two years, then he moved to LA to work on shows such as Buffy the Vampire Slayer and its spin-off, Angel. His big break came in 2007, when Jackson De Govia, the production designer on Die Hard, hired him to create a series of nude bodies for Anamorph, starring Willem Dafoe.\u201cHe was just like, \u2018Oh, nice to meet you, blah, blah, blah,\u2019\u201d Marino recalls of meeting De Govia. \u201cThen I took this pillowcase off this fake head, and he was like, \u2018Holy shit! This is so realistic.\u2019\u201d De Govia later told him that he\u2019d stuck up for him in a meeting with producers who wanted to hire someone cheaper. \u201cHe said: \u2018What he brought in was not a fake head \u2013 what he brought in was a piece of art.\u2019 He told them it would be a mistake if they didn\u2019t hire me.\u201d Marino wasn\u2019t the first make-up artist in Hollywood to be undervalued. \u201cJack Pierce, who created Frankenstein\u2019s monster, Wolf Man and the Mummy, was never rewarded, recognised or paid well,\u201d he says. Neither was Lon Chaney, the actor who starred in silent film classics The Hunchback of Notre Dame and The Phantom of the Opera and did his own make-up. Says Marino: \u201cHe fell into obscurity after speaking films came out.\u201d Though Baker and Smith brought prestige to the craft, the industry still struggles for artistic recognition. \u201cSometimes our work gets overlooked because it blends into the project,\u201d says Marino, \u201cand that\u2019s a compliment. It\u2019s also a misconception that it should be cheap. This is handmade original art. There are dozens of people in our workshops, sometimes working for months on end with special skills.\u201d In 2014, Marino launched Prosthetic Renaissance, his make-up studio on the East Coast, and today helms a team of five to 40 artists, only taking on jobs where, he says, he can \u201cenhance the film and make it better. I want to create something beautiful with a statement of understanding.\u201d On location, he\u2019s never without his specially mixed airbrush paints; palettes of colours; special adhesives; make-up removers; sponges; brushes; various blends of hairs; and \u201cjust about anything you can imagine to help fool the audience into thinking what we do is real.\u201d He credits Rick Baker with stressing the importance of realism, no matter how outlandish the story. \u201cI would always try to make everything look as realistic as possible. I always thought it has to look totally real in person, and if it looks totally real in person, then it\u2019ll look real on camera.\u201d Of course, in the age of artificial intelligence, it\u2019s natural to wonder whether his beloved Iwata airbrush will have a role to play in filmmaking years from now. He can\u2019t countenance it. \u201cAI is the pirating and stealing of all art on the planet, from writing to painting to film camera lenses, all of it,\u201d he says. \u201cAI is a program. It\u2019s a thief.\u201d When he\u2019s not on a job, he\u2019s studying film, writing and drawing hundreds of storyboards for the coming-of-age drama he\u2019s written and hopes to direct, based on a true story set in New York in the late \u201980s (he plans to start principal photography this year). Occasionally, he\u2019ll draw or sculpt for fun, or even go on holiday. But it\u2019s only a matter of days before he\u2019s itching to go back to work. \u201cI\u2019m always just trying to make something and create art,\u201d he says. \u201cIt\u2019s such a part of me that I think it\u2019s like breathing.\u201d <\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic Mike Marino has spent the past three decades transforming Hollywood\u2019s most bankable faces. His hands have conjured every metamorphosis a body could go through \u2013 from the ravages of time and loss (The Marvelous Mrs\u00a0Maisel) to botched fillers (The Weeknd\u2019s \u201cSave Your Tears\u201d music<\/p>\n","protected":false},"author":1,"featured_media":212943,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-212942","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/212942","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=212942"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/212942\/revisions"}],"predecessor-version":[{"id":212944,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/212942\/revisions\/212944"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/212943"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=212942"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=212942"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=212942"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}