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Q. [Note:  English translation not available.]

A. (Mr. Bertolazzi) [Note:  English translation not available.]

Q. [Note:  English translation not available.]

A. (Mr. Bertolazzi) [Note:  English translation not available.]

Q. Congratulations, guys.

A. (Mr. Nelson) Thank you.

Q. Superhero movies are known for having a very passionate fan base.  When you approach a project like this, do you feel an added sense of pressure approaching a separate interpretation for characters as iconic as these?

A. (Mr. Bertolazzi)  Yes, of course.  It’s incredible pressure, but I can tell you easily, it’s incredible pressure, but with the pressure you can do nothing.  You just start in the moment when you decide to do it, your experience, your talent and then they call you for something.  This is the moment you have to do something, and this is the moment.  You forgot everything.  You forgot the pressure, you forgot the studio, you forgot the icon, and you do something the best of the best.  And that’s what he did, right, Christopher?

A. (Mr. Nelson)  Absolutely.  Yeah.  I mean, you don’t really go into it trying to make everybody happy.  You go into it trying to interpret a story and tell the story, and tell the story that the director is trying to tell.  So you go into it creating a character that an audience can relate to.  And hopefully we did that.  It seems like we did.  So that’s what you do.

Q. Congratulations to you all.  You spoke about going to hardware stores, digging through trash to come up with the concept for your makeup.  Do you often start with unusual sources as you ‑‑ as you investigate the characters?  Is that quite normal for you?

A. (Mr. Bertolazzi)  It’s totally normal because I come from Europe.  I come from Florence.  And the studio laboratory is the best way for building something.  So it’s like a Renaissance; like Leonardo da Vinci is too much, of course.  But I needed inspiration.  I need to be in ‑‑ I need to fill the room of rubbish, stuff.  Everything is part of me.  Probably also this carpet.  It’s beautiful.  Can I take pieces and put it in the room?  And then you know why, because when you start to thinking about something and the director gives some input and you start to thinking about but you have no idea.  So, when you see something attract you, probably you don’t know why, but this is the moment you can catch this stuff and put in the room.  When the room is full of rubbish, full of everything, you start to build something and something happened without you know what happened, but it happened.  It doesn’t mean it’s poor stuff.  It’s just poor stuff, but it’s not sometimes cheap.  I can find gold.  Oh, look at this beautiful gold, but that’s a different story.  Sorry.

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