ความคิดเห็นที่ 124
Along the alley of film trucks, actor Christopher Judge is slouching outside his trailer. Newman leans out her door. "You're late!" she hollers in a tone threatening trouble if he doesn't get his butt into her chair pronto.
"Christopher is such a delight to start your day with," she relents. "He's a very interesting man and we always have great chats."
It takes twenty minutes to apply Judge's makeup, including gold powdering over a skin-tone base, and the golden tattoo which marks his character, Teal'c. as -first prime" to Apophis.
The tattoo is made from the kind of glue used in hot-glue guns, pressed into shape in a plaster mould, then stuck to his forehead with a non-toxic adhesive designed for medical purposes such as anchoring colostomy bags.
"The eye make-up has come from an Egyptian design," says Newman. She regards Teal'c's prominent eye shadow as tattooing, and the golden skin tone as temporary colouring that he chooses to apply.
"We tried to get a solid answer from [former Stargate SG-1 executive producer] Jonathan Glassner - why is he gold?" says Judge. "Then Jan and I came up with a back-story that it's this kind of spiritual ritual that Teal'c goes through.
"The original concept of Teal'c was that he had this long Egyptian-type goatee that was wound with gold, and had long prosthetic earlobes with earrings. 1 was so happy when they nixed the ears."
Producers opted instead for the less time-costly combo of golden skin and bald head, which "looks kinda cool!" says Judge.
"But I hate getting up in the morning and having to shave my head," he groans. "Especially during the winter. It's terrible! So if anyone wants to start any type of Internet or mailing campaign about Teal'c having hair... And you know what? We could make it gold hair! Just as long as he's got hair!"
For the first few episodes of season four, the producers did permit Judge to keep a dribble of bleach-blond goatee that he'd cultivated during the break. Fans on the Internet promptly dubbed it a "cater-pillar", among other less polite descriptions.
"It's his 'soul patch'!" laughs Newman indignantly.
Repeated blonding soon led to the tuft's demise. "You know what bleach does to hair," notes Newman. 1t has a tendency to break it off and cause skin irritations."
"Okay, so in our lives sometimes we make mistakes!" Judge concedes with a bellowing laugh.
Amanda Tapping breezes in with cheery greetings to all. For her character, Major Sam Carter, Stargate SG-1's air force advisers have prescribed "almost a no make-up look, says Newman.
That suits Tapping: "I don't want to wear a lot of make-up, and I don't think that my character would, so it's a matter of paring it down to the absolute minimum that we can get away with."
Odd, then, that Carter's make-up typically looks fresh after days of roughing it in the woods or incarceration in a Goa'uld hellhole.
"This is something that I get upset with," says Tapping, whose on-screen look is influenced to some extent by studio executives. "It's like an edict has come down from the powers that be that I can never look really horrendous, because I'm the girl.
"Im never happier than when I get to wear dirt on my face in episodes like "Need" and "The Devil You Know", because I would get dirty. And I, Amanda, am goofy enough that I would roll around in the mud and think it was great," she laughs. "Sometimes I'd like to be a lot dirtier!"
Tapping loves the time she spends with Newman: "She's like a mum in many ways, and a friend. It's funny the things you tell your make-up artist that you wouldn't tell anyone else!"
Judge, too, enjoys nattering with Newman in the relative privacy of the make-up trailer. "A lot of times we're the only ones there, and we discuss different topics, yesterday's events, or she tells me, 'You smell like Scotch!- he laughs. "And it's kind of, like, our time. 1 think that provides a very unique relationship."
Newman sees it as part of her job to start the day well for the actors. "If they've not slept the night before, or if they've had a hard week, we always put music on for them to relax to. We have a really happy trailer."
"I'm a terrible sleeper," says Richard Dean Anderson. "If I have gotten to sleep say at 4 or 5 o'clock in the morning and I have to get up at 5.45, chances are I'm gonna be a little on the rough side. But I'm not caustic or snapping people's heads off.
"Dixie, my loyal, wonderful driver, brings me a great big honking Starbucks, with two shots of espresso in it, and a scone, and I have that on the way to work and I read the USA Today. So I've been softened up a little bit by Dixie, and Jan gets the nice me," he reckons.
"Sometimes I like the music cranked up - a little Buddy Holly, or some kind of Yo-Yo Ma Bach concerto, or Queen. And sometimes I just want it really quiet, peaceful and meditative.
"I can be a handful," he laughs. "I have a tendency not to be able to sit still too long, and more often than not when Jan's trying to apply make-up."
But Newman recalls season one episode, "Brief Candle", for which a special effects make-up artist was contracted to age Anderson to 100 years old: "Richard was in prosthetics for the majority of the show and lie was so wonderful. He sat for four and a half hours to get his aging make-up on, and an hour and a quarter to get it off. I thought, wow, if he can do that, he can sit still for me for twelve minutes!"
It's 9arn. After three busy hours in the make-up trailer, Newman heads to the soundstage.
On set (a massive pyramid interior) the robot O'Neill has been brought before the throne of vicious galactic warlord Cronus. Anderson stands surrounded by Jaffa warriors, plus the leader of the mud people who is aiming a crossbow at
his back, but he's about to whisk out two handguns and go down in a blaze of weapons-fire.
Foam earplugs are distributed to everyone in the vicinity. Just before the cameras roll, Newman materialises at Anderson's side and sticks a paintbrush in his ears, camouflaging his plugs with skin-tone make-up.
"Rolling! Very loud gunfire!" bellows the first assistant director. He's not kidding. As Anderson fires, I can feel the sound of the gunshots hammering into me like physical body blows.
The make-up and hair teams are now camped on canvas stools alongside the set. Beside them, a headless body sits with its legs nonchalantly crossed, its wrists manacled and its neck a sliced mess of plastic and wires.
Newman keeps a close eye on monitors displaying video direct from the cameras. "Sometimes I see something that I don't like, and I will speak to the DP [director of photography] about it. We had an incident in the prison the other night, and Amanda was getting light from both sides. The DP just changed the light. He lifted one light up higher to create more of a dark side and a light side, and it was beautiful. That's all it takes sometimes. But 1 feel if I'm not there looking at that sort of thing, I'm not doing my job."
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