When hair, makeup and prosthetics designer Daniel Parker was approached for HBO’s Chernobyl, he wasn’t “terribly keen” about taking the series on, if he’s being honest. “Because one immediately th…
, he wasn’t “terribly keen” about taking the series on, if he’s being honest. “Because one immediately thinks of zombies,” Parker explains, “and what they’re going to actually do with the subject.”’s scripts for the five-part miniseries, Parker eventually gave in, and was immediately “sold [by] the completely brilliant scripts that Craig wrote.”
When you get down to the honest, real stuff, they’re really not good photographs, so I then started reading, and read and read. I read [about] the process—the actual chemical process—what happens to the human body when it’s exposed to this much radiation. From that reading, I then understood what happens to the human body, and I then started to develop the makeups and started doing tests.Craig had some of them; you know, they just appeared, because everybody was looking at this stuff.
It was really interesting because I was having to deal with premature old aging. I mean, I’ve aged people, and premature aging is different. It just has a different texture, a different look, and so one has to be extremely careful one doesn’t get it looking too over the top, or too plastic. It’s a really, really fine line. We did it on Jared; we also did it on Paul Ritter, playing Dyatlov. The pieces were made of silicone, and they were incredibly fine.
Then, you hit what I call Stage Two, which is a massive swelling of the body and enormous amounts of pain, because everything is starting to break down at a tremendous pace. The whole cellular structure of the body is starting to break down. The mucus membranes, of course being the softer membranes, that’s all going first. Then, you start to lose your saliva glands. I mean, it’s just horrendous beyond belief.
I sat down with Craig and Johan, and we decided where in the scripts each person actually changed to the next stage. We broke it down into three stages, and then I further broke it down into substages, and basically, it was led by the script.I had three months to do research and prep, which sounds like a long time, but it’s never enough. Literally, some of those prosthetics turned up on set, and I asked producers and the director, “Please, please trust me.
This is the thing you don’t do with silicone for human prosthetics. You just don’t do it. Basically, I broke the golden rule by not putting enough treatment in the silicone, and not painting on top.
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