![]() ![]() Everything had to happen fast, because he just can't sit still, so that was challenging. I wouldn't wanna call him weird, although that would be a good description. I've never worked with anybody like that. ![]() Joaquin is such an incredibly human creature. What's it like sitting Joaquin Phoenix down and getting so close to his face? Joking apart: The Joker's facepaint goes through various stages of messiness as he spirals into violence. It was definitely a collaboration on the whole look between Joaquin, Todd, the production designer Mark Friedberg, Kay Georgiou and me. We took that concept of the makeup and the look and basically translated how can we best achieve that, making sure the colors and the placement are right. Which I thought was fantastic - the more simple and raw you keep it, the more intense it'll translate. But it was definitely like, OK, this is how you wanna go, a kind of creepy but simplistic clown. It was a picture of Joaquin with some makeup Photoshopped on it - it was pretty raw. Ledermann: We started with a concept from Todd. ![]() How do you come up with a fresh look for a character that's been done many times before? I chatted with Ledermann to find out what it was like painting Joaquin Phoenix's face, how movie makeup is much more interesting than simply slapping on greasepaint, and what it's like for a makeup artist in the era of CG-enhanced faces. For Joker, Ledermann realized director Todd Philips' vision of the DC comics character as a ground-down clown. ![]()
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