The Substance’s Makeup Lead Reveals The Two Words The Director Kept Repeating As They Designed Monstro Elisasue, And This Makes Sense

The Substance’s Makeup Lead Reveals The Two Words The Director Kept Repeating As They Designed Monstro Elisasue, And This Makes Sense

Film News

In the best horror movies and psychological thrillers, every creature design tells a story, and Coralie Fargeat’s Oscar-nominated The Substance is no exception. The film’s makeup lead recently opened up about the intricate process behind designing Monstro Elisasue, the haunting yet deeply symbolic figure at the heart of the film. According to prosthetics boss Pierre Olivier Persin, Fargeat had two words she kept repeating throughout the design process for this creature, and I understand why.

Persin, the lead makeup artist on the flick, revealed to The Hollywood Reporter that the Revenge helmer was adamant about a specific vision, emphasizing the character’s tragic nature over pure horror. The artist shared:

Coralie said to me: ‘She’s been put in a blender. She kept repeating to me one line from the movie when Monstro says, ‘It’s me!’ I think that was really important for her and for us too. It wasn’t a monster that kills people — it’s a tragic character. Maybe in hindsight, it’s the happiest moment for Elisabeth in her body and mind. But Coralie really wanted the elephant woman.

The team did an excellent job. The sad creature mashup of the two women clearly looks like a blender mix-up and evokes Elephant Man vibes. The sense of sadness, along with a feeling of euphoria during the film’s final moments, is effectively conveyed through the incredible prosthetic work.

(Image credit: Mubi)

This meticulous approach extended beyond just the body. The design of Monstro’s head proved to be one of the biggest challenges, with the team struggling to find the perfect balance between horror and tragedy. Persin continued:

Once Coralie was happy with the body, we still didn’t hadn’t found the head yet. I remember I kept saying, ‘We need to start working on Monstro, because it’s a big build, for quality reasons.’ And she was like, ‘Not until I’m 100 percent sure that’s the right design.’ I remember she was at the workshop and she saw one of the final mark-ups for the heads. She grabbed me into her arms, saying, ‘Yeah! We’ve got her!

Originally Posted Here…

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