horror: Oz the Great and Powerful

Oz the Great and Powerful

Theodora (Mila Kunis) is a beautiful, naïve witch (albeit with some anger management issues) who is protected by her powerful sister Evanora. Guided by Evanora, she believes that her sister, Glinda, is an evil witch who killed their father. Theodora only wants peace to come to the Land of Oz and truly believes that a prophesied wizard someday to restore order.

When Oscar lands in Oz Theodora believes that he is promised wizard. She rapidly falls madly and deeply in love with him and believes he will make her his queen. But when Evanora sends Oscar to defeat the evil Glinda he discovers that he has been tricked and falls in love with Glinda.

It’s fair to say that Theodora takes this badly, her tears leaving her face scarred. Evanora offers her a green apple that will cure her broken heart. However, the cure works by making Theodara’s heart heart rot and die.

A new Theodora emerges whose outward appearance mirrors her new bitter & heartless nature; a Theodora whose anger is directed at Oscar and Glinda.

The makeup

Vivian Baker was the makeup department head; Steven E Anderson was the key makeup artist; Tracey Levy was the personnal makeup artist for Mila Kunis.

Howard Berger & Greg Nicotero (KNB EFX) were responsible for creating the looks of the two evil witches; Peter Montagna was the key prosthetic makeup artist; Norman Cabrera was the main sculptor. Cristina Patterson (Eye Ink FX) was responsible for the contact lenses.

Makeup Artist Magazine described the movie as ‘one of the biggest American makeup shoots in years, employing an army of union makeup and hair artists for the better part of a year'.

As the movie-makers had the rights to the books but not to the 1939 movie, they had to be very cautious about any ‘design crossovers’. Nevertheless, Theodora’s makeup is a both a beautiful creation in its own right and a wonderful homage to the Wicked Witch in The Wizard of Oz.

Howard Berger described the makeup process:

There are actually four different versions of Mila as the witch, very subtle changes as she evolves in the story.
It took about an hour and a half, two hours. Myself and Peter Montagna did her makeup every day. She played about 40 days and she also had a double that played all the time as well. We made her up and the actress up every single day. She’s pretty much covered in appliances. The only part of her skin on her face [that isn’t] is her upper lip. Everything else is a combination of silicone and foam rubber. Then she’s completely painted, her shoulders are painted, her chest and back and neck and everything because her costume reveals so much. For her hands, we ended up finding an easy solution. She wears these black gloves that have the fingers cut off and we ended up making latex fingertips that were the color and had the nails and everything and were incorporated into those gloves so she could pop them off and on.
She would come in in the morning, early like 3am. and Peter and I would start to do the application. It was two pieces, what we call a horseshoe piece that encompasses the whole chin and sides of face, and then there was a forehead and nose that were combined. We glued that down – it was pre-painted. She has a very specific arch to her eyebrows – all the hairs in the eyebrows were hand-punched one at a time. She would get in the chair and we would make her up, glue it all down, blend it off, paint it. Then we’d put her contact lenses in, she had custom-made lenses. Then she had dentures that made her teeth look yellow and rotted. She’d go get her costume on and come back to us for final touches on her eye makeup and lips, and we’d go to set and shoot for 14 hours.