Rick Baker helped define Hollywood’s creature features with his wild makeup effects skills. From Locarno, he talks Gremlins, his love of simians– and why AI will never replace expert design
When Rick Baker was 22 years old and laying the first bricks of what would become one of the great Hollywood careers, he travelled to Hatra in Iraq with director William Friedkin to assist with Max von Sydow’s makeup on The Exorcist. “Oh, he was definitely a lunatic,” Baker recalls of Friedkin, his signature goatee and ponytail still intact, if a little more salt than pepper these days. “But he made a great movie.” Friedkin had been travelling with a fake passport, and the production was plagued by extreme heat and dust storms – but the show went on. “I did von Sydow’s hands,” Baker says. “I pretty much just held a glue bottle.”
We are speaking in Locarno, Switzerland, during the film festival, where Baker has accepted a lifetime achievement award and introduced screenings of An American Werewolf in London and The Nutty Professor – the first and fourth of his seven Oscar wins. When he completed his last big production, Maleficent, in 2014, it ended a more than 40-year career in which he made some huge contributions to popular culture. The monsters in Michael Jackson’s Thriller video? They were Baker’s handiwork. The Mos Eisley cantina band in Star Wars? That was him, too. In 1999, he leaked a story to the press to stop the studio from simply painting Jim Carrey green instead of using his designs for How the Grinch Stole Christmas; he won the argument and a sixth Oscar followed.
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