Lao, for which he would win a special Academy Award (an annual Academy Award for special effects makeup, under the umbrella of "Best Makeup and Hairstyling" would not come into existence until 1981). Tuttle would use this method to great effect four years later, working with director George Pal, writer Charles Beaumont, and actor Tony Randall, for 7 Faces of Dr. This is a highly efficient way to develop a makeup which perfectly fits the features of individual actors’ faces and is most often used to create a unique makeup which can be molded to the needs and capabilities of the show and the actors. Tuttle's typical method of developing his makeup was to take a plaster cast of the all the actors’ faces upon which the makeup would need to be applied. Director Douglas Heyes immediately recognized this problem and approached Tuttle about developing a more streamlined, and thus more cost efficient, method of achieving the makeup effects. Nelson was able to secure a longer preparation time for "Eye of the Beholder," expense would become an issue during the initial stages of developing the makeup. Though time was not a problem, production manager Ralph W.
It’s an unusual technique and an effective one.įor The Twilight Zone, Tuttle was typically asked to create a single makeup ("Nightmare at 20,000 Feet, “ "Hocus Pocus and Frisby") or a handful of effects ("The After Hours," "The Masks") but for "Eye of the Beholder" Tuttle was faced with having to apply his grotesque makeup design on a dozen actors or actresses. Clemens place the camera inside a fish tank and had the bandages wrapped tightly around the outside of the tank. To accomplish this Heyes had director of photography George T. The sequence of the unveiling is particularly impressive as it is shot from Tyler’s point of view so the audience gets to experience the bandages being lifted, layer by layer, from her face. The audience doesn’t notice the character’s images being withheld from them because for a large chunk of the episode the camera is centered on Janet Tyler. In other episodes this may seem like an intrusion that the audience would pick up on immediately but as this story exists in a world not of our own, the dark, grim set doesn’t seem entirely out of place.
The dark and shadowy atmosphere of the set played a large role in hiding the character’s faces. For instance, in the scene where the doctor walks from the shadows into the light and begins to look directly at the camera his face is briefly hidden behind a nurse, who is standing right in front of him at precisely the right moment, before he turns his back to the audience. “Hey, why aren’t they showing anyone’s face?”) Heyes keeps the action constantly moving, not in a frenetic way but there is always motion of either the actors or the camera. In order to keep the viewers from immediately suspecting that something is wrong (i.e. His first choice to direct such an arduously technical episode was Douglas Heyes.
When Buck Houghton first received this script he was reportedly terrified at trying to pull off a twenty-four minute episode where the audience does not get to see any of the character’s faces until the very end.
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