[JC喵字幕组]Making of Passion of Christ- Jim Caviezel Part Clip (2023)


Making of Passion of Christ- Jim Caviezel Part Clip 中文字幕


Hey the Christ figure is usually perforated, some little kind of scrawny guy in gym ISM that he's masculine and big.

And and and that was very important for me.

Now, pulling out a picture of one of the gossip magazines, I'm, not sure.

But it was a little image of this actor named Jim Caviezel and I know who he was quite frankly, but uh, I'd heard his name.

But I said, you know, this is the only American I think that could actually play this role of Jesus.

Oddly enough.

A man came to me about six months before Mel Gibson did and said, you know, I think you'll be playing Jesus I said, well, that's kind of an odd statement.

He says, ya know.

And and six months went by and I got a phone call that Steve Mac Aveda, who is Mel Gibson's producing partner wanted to meet with me on a movie called Mavericks.

So I went to the meeting, and we spoke for a while and then Mel Gibson showed up.

And the interview kind of turned direction we started talking about faith.

And as he brought it up, I said, I just felt the need to say to him cause all of a sudden what I heard six months prior to this all of a sudden I remembered that and I said, you want me to play Jesus don't you.

And he says, well, yeah and I said, okay, one does not had to go on a creative curve of getting around the idea of Jim Caviezel playing Jesus.

He was always going to be the guy and and he's acquitted himself, very very well, can't think of anybody else that could have done it.

He was perfect.

I mean, he came tailor-made to do this.

He was able to put aside any of his personal kind of once and just B, which is all.

It was required really.

It just be in this situation.

And it was I, don't know, he pulled it off I mean, that's, one of the hardest things to do and I I defy anybody else to try that I don't think there's.

Anybody else there's another aspect of it and it's just otherworldly or inspired or higher.

Sometimes you forget about everything and just get zoned writing under what he was doing, it'd be really interesting, and it wouldn't be necessarily the way you visualized it, but something you get something else, but it wasn't bad.

It was like, wow, I never saw I never thought of that.

You know, and you know, you talked with him about it between takes and then he'd go and do it again.

He wasn't trying anything it just happened.

You know and that effortlessness and and he's with which he just let that happen was I.

Think boy, you don't often see that there's not a performance like it I think Jim had his be applied in pieces and layers like with hair, that's kind of like doing a haircut in Reverse that's, almost impossible it's, a chef on a toothpaste back in the tube.

You know, and it looked real, and they trust him.

I think it's about trust 34.


I think it was more my problem or anything else.

I mean, people on the continent over there are used to somebody next to them speaking other language.

So they've developed some kind of other sense that understands we're doing the raising of the Cross, we had a technic right there so that we could stay with it and and stay with the point of view of Jesus going up on the cross, and you know, get the angles that we needed so that you know, we would not, you know have to step back and lose the emotion of and immediacy of what was going on.

You know, there's a lot of technical aspects to it.

But in the end, you know what really drives you is some kind of subconscious, you know, inspiration that gets you to those compositions and those feelings that they express that's gotta look real.

And it does to me, it's, pretty horrendous not that.

We sort of focus too much on too many gory things, although you know you get the message, but where it has to be quite real.

It is and the special effects are nothing short of brilliant I've, never seen anything quite like.

You don't know that they're special effects, that's, how good they are.

You, don't know, Jim is not just Jim Caviezel in this movie, it's there's.

No one thing that has Jim just being him either there has a wig.

He always has a nose for us that are gone that we apply every single day I had a total of nine different stages, - Jim Caviezel makeup from start to finish from last supper - pietà.

He gets struck in the face.

His eye is swollen.

He has some miscellaneous cuts and scratches.

Next phase is him being dragged he's barefoot.

He gets hit two or three more times and thrown off the side of a bridge.

And you just slowly start to add these elements of deconstruction.

What was borne out of this film for the makeup artist is a new technique we had to have a technique that the actor could be mobile in could work in.

And most importantly, a makeup application that we could do in a timely fashion.

If we have an actor in facial prosthetics full-body prosthetics covering every inch of his flesh, a beard, a wig dentures.

You start to add up all these elements, and you start to add up time.

And when you're doing that 25 days in the row, you can't have eight and ten hour, makeups you'll, never sleep the makeup times in this thing, or as long as eight hours as short as three to four hours depends what we're doing for doing the scourging scenes, it's eight hours if we're doing the regular makeup it's, three to four hours.

We ended up developing a technique based off of a temporary tattoo idea, it's, a three-dimensional prosthetic that is transferred to the skin via water.

And these prosthetics are attached to giant sheets of paper.

And we had this special chair that we constructed for Jim.

And that way we could get around his entire body.

You get the front the back behind the legs in front of the legs around the arms.

And we were able to take these giant sheets of prosthetics that were attached to paper.

Stick them on his body, wet it with water and then peel off the paper.

And all these pieces were attached to his body.

And it cut the process down of what would normally we kind of guesstimate.

It would have been an eight-hour makeup down to about a two hour makeup.

There were moments when just for whatever reason that day, the weather wasn't in our favor I, he'd be in this entire makeup after the finished process, and we were unable to shoot so rather than remove him out of the makeup.

He would go home and sleep in his makeup, literally, just his body torn up looking in his face.

All you know, scraped and his eyes swollen.

And and sure enough the next day he would come in everything would be great.

And we'd start our day.

Those nights were really nice, because we actually got more than two hours sleep.

So that was good.

We got this guy, Tony, Berto le in the set one day.

And he came in late in the picture because he replaced another actor who had to leave, and he was just walking down to the set smoking a cigarette and it's a pharisee outfit.

You know, a cup of coffee cigarette he's walking down the set, and he bumped into Jim in the parking lot and he's full get up and it.

Actually it stopped him, and he had dropped his coffee and everything, and he was just stunned into a complete like stupefied state.

And he talked to me about it later, it was he said, it was just astounding.

It was like it was like reality and and make-believe all got melded into one for a minute.

And he was transfixed for, you know, 30 seconds we couldn't do anything.

And so that that was the impact that Jim's appearance had on someone who had absolutely no notion of what was around the corner.

And this is a mature guy.

You know, you know, 55 years old who was like completely gobsmacked and just into, you know, paralytic silence, you know, it was like whew.


Focal point was the scourging sequence.

How do you take somebody who is complete and whole with their body and flesh and remove chunks of it? And do it right there on screen character who has been so tortured and beaten at this point and so broken down as a human yet still has the desire to move forward.

And and we had to show that we had to make it, sympathetic I think one of the biggest struggles was trying to make this makeup as real as possible.

And at the same time, make sure that there was still a human element, something that the audience could connect to as much as we knew about the makeup effects techniques that and create realistic skin qualities.

It still wasn't enough I approached the mecca median said, what if we take visual effects and combine the two? Yeah, you put the lesions or the scarification on, and it would be pretty livid.

And you know, the guy wouldn't actually have a flagellum sort of ripping the guy's flesh off or anything.

He would just kind of fake it, and we'd have to cover up the wound with computer-generated skin.

And then as the flagellum would come through, you'd actually reveal the wound that was already on him.

So it was kind of like the reverse of what most people would have done how's that that good didn't control I'm, not really giving it too hard.

And of course, training the back because the cross was so heavy you couldn't have made it lighter, but it wouldn't have looked real.

It wasn't as heavy as a 300 pound cross.

But it was at least soft at weight.

So physically I didn't, you know, I'm just a lot of back exercises and weights just make my stamina strong.

You know, you cook up your imagination, and then you have to go around and find out how to execute them, because the answer isn't always easy for some of these things, you know, I mean, how do you get Jim on the cross the nail into it? Live him on his face down flipping back over.

And so he lands on his back and without killing you, you can kind of find ways to do it.

It was important to have a substitute that look exactly like him.

And we actually had an effigy of Jim with mechanical lungs and like every breathe.

And it would move its head.

Sometimes he's, an old French priest.

You know, he was came to watch the shooting one day.

And he was watching Jim up there in the cross breathing and moving his head around, and then the guy with the batteries and the machine and stuff he sort of had to go and take care of something.

So he put it down, and it got switched off and Jim didn't move all of a sudden he stopped breathing after a while the old podrace that have went up.

And he was a little worried about Jim because Jim hadn't breathed for a while and by golly, he stopped moving his head.

And thank goodness.

He look like, you know, dead, he started going Jim Jim, please somebody the dummy was so convincing that the the Jim it died up there.

And we told him it's, just a dummy look that we showed him the switches, and he was breathing.

And this guy started to like to laugh that he'd actually fallen for that.

That shows you the the quality of the workmanship that these animatronic dummy, guys can do I mean, it's like, wow, it's indistinguishable from the real thing on the cross I had to stay in a position for eight nine minutes while they had all their three cameras rolling and I, literally put all my weight into one leg and keep it in a squat position while the left leg, hang over it.

And what I did.

And that was I did a lot of lunges and squats and not literally just would get into squat positions on a wall and hold for five ten minutes at a time and and do sets of these to build up my quads to be able to do this.

Oh boy, prayer was such an important part of getting ready to for this film because of the grueling hours of makeup from 2:00 in the morning till 10:00 and not being able to sleep because of all the makeup, not if you've ever experienced a sunburn at all.

But you know when you go through that healing stage of itching Oh, sometimes I had to wear that make it one night and I never really slept properly.

And there non-stop of headaches because he couldn't I couldn't see out one of my eyes and the thorns were in so tight on your head that you had a migraine headache.

All the time Jim was absolutely amazing with the process in the procedure.

I can only imagine what he must have gone through.

And then we might have to give you some herbal indication hitting Jim like like I'll, say, sweet, okay, let's try let's shoot one day.

We were doing the flagellation scene.

And one of the Roman guards struck and missed and hit my back on accident.

I couldn't even break, the wing got knocked out of me.

The pain is so horrific I thought, okay, I won't happen again.

And we went on any mist and I get my hands out of the chains, ripped them out screamed and I had this huge well mark that I mean, full-on scourge right on my back.

And basically they took that and said, okay, well let's just match this, and they based it off that scourge.

But every stage of the way one day I was carrying the cross and I supposed to fall.

And the Roman guard is supposed to catch the Cross.

He missed it.

Nothing just crushed my head like a melon blood coming out of my mouth.

Part of it is the fake blood.

The part it's, the real blood, because it took like a month to heal.

It was like someone hold off him and punched you in your teeth, just cut up against your gums anytime that someone can fly and hit.

You hit the cross it, separated your shoulder.

And this was, you know, I'd stop.

And you know, scream, one of those shots I, remember going down some stairs and someone hit it I was screaming to have it so bad there were so many days that we were shooting that Golgotha scene, where he's up on the cross.

This is when he's being crucified.

And there would be winds of 40 miles an hour everybody's in jackets or parkas, or trying to keep warm trying to keep the sand out of their eyes and here's Jim and a loincloth covered in blood and he's up on this cross 15 feet in the air, and the cross is blowing back and forth and there's definitely moments when you're looking up there and you're, just yeah, your head in your hands, the gas heaters to keep you warm that gas coming out.

It was very sick from them.

I couldn't, keep anything down while I was on the cross dude, oh, he suffered up there.

He really suffered I mean, it was freezing out there.

He was up on this thing.

His arm was like he had trouble with a bad shoulder.

It was all ripped out, and he never complained much every now.

And then he says, hell man, can you guys hurry up? You know, poor guy I was about 200 yards away from Mel Gibson, who was in a tent and began to rain.

And you'd hear the thunder rolling it got really quiet there's like a eerie silence and I knew it I said, I'm gonna get struck by lightning and sure enough I felt as though somebody took their hands and slapped it against my ears and I saw what appeared to me was it like a pink static color for about seven eight seconds, but the moment it hit I heard people scream and a couple of guys before me grabbed the ground.

And what they saw was like fire coming out of the right and left side of my head and I looked like I went to see Don, King's hairstylist.

He confessed that it was pretty frustrating, but he never blew it.

He never lost his patience.

You know, I never saw him lose his patience, one time and that in itself is a miracle because I would have been flying off the walls.

How many you guys get to play Jesus Christ? This is just blessing, you know, Mel Gibson and then playing this role that I'm a kid from Malvern in Washington that grew up, not even dreaming of being an actor that becomes an actor, and this lead and gets to place on our Lord Sun and I am.

Okay, they're dead.

You you.

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