https://www.indiewire.com/features/craft/wicker-husband-alexander-skarsgard-prosthetics-1235223624/
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“Transforming the 6’4″ Swede into the Wicker Husband required not actual magic, but something very close to it.”
“Then came time to get Skarsgård kitted up.”
““One week before the shoot started, the directors said we should see [the Wicker Husband] naked,” Dániel said.”
““We weren’t making a human being or a creature of flesh and blood,” Dunckley highlighted.”
“With the wicker weaving samples perfected, Rubano shared: “There were 50 individual 3D-printed body pieces from the neck down anchored onto very thin spandex or power mesh for the fabricated suit.”
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“‘Wicker’ Courtesy of Black Bear Pictures The latter is elevated in a later scene where the villager crowd parts, in shock and awe, to watch the Fisherwoman and Wicker Husband’s sensual dancing.”
““Alex is a big guy, and [when] Wētā added the prosthetics, they made him even bigger; it was such a nice silhouette,” Dániel said.”
“The costume was almost entirely practical; only a few details required CGI.”
“Over 18 months, the Wētā team researched, developed, and manufactured “Wicker”’s co-protagonist, developing an entirely new way to make prosthetic makeup in the process.”
““Unfortunately, it’s not so visible when he’s walking into the lake, but it was very cool,” Godena-Juhász said.”
“That triggered a fast-tracked costume project to create pants that seamlessly mimic the prosthetics.”
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“Behind the scenes of ‘Wicker’ Courtesy of Black Bear Pictures Alongside this, the pair note that they also moodboarded inspiration from 17th-, 18th-, and 19th-century styles, textures, and colours before designing every costume component of this otherworldly erotic fantasy.”
“Hungarian costume designer duo Tóth András Dániel and Attila Godena-Juhász (who previously worked on “ The Uprising ” and “ Martin Scorsese Presents: The Saints ”) worked closely with Dunckley and Rubano to ensure continuity with costumes, silhouettes, and the wicker prosthetics.”
“They were granted freedom with costumes, not restricted by place or time.”
“Explaining the creation process, Dunckley said: “Our concept team blocked out shapes, [head weaver Jasmin Van Lith] would do a physical weave sample; we’d incorporate that back into the 2D artwork.”