Summer/Fall 2017 ~ 25
The Undeath of Cinema
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the world as a complete naïf, discovering everything from the ground up.
Another class of masks are those of commedia dell’arte characters, like the
Harlequin and the Pantaloon, cartoonishly exaggerated grotesques that
represent broad and comic archetypes.
A mask designed to be a convincing replica of another person’s actual
face, however, is not part of this tradition. Certain shamanic rites may
involve this, but not normal mask work in the theater. There’s a ghoulish-
ness in turning a real, particular person into a mask, especially after that
person is dead.
Guy Henry, the actor whose face was replaced by the digital Cushing
mask, has expressed something akin to this unease. Henry, the vocal
mimic and body double who channeled Peter Cushing in Rogue One, wore
two types of masks. On screen, we see his body, voice, and facial move-
ments animate Cushing’s digitally applied face. On the set of the film, he
was wearing a more physically unwieldy mask, in the form of the camera
apparatus that tracked his smallest facial movements to help the CGI
wizards in post-production. In a Hollywood Reporter interview this year,
Henry says of the setup:
There’s something very claustrophobic, there’s something very dis-
tancing about having the head cam gear. It’s very unwieldy. ... It’s very
hard to find a performance with that thing sticking on your head, the
lights and lenses shining on your eyes. It’s a very particular way of
working. I must say I found it terribly frightening.
This head gear is similar to what other actors playing CGI characters
have used — most famously, Andy Serkis as Gollum in the Lord of the Rings
films. What’s unusual is using the rig for a human character, particularly
using it to recreate a dead man’s face.
Body doubles and stunt doubles are part of the filmmaking ecosystem,
and have been for a long time. Peter Cushing, as noted, was himself a
body double in the 1939 The Man in the Iron Mask, so that Louis Hayward
could play both the French king and his twin brother. But even though
Cushing’s half of each scene didn’t make it into the film, his presence gave
Hayward an actual partner to act with.
Henry had a different task, and one he seems to have found nerve-
racking: mimicking the deceased Cushing as closely as humanly possible.
As he explains, “It was genuinely frightening, because I didn’t want to let
down a huge movie, and equally, I didn’t want to let down Peter Cushing.”
Of course, any actor inheriting a part from a beloved predecessor might
experience this trepidation. Many of today’s flood of reboot films pose the