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Hollywood Makeup Guru Rick Baker Addresses AI, CGI, Eddie Murphy

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Rick Baker, who holds a record for being a seven-time Oscar winner in the makeup field, now also holds a Golden Leopard, which he can add to the collection of fantastical creatures he has created over the course of his career. After all, he just received the Vision Award, bestowed upon him on Wednesday evening during the 79th edition of the Locarno Film Festival and presented by Ticinomoda.

Rick Baker was responsible for a Copernican revolution in cinema: visionary and revolutionary, he opened new paths for the imagination of entire generations, showing what it truly means to witness physical transmutation on the big screen,” said Locarno artistic director Giona A. Nazzaro when he first unveiled the honor.

Given Baker’s experience and track record, Hollywood folks, including those outside the makeup world, are surely curious how the maestro feels about technology and other much-discussed issues, which THR recently talked to him about.

Asked about the rise of AI, Baker compared his take to his feelings about the rise of computers and CGI, recalling: “We instantly became dinosaurs, people [said]. But at that time, the computer stuff was pretty shitty. My stuff definitely looked better than the ’90s computer stuff, and it still looks good today.”

He was convinced, though, that the old and the new could live alongside each other. “This was the new toy, but I had hope that people would get over that, and that there would be a good marriage between the techniques,” Baker told THR. “You can definitely do things with CGI that we can’t do [as humans]. And I was looking forward to it.”

In fact, the veteran shared that, “I have always tried to stay on top of new technologies because Jack Pierce, who was one of my first idols, who did Frankenstein, The Wolf Man and The Mummy, was fired from Universal in the ’40s because he didn’t keep up with the modern techniques. He was building up things with spirit gum and cotton on a person’s face when other studios were doing foam-over appliances. So I put that in my head and went, ‘That’s not going to happen to me.’” I didn’t want to become obsolete, and it’s fun to learn new things.”

How does he feel about CGI? “I think what they’re doing with CGI today is amazing,” Baker told THR. “What I don’t like is when they’re doing stuff with it that we could do for real, and probably for less money. There’s a real magic that happens when you’re an actor and you’re looking in the mirror, and the face that’s looking back at you isn’t your face anymore.”

He knows from such experiences as working with Eddie Murphy on Coming to America. “I had to make him an old white Jewish man [Saul], and I always like to test the makeup before we film,” Baker recalled. “So I got Eddie in my makeup chair, made him up. I didn’t put the back of his neck on. It was 14 or something pieces. What I liked about Eddie right away was that when I put a cheek piece on him, which was painted in Caucasian color, it looked very weird. But he looked at himself in the mirror and moved his face around and played with it. This is a good sign, because I knew he’s not going to be one of those actors who go, ‘I can’t move,’ when you put something on them.”

Murphy kept looking at himself in the mirror, and then told the makeup wizard: “Rick, this is so much better than I ever imagined. This just looks like the real guy. The old Jewish guy that I do is such a stereotype. I don’t think I’m doing your makeup justice.” Baker also recalled that Murphy wanted to improvise a scene with someone from his entourage while he had the test makeup on. “That became the way we operated from then on,” he concluded. “Anytime he did a makeup, we’d sit him in the chair, and we’d play, I’d film it, and he’d discover what the character was. It’s really different from when you walk into a green screen room and you got dots on your face.”

Baker also told THR that “below-the-line” work in Hollywood still doesn’t get all the appreciation it deserves. “Every day, I feel blessed that my hobby became my job, and they paid me to do stuff, and they allowed me to make stuff I couldn’t have made on my own,” he emphasized. “I mean, I’ll bitch and moan about the film industry, but it’s been very good to me. Unfortunately, it’s the people they consider the below-the-line people who are doing it for the love of the craft. But they’re all called ‘below the line.’ I feel these are the people who really care. … And then you got the above-the-line people – all they care about is how much money they can make. I’ve had people try to cheat me out of my pay – just crazy stuff.”

Concluded Baker: “The below-the-line people are the ones that really care, and they’re the ones that really make the film.

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Dwayne Johnson Compares Benny Safdie’s ‘Lizard Music’ To ‘Willy Wonka’

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Following his transformation for The Smashing Machine, Dwayne Johnson is back together with Benny Safdie for their next project.

While speaking to Deadline on Sunday at D23, the Golden Globe nominee revealed that he’s begun production on the Safdie-helmed Lizard Music, for which he undergoes “five hours of makeup every day” to play a man in his 70s.

“We’re in full production. It’s called Lizard Music, I’m with Benny Safdie again. That’s my guy,” he said. “Imagine Willy Wonka but from the mind of Benny Safdie.

Johnson continued, “And I play a septuagenarian man. Now, I didn’t know what the hell that meant. So, I had to Google it, it means you’re in your 70s. So, we transform, and it’s five hours of makeup every day. We’re with Kazu Hiro, who is a legend in Hollywood. He was also nominated for Smashing Machine, for our prosthetics, and he is helping me transform.

“So far, we’re in our second week, and it has already been an unbelievable experience. It’s that thing I was telling the kids, ‘Run towards that thing.’ This is that thing that I ran towards and chased the challenge, and this was a challenge for me. I love Benny, he’s one of my best friends and most embraced collaborators, so I can’t wait for you to see it,” said Johnson.

As Deadline exclusively announced the film based on Daniel Pinkwater’s novel, Safdie told us us that Lizard Music is about “a kid who discovers an island of lizards that are sentient, and they play music, they have broadcast TV. And they want him to come and see them. And he teams up with the Chicken Man, who Dwayne plays, and they go on this adventure to find the land of the lizards.”

“[Johnson] was just talking about how he was slimming down,” said Safdie, after the actor revealed at Toronto International Film Festival that he was undergoing another transformation for the role.

Last October, Amazon MGM Studios’ United Artists scooped up Lizard Music, which is written and directed by Safdie, following his and Johnson’s work together on A24’s The Smashing Machine last year.

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Former ABC Producer Alleges Matt Gutman Made Inappropriate Comments

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A former ABC News field producer filed a wrongful termination lawsuit against the network, including allegations that her former colleague Matt Gutman, now chief correspondent with CBS News, made inappropriate sexualized remarks when they worked together.

Samira Said filed the lawsuit in Los Angeles Superior Court on Friday. The lawsuit names as defendants ABC, The Walt Disney Co., Gutman and David Herndon, who had worked as Los Angeles bureau chief. Among other things, she claimed wrongful termination, discrimination, hostile work environment harassment and retaliation for engaging in protected activity.

Said claimed that she was terminated after being denied accommodations for mental health issues. She was being treated by a psychiatrist, including for depression, and her provider advised her to reduce her workload to protect her health.

Her lawsuit made a number of claims of adverse employment actions. Said alleged that in one incident during her employment, she was placed on a male-only team that included Gutman, an on-air correspondent, and two crew members.

According to the complaint, “While the team waited in a public queue during the assignment, Gutman initiated a discussion rating a female correspondent’s appearance and reducing her professional standing to a numerical score based on her physical attributes. The male crew joined in, continuing to assess the woman’s body and looks in Said’s presence. The men attempted to draw Said into the conversation by soliciting her views. Said declined and stated the conversation was inappropriate.”

In another incident, per the lawsuit, she and Gutman were at a press day related to a film release, and they disagreed on whether the team should leave the work site. According to the lawsuit,
“In front of multiple coworkers, Gutman responded by making a sexualized insinuation that Said must have an after-hours date in the city and that this is why she did not want to relocate. The remark, made audibly to others, demeaned Said and reduced her professional judgment to a sexualized stereotype.”

CBS News and ABC News have not commented on the litigation.

Gutman joined CBS News earlier this year, after a long tenure at ABC, where he served as chief national correspondent.

According to the lawsuit, after experiencing Covid and covering the mass shooting in Uvalde, Texas, Said was approved for medical leave for two weeks in August, 2022, but “fearing that her employment would be terminated if she remained out too long, Said felt compelled to rush her medical leave and to communicate an expedited return.”

For the rest of the year, her psychiatrist continued to certify the medical necessity of her leave on a recurring basis, and the following January cleared her to return to work subject to reasonable accommodations “designed to enable her to perform the essential functions of the position while protecting against re-exposure to trauma triggers,” per the lawsuit.

Said claimed that HR personnel presented her with an “ultimatum to either return to work without any accommodations, or not to return at all.” Said eventually withdrew her accommodation requests because she was “effectively deterred from doing so” by the defendants “prior course of conduct.”

The lawsuit claimed that she was demoted to weekend desk shifts and, although she was told the assignment was temporary until a replacement was hired, no person was.

In early 2025, Said was assigned to cover the Los Angeles wildfires and additional weather events, according to the suit, and while in the field sustained a bone contusion when a piece of heavy equipment struck her foot. A Disney physician examined her and determined that she was not required to take leave, per the suit.

The lawsuit claimed that ABC News Vice President Katie DenDaas met with her and emphasized that she was one of the news division’s best performers, but she was terminated some days later, on March 5, 2025.

The lawsuit seeks unspecified damages, attorneys fees and costs and declaratory relief.

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‘Hercules’ Voice Actress Nominates Zendaya, Tom Holland For Remake

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With Spider-Man: Brand New Day a super box office success, Tom Holland and Zendaya might just have their next classic hero adaptation.

Speaking with Deadline on the red carpet Sunday at D23, Hercules (1997) voice actress Susan Egan nominated Zendaya to take over her role as Meg in a live-action remake of the Disney animated classic, with Holland accompanying her as the Greek demigod.

“I mean, I’ve been subtly saying Zendaya, but now I’m just gonna say it,” she said of her choice. “And probably, Tom and Zendaya, who I have never met, are filing for the restraining order right now. But honestly, I don’t even care. I feel like the world needs it.”

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Egan continued, “Not even because they are the ‘it’ couple right now, it’s not even that. I have watched her beautiful career from when she was a teenager, and she’s just grounded. She is a strong woman, obviously, statuesque and amazing, with an incredible voice and a little edge, don’t you think?”

Having starred together in Spider-Man: Homecoming (2017), Spider-Man: Far From Home (2019), Spider-Man: No Way Home (2021) and Spider-Man: Brand New Day (2026), the couple has made nearly $6B for Disney. Meanwhile, their summer appearance in The Odyssey (2026) has recently surpassed $1.29B.

With a live-action remake of Hercules going into development at Disney in 2020, Guy Ritchie was tapped to direct in 2022.

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