This is Hollywood makeup wizard Kevin Yagher,
and these wrinkles on his face aren't real.
They were actually created with a method called stippling,
which deepens the crow's feet around his eyes.
From sculpting enlarged earlobes to painting broken veins,
it's just one of the many ways he can make performers
like Keanu Reeves look 95 years old.
Kevin draws inspiration from many classic
old-age makeup looks and movies,
but he gets much of his material
just by observing people in the real world.
When he turned Alex Winter into Granny Preston
for "Bill and Ted's Bogus Journey" back in 1991,
he was inspired by his mother-in-law.
She had these great apple cheeks.
She had that classic granny look to her face.
When he had to make Alex and Keanu look like
they were 95 years old in "Bill and Ted Face the Music,"
he started with these Photoshop concepts.
With Keanu, I wanted to give him an Iggy Pop,
skinnier, older, aged rocker look,
and with Alex, I wanted to get him
a happier, friendly disposition.
Every prosthetic-related look
starts with lifecasts.
Since only Alex and Keanu's bare necks, faces,
and arms were visible on camera,
Kevin didn't need prosthetics for their entire bodies.
Instead, only the actors' heads and arms were covered
in purple and green silicone rubbers.
The green silicone has an oil in it
that ensures it won't pull any of the actors' hairs
out of their bodies.
The impressions are then wrapped in temporary plaster
to hold them together before being cast
in Hydrocal and urethane.
The lifecasting process helps a makeup artist replicate
the little details of a performer's skin.
But when it came to Alex and Keanu's old-age looks,
the lifecasts also helped Kevin find and exaggerate
wrinkles already forming on their faces and forearms.
Just kind of studied the lines of their faces
and to see where, you know, droopage starts.
How his jowls are beginning to form,
his nasal labial folds becoming more prominent.
You know, his eye sockets are deepening a slight bit.
To mimic the fine details of old skin,
he added clay to the bust
of Alex and Keanu's faces and forearms,
which allowed him to sculpt directly on the skin.
This was where Kevin could add wrinkles
and veins that really stick out.
And different ages don't look the same.
While Kevin made Alex and Keanu look 95 here,
in the movie "Blow,"
he made Johnny Depp look just a bit older
than he already was,
aging the actor from his late 30s into his 60s.
As you can see, there are still aged features
on his face, but less pronounced.
The pores on the 95-year-old skin look more elongated,
something Kevin observed and mimicked
while creating texture.
As you get older, they begin to stretch with your skin.
Kevin and his team also had to create
really pronounced wrinkles for Bill and Ted.
They achieved this by crosshatching
all over the characters' forearms and faces,
but they changed up their technique
on different parts of the body.
Chin's kind of funny because it gets a lot
of weird crosshatching wrinkles in them.
And wrinkles around the eyes or crow's feet
required a different pattern too,
an effect that they could also achieve through stippling.
Stippling is done by simply adding a latex-based liquid
to the skin and powdering it.
It stretches the skin and causes these wrinkles.
Kevin used this technique on Pete Postlethwaite
to create wrinkles around his eyes
when the actor had to play a character
who was hundreds of years old in "Aeon Flux."
I didn't have to do any age to him
as far as like, accentuate all the things
I did to these guys.
He already had it in his face,
but he just was wasn't old enough.
The body doesn't just wrinkle as you age.
When you get to be 95,
your bones begin to show, meaning your sockets get deeper.
Kevin made sure bone was visible
when sculpting their hands.
Because Bill and Ted were so old,
he also wanted them to look arthritic,
a trait that shows up especially in the hands.
You get this curved look.
I can't do much about that.
But what I could do is exaggerate these knuckles.
You can see a fine little bone in between each knuckle,
and the knuckles are swollen.
And going farther up the arm,
he even made the wrist bone stand out.
Once Kevin and his team sculpted all the details,
they created another set of negatives
and then poured silicone into those molds
and sandwiched it all together.
Silicone is necessary
for perfectly mimicking the translucency
and texture of skin.
As you can see here,
it also naturally wrinkles like old human skin would.
The color of the silicone is already intrinsically colored
to be a flesh tone.
And then you can see light through this,
if I could get that at the right angle.
But it's not until additional colors are added
that all the sculpted wrinkles and bones and pores
begin to look realistic.
Kevin started with a basic skin color palette
of green and a heavy emphasis on red.
Meanwhile, the thinning hairs punched
into Keanu's head weren't a solid gray.
They were actually a mix of white and yellow.
When looking at the eyes,
Kevin knew that the color around the eye sockets
darkens with age, and airbrushing and shadow
helps the sculpted areas really pop,
making the bone structure much more visible.
While veins are usually sculpted,
Kevin also elevated them through airbrushing.
This tool was especially helpful
for the aging veins on their faces.
Like on Alex and Keanu's muscle suits,
Kevin can airbrush on details, like pores.
But for their old age,
he needed to add even more decay to the skin.
These delicate imperfections,
like these purple and red capillaries
on Keanu's prosthetic nose, needed to be painted by hand.
He has to do the same with liver spots,
but they are bigger and more noticeable.
A lot of them are tiny little breakups,
little tiny dots, like freckles.
And then I most likely hand-paint
all the liver spots.
When you get to be bigger spots
like from some of these pieces,
I'll actually go back in and hand-paint all the bigger ones,
and I'll place those exactly where I want them to be.
Tiny aging freckles
also make the skin look older.
He found that for some of those,
he could easily get lots on at once
by taking a chip brush and flicking it.
For "Face the Music,"
Kevin added additional layers of makeup
to the actors that might seem like overkill,
but they really sell the look
and bring out the kinds of aging details
you might never think of.
For example, when people get older,
their noses and ears often enlarge.
Kevin estimates that he had to make Alex and Keanu's ears
and noses about 20% bigger than their normal size.
It wasn't just the skin that had to look old.
On "Face the Music,"
Kevin realized he could make Alex look old
by giving him cataracts.
So Kevin used these glassy-looking contact lenses
that gave Alex foggy eyes.
Now, if they were too opaque, Alex would have looked blind,
while cataracts have more of a milky look.
Old man, young man. Well, almost young.
Old, sort of young, old, kind of old.
And by using a simple combo
of glue and thickener,
he could apply fake eye bags to Keanu on set.
They're like stickers almost, and you just put them down.
Then you kind of blend the edges quicker.
The attention to both the big details
and especially all those little ones
that only an artist could think of surprised
even the actors themselves.
Throughout several decades of doing old-age makeup,
Kevin has found the key to getting it right,
knowing that it's imperfect.
The great thing about old-age makeups
is that mistakes are welcome.
They're messy, and they're flawed.