Unleashing the Beast: Dive into the Mesmerizing Werewolf Creation in 'Wolf Like Me'

Summary

Wolf Like Me season 2 embraces its genre roots with more visible werewolf scenes, including the introduction of a pregnant werewolf.

VFX company Odd Studio crafted three variations of Isla Fisher's werewolf character, encompassing an animatronic head and a suit for broader shots. Additionally, the VFX team devised tangible effects for Isla's transformation, incorporating cable-controlled hands and a puppet head with stretchy silicone skin. The illumination played a vital role in highlighting their meticulous craftsmanship.

Warning: SPOILERS for Wolf Like Me season 2

Wolf Like Me, a genre dramedy on Peacock, delves into the complexities of interpersonal relationships. Created, written, and directed by Abe Forsythe, the show follows Gary, a widower with a daughter, and Mary, a werewolf, as they navigate obstacles to build and maintain their relationship. In season 2, Mary's pregnancy raises questions about the nature of her child.

While Mary's werewolf form was rarely shown in season one, Wolf Like Me season 2 fully embraces its genre elements. We interviewed Adam Johansen and Damian Martin from VFX company Odd Studio, who discuss their efforts in creating the werewolf's appearance for the season. To see their thrilling VFX featurette, watch the video below. Keep scrolling for the interview.

Adam Johansen and Damian Martin discussed their methods of creating authentic werewolf scenes in the second season of Wolf Like Me during an interview with Our website. It is important to note that this interview took place amidst the 2023 SAG-AFTRA strike, and the existence of the show being discussed would not have been possible without the contributions of the actors in that union. To ensure brevity and clarity, this interview has been slightly edited.

Adam Johansen & Damian Martin On Wolf Like Me Season 2

Our website: Did the increased focus on the werewolf this season bring you excitement or pose any challenges?

Adam Johansen: Both. During my initial conversations with Abe, starting from season one, we consistently discussed the idea of keeping the wolf hidden for the most part, until the final episode. However, season two took a different direction. Along with introducing various new elements, we also delve deeper into Isla's character. She receives more screen time and her pregnancy adds a significant physical presence. To accommodate this, we had to modify the werewolf suit by incorporating a large pregnant belly and breasts.

Can you discuss the distinctions between the three versions of Isla Fisher's werewolf and their intended uses?

Adam Johansen: We constructed three versions for both seasons one and two. There is a visually stunning animatronic head that was built up to the shoulders. I personally wore this rig, which had radio-controlled movements specifically for the close-up shots. The head's articulation included the jaw, snarl, eyes, eyeballs, brows, and ears. While I operated the head for gross body movements such as dipping and turning, off-camera individuals such as Damian and others assisted. This version, known as our hero wolf, allowed for the captivating shots we see in the window reflections, crib scenes, and other notable moments featuring Abe.

In the wider shots featuring the stalking through the house, our performer Andrew Crawford wears a three-quarter suit specifically designed for season one. Abe expressed a desire to showcase more of that and explore the creation of a complete wolf for the wider shots depicting movement through the house.

Damian Martin explains that due to the limited space, the focus is on capturing shots of the wolf from behind, drawing inspiration from Jaws and showcasing the wolf's presence from that perspective.

Adam Johansen: Like the fin from Jaws, yeah.

Damian Martin: [We had to] get that as a whole suit, so we extended it down and gave it a butt and back legs, as well as that belly.

Adam Johansen discussed the use of arm and leg extensions for Andrew, along with a static head. While there were no animatronics, the head had poseable jaws which allowed for striking silhouette shots and enhanced the portrayal of the wolf in stalking scenes and entering rooms.

Another version, referred to as Snappy, was used for stunts. This version was a softer head extension positioned just beyond the neck. It was utilized for scenes where the wolf forcefully collided with the table or leaned over it, snapping at Josh. Snappy was essentially a hand puppet equipped with the ability to snap vigorously. It featured silicone teeth that were safe and caused no harm.

We also have footage of Isla undergoing a transformation with her hands extending and her mouth. The visuals are absolutely stunning. Was all of that done with animatronics?

Adam Johansen: Absolutely. Abe gave us an amazing opportunity. Our initial conversation was, "I want a transformation scene, and you guys can go all out. Show me what you can do practically, what we can capture on camera." Abe is a huge fan of practical effects, and we have a fantastic working relationship with him. He trusts us so much that he said, "Design the sequence, and I'll write the script around it."

Damian and I, along with everyone at Odd Studio, are huge fans of Rick Baker and his work on American Werewolf in London. It's no secret that our sequences are a tribute to his incredible talent. We were determined to include the hand breaking, transforming, and stretching, as well as changing the character's head. These were the key elements we couldn't leave out.

Regarding the hands, we used cable-controlled and direct operated rigs. We had two options for the hands. One followed Isla's anatomy and focused on the graphic deformation during the breaking. We aimed to achieve a realistic and gruesome "snap, snap, snap" effect.

The second hand has undergone a more pronounced transformation, adopting a traditional elongated style while maintaining a quirky element. Its asymmetry adds visual interest.

The head used was a puppet head with full cable control and a highly flexible silicone skin that we could manipulate. We collaborated with our colleagues at Legacy Effects in the United States, who conducted a scan of Isla. Our intention was to capture her in a state of intense screaming, as if she was undergoing a transformation. I utilized Zbrush to explore various concepts with the scan. Initially, we had a puppet head that was meticulously painted by Emily James and featured hair work by Kala Harrison. Through cable control, we were able to manipulate the snout to protrude. We purposely avoided symmetry in order to create a disturbing, organic growth effect. This approach relied on classic, practical effects reminiscent of older filmmaking techniques.

We also created a spine effect using a ladder-like sculpted spine emerging from the skin. To ensure realism, we utilized a bladder underneath to create the illusion of stretching and cracking on the back. The transformation scene then transitioned from inside the ambulance to the house. Isla's stunt double wore a leg prosthetic with elongated foot and stretching leg. Additionally, she wore an arm prosthetic featuring a silicone hand in a transformed pose. Moreover, the stunt performer had a more advanced prosthetic in terms of transformation compared to the puppet. We pushed the Isla puppet head to a specific point and then applied a prosthetic on the stunt double that was further along in the transformation process.

Then, we introduced a larger full-size puppet known as the three-quarter puppet. This puppet represented a more advanced stage of transformation, fully articulated and larger in size. Handling it through the house proved to be challenging due to its deliberate awkwardness and weight. This stage led us to the final scene where the transformation descended into the basement.

At the onset of the season, we are presented with this utterly astonishing scene featuring the emergence of the young wolf from Isla's abdomen. It intrigues me to discover the overall process behind this moment, but I am particularly curious about how you managed to facilitate the rapid appearance from the prosthetic.

Adam Johansen: Abe gave us yet another amazing opportunity. He said, "Don't just create one baby. Create two - one adorable and one horrifying." We affectionately named them Gizmo and Spike. Abe is a huge fan of practical effects, so he wanted us to do as much as we could in-camera, with assistance from our VFX friends.

I discussed the sequence with Jay Hawkins, the VFX supervisor, and we figured out how to film it. The puppet itself was a grotesque-looking hand puppet that I controlled with my hand, complete with a head and mouth that snapped out. Additionally, we constructed the belly.

Damian Martin described the belly rig as a separate rig that resembled the opening of an Alien egg. It would unfurl and reveal a horrifying moment with the belly, followed by the mutant pup bursting through, accompanied by a significant amount of blood.

Adam Johansen mentioned the initial shot featuring Isla, where the blood slowly creeps in. This scene was captured in a car park, using a fake belly and gallons of fake blood being sprayed towards the camera. The shot involved physically pushing the head out of the stomach.

Do you consider the lighting of the scene when you develop or complete these pieces? Lighting can greatly impact the outcome of your hard work.

Adam Johansen: Absolutely. We design everything based on the assumption that it will be seen in optimal lighting conditions. If it looks good under full light, then it will hold up well regardless of lighting conditions.

Damian Martin: We strive to avoid relying on remaining hidden in the background, even if we are told that it won't be noticed or that it will be very subtle. We understand the risks of assuming such things, so we aim to create something that will withstand scrutiny even in broad daylight, and then hope for the best.

Adam Johansen: The nightmare scene was impressively well-illuminated. It set the tone for what we could expect from it.

Was there one activity or experience this season that was particularly challenging or stood out as the most exciting for you?

Adam Johansen: It's tough to choose, but the birthing scene at the end, the way Abe captured it, was truly remarkable. Watching Josh interact with our puppet had a mesmerizing and almost National Geographic-like quality to it. It was a truly heartfelt and beautiful moment.

The transformation we went through, particularly with the Isla Fisher puppet head in the back of an ambulance with Josh Gad losing his mind, is hard to surpass. It was such a fun experience, with a fantastic energy on set that day, thanks to Abe and everyone involved.

Both aspects of the transformation were emotional in their own unique ways. There was a sense of pure joy surrounding the process. However, what truly excited us as fans, and the reason we entered this industry, was the opportunity to geek out over the change that took place in the back of the ambulance.

The experience of being present on set during the birth scene was remarkably powerful, filled with emotions and a gentle atmosphere. It truly highlighted the effectiveness of using practical effects and the dynamic interaction between props, like rubber, and the actors. Working with Abe for this project was a wonderful opportunity, as he brought his expertise in old-school practical effects.

About Wolf Like Me Season 2

In the second season of Wolf Like Me, Mary (played by Isla Fisher) and Gary (played by Josh Gad) venture into the next phase of their relationship, encountering their most significant obstacle yet: pregnancy. Despite their efforts to have a "normal" pregnancy, they are faced with overwhelming uncertainties. Will their child be human or wolf? How long can they keep their situation hidden from their family? Will their previous experiences in the outback come back to haunt them? Additionally, with the unexpected appearance of Mary's former professor, Anton (played by Edgar Ramírez), can their relationship endure the revelation of Mary's hidden past? Stay tuned for more Wolf Like Me season 2 interviews.

Executive producer Jodi Matterson

Creator Abe Forsythe

Music supervisor Andrew Kotatko

Wolf Like Me season 2 is streaming on Peacock now.