The Substance’s hair and make-up secrets

Pierre-Olivier Persin has always been obsessed with horror films. Almost as obsessed with them as Elisabeth Sparkle is with youth – and in turn, her counterpart Sue – in Coralie Fargeat’s body horror The Substance. Just as well Pierre-Olivier was the make-up artist on what has become one of the most provocative films of 2024, earning himself an Oscar nomination in the process for Best Make-up and Hairstyling.

​“This was definitely a dream project, especially from a teenage point of view,” Pierre-Olivier says, calling in from his home in Paris.

The Substance racked up four more noms in other categories: Best Picture, Best Director, Best Original Screenplay and Best Actress for Demi Moore, who plays the 50-year-old aerobics TV star Elisabeth with brilliant desperation, as she tries to claw back her early twenties. In order to do so, she injects The Substance, a fluoro-green liquid, which promises to hand Elisabeth a new, improved version of herself. But not without a cost.

Sue (Margaret Qualley) is then born, in what has become one of the film’s most recognisable scenes: Elisabeth’s spine splitting open, only for the young, beautiful Sue to climb out. As things spiral out of control between the two women, ultimately, what ends up left of them both – combined – is a gory, gruesome medley of body parts. All of which was intricately crafted by Pierre-Olivier and his team, who spent the best part of a year putting The Substance​’s practical effects together.

If his passion and dedication to his work are anything to go by, it was only a matter of time before Pierre-Olivier earned one of film’s highest accolades. As a kid, growing up in the Parisian suburb of Aulnay-sous-Bois, he was given carte blanche when it came to movies: Gremlins (1984), The Fly (1986), Raiders of the Lost Ark (1981), Nightmare on Elm Street (1984).

​“I loved the idea of building something with your hands, organic characters and creatures,” he says. ​“I love effects and crazy blood stuff, but I also love doing realistic things you don’t really see.” Aged 14, he was given latex and plasticine for Christmas. Don’t knock it: this was a turning point for Pierre-Olivier, who has since gone on to work on hundreds of films and TV shows, including Game of Thrones.

​“I spent all my weekends, nights and holidays sculpting monsters in my bedroom and shooting Super 8 shorts of them in the forest with my friends,” he says. ​“Very cheesy ones, yes, but I was trying to do my own version of movies like An American Werewolf in London (1981). Trial and error was my schooling.” It’s a shoo-in for 3^rd March…

Hi, Pierre-Olivier! Congratulations on your Oscar nomination for your work on The Substance. How are you feeling right now?

Tired! And super happy. Speechless, I guess. I never would’ve dreamt, even when I was working on The Substance, about any recognition.

What are you inspired by?

I find inspiration on a daily basis. I look at people in the street, someone asleep on the train. I might sneak a picture because I like the look of someone’s wrinkles. Books. I scour the internet. I collect things. Sometimes you get stuck and inspiration doesn’t come easily, so you need to stop thinking about it for a couple of days. But at the same time I look at things around me, things that have nothing to do with the idea. Then, ding! Inspiration will hit. And you’re back on track.

Were you familiar with Coralie’s previous work before The Substance?

I watched [her 2017 thriller] Revenge, which was great. So I knew I knew a little bit about her world. I read the [Substance] script, chatted with Coralie, and did a small sculpture of Monstro. I came up with the crazy boobs, everything. It was quite crude but she really liked it. Then I was hired.

What was it like working with Demi Moore and Margaret Qualley?

Demi was definitely up for it. She was the best friend you can have in the make-up chair: never complaining, never scrolling on her mobile while you’re trying to apply make-up. She was fed by what we were doing. During prep, she asked me if I could send pictures of the designs. She glued them to her script. She was a complete professional, a trooper. And a dog lover! Margaret was great, too. I spent a bit less time with her because I was so busy. It’s difficult to be buried inside a monster suit, even if it’s the best suit in the world. It’s like being buried alive. She pulled it off.

Name the last film you watched and loved…

I like being scared. I recently watched this film called The Hand (1981), which I really liked. It made me feel the same way I did when I was a kid. But you do notice all of the tricks sometimes.

What do you like best about your job?

That it’s never the same. You’re gonna work on [2024 film] The Count of Monte Cristo, and then you’re gonna do The Substance, and then you’re gonna do some pregnant bellies, some autopsies, some cavemen. You get to meet doctors and surgeons and crazy artists. I love working with actors early in the morning, when you’re in that professional bubble. I love being at the workshop – that is my world. It’s like my bedroom but much bigger and more professional. It’s such a privilege to be paid to do this thing I was doing at Christmas when I was 14-years-old.

How are you going to celebrate your Oscar nomination?

I was on set today, dragging some dead body around. The first AD came to me and said: ​“Did you hear anything about the nomination?” I said yes, I got it. I was nominated. She hugged me hard and announced it to the whole crew – everyone clapped and cheered. That, in itself, was a great celebration. One I will always remember.