Green Goblin Makeup Test Photos & Video for Sam Raimi's First SPIDER-MAN Movie
Although it never made it to the film, Amalgamated Dynamics used prosthetic make-up and animatronics to re-create the comic book Green Goblin character for Sony Picture's 2002 Spider-Man movie.
Average teenager Peter Parker is transformed into an extraordinary super hero after he is accidentally bitten by a radioactive spider. When his beloved uncle is savagely murdered during a robbery, young Peter vows to use his powers to avenge his death. Deeming himself Spider-Man, he sets about ridding the streets of crime, bringing him into conflict with malevolent super-villain Green Goblin.
Amalgamated Dynamics, Inc. co-founders Tom Woodruff, Jr. & Alec Gillis offer a slew of details (courtesy of The Stan Winston School of Character Arts Blog) about their Green Goblin creation, including video and images showcasing the application and final design of the outfit:
"When we started Spiderman in 2002, no plan was in place for how the Green Goblin should look. There was some great art by production artist James Lima and creature designer Miles Teves that showed a direction toward the classic early comic book style but director Sam Raimi was unconvinced. Since we had started early enough before shooting was to begin, we were granted a little time and money to produce a prosthetic make-up version to consider.
"In capturing the comic book style, we knew the large goggle-like eyes were going to be a problem. Since they were opaque, there would be no life in them and the thickness of the surrounding forehead would also eliminate expression that would make for a rather dead-looking face. We decided to mechanically articulate the brows via low relief radio-controlled servos that Dave Penikas would design and a separate puppeteer would operate. Sam didn’t think it was going to work, but there was only one way to tell.
"Alec and I art-directed Ryan Peterson to sculpt a very realistic-looking Goblin character, referencing early Spiderman art. Rather than mechanically reproduce the comic book version, Peterson took it several steps farther to make it a very organic creature character. The large eyes were still a challenge. To be safe and cover our bases, Peterson also sculpted a more streamlined version that would rely on the actor’s eyes showing and his brow movement reading through. If the animatronic version was a bust, we wanted to have something to show Raimi that would be a solution."
For more details, including the full breakdown on the prosthetic, make up and animatronic tests, visit The Stan Winston School of Character Arts Blog.
In 1972 Stan Winston established Stan Winston Studio. Corralling some of the finest designers, engineers, sculptors, painters, machinists and technicians, the work that came out of the Stan Winston Studio was, from the start, widely recognized as the state-of-the-art in character creation. Over the years, the studio grew from a room in Stan’s garage to a fully-staffed workshop of hundreds of artists, all working to give filmmakers something that exceeded their wildest imaginings.
Always eager to embrace new technologies, Stan Winston helped pioneer the digital revolution including co-founding Digital Domain alongside James Cameron and former ILM boss, Scott Ross.
Integrating emerging techniques such as motion capture, and CGI enhancement, Stan Winston Studio came to be associated with cross-platform and Hybrid CG/Practical character creation for all visual arts venues. Stan’s core team continues his legacy into the new century with Legacy Effects, where a new name, a new building and new projects and challenges continue to keep the spirit of Stan and his studio alive.
Source:
Stan Winston School Blog 
