Before coming to New Zealand, Jason Behr did some research in the contemporary tattoo world in Los Angeles and discovered a distinct subculture. “They have their own jargon, their own dialogue and their own social order. It was invaluable for me just to go in there and watch them and I tried to get the bare bones of the technical aspect of how tattooing is actually accomplished. It’s not an easy thing to do and it takes a lot of talent, a lot of time and a lot of learning. It’s a scary thing when your canvas is someone’s skin, so it takes a lot of balls to be a tattooist.”
You knew it, right?
and out of all that pure sex ... This is my favorite.
They used a digital process to transfer the original designs onto a thin plastic skin which is then stuck onto the actor in a strictly prescribed pattern by the make-up team. The pieces look like a dressmaker’s suit pattern, designed flat but constructed to fit a three-dimensional human body. Real tattooist Dean Sacred pays possibly the highest tribute to the film make-up tattoo process when he says: “It’s amazing how they look like real tattoos.”
Behr: “It’s not unlike the old tattoos you would get from a box of crackerjacks - just a bit more technical. They have to put down some glue and take this big sheet of Tinsley Transfer and wrap it around your arm and spray it down with water and slowly take it off. Sometimes I had two people working on me and sometimes I had eight. I had to stand up straight while they tried to put the pieces on flawlessly because they’re pretty intricately designed and if you move just a little bit it can put the whole story off. Every day, it took about two and a half hours to put on and about an hour and a half to take off. So I’ve been shaved, glued, doused with alcohol and covered in oil - all for the sake of Jake’s art.”
yeah. i'll be over here in the corner. Whimpering.