Rick Baker on AI, CGI & Eddie Murphy Stories

Legendary makeup artist Rick Baker, the man behind some of cinema’s most iconic transformations, is opening up about the changing face of his craft. In a candid new interview, the eight-time Oscar winner discussed the rise of artificial intelligence and CGI, reflecting on how technology has reshaped - and sometimes complicated - the art of practical effects. Baker, who retired from film work in 2015, didn’t hold back on the industry’s digital pivot, offering a rare, unfiltered look at a career that spanned over four decades.

Baker’s name is synonymous with the golden era of practical makeup. From the gnarled werewolf in An American Werewolf in London to the otherworldly creatures of Men in Black and the age-defying wonders in Harry and the Hendersons, his hands-on approach defined a generation of movie magic. Now, with studios leaning heavily on digital tools, Baker acknowledged that the landscape has shifted dramatically. He didn’t dismiss CGI outright, but he made it clear that the tactile, physical problem-solving of his era holds a value that pixels simply can’t replicate. "There's something about having to make it work in front of the camera, with the actor actually wearing it," he said, emphasizing that the challenge itself was part of the joy.

The conversation inevitably turned to the tools that replaced his sculpting clay and foam latex. Baker expressed a wary fascination with AI, noting that while it can generate astonishing visuals, it lacks the soul of human imperfection. He pointed out that audiences often sense when a creature or character feels "too clean," missing the subtle asymmetry and real-world texture that make practical effects feel alive. "The best CGI is invisible because it’s helping a practical piece," he mused. "But when it replaces the whole thing, you lose that connection. You lose the accident, the happy mistake that makes it magical."

Amid the tech talk, Baker also delved into his storied collaborations with Eddie Murphy, offering a treasure trove of behind-the-scenes anecdotes. The two worked together on Coming to America, The Nutty Professor, and Dr. Dolittle, projects that required Baker to transform Murphy into a rotating cast of characters - often multiple roles in a single film. For The Nutty Professor alone, Baker’s team created nearly two dozen distinct looks for the Klump family, requiring hours of daily application. Baker recalled Murphy’s remarkable patience and professionalism, but also his mischievous sense of humor. "Eddie would sit in the chair for four, five hours, and he’d be cracking jokes the whole time," Baker recalled. "He’d look at a new latex chin and immediately find a voice for it. He was a partner in the design, not just a canvas."

One particular memory stood out: during Coming to America, Murphy played several characters, including the elderly barber Clarence and the fast-talking preacher, all under heavy prosthetics. Baker remembered a moment when Murphy, fully suited in a sweaty, heavy costume, stopped between takes to chat with a young crew member as if he were simply in a t-shirt. The actor’s ability to disconnect from the physical discomfort impressed Baker, who noted that many performers struggle under the weight of the makeup. "He never complained, not once," Baker said. "He understood the process, and he trusted me to make him look good. That trust is everything in this job."

The interview also touched on the broader film industry’s appetite for nostalgia, with Baker noting a recent resurgence in practical effects among younger filmmakers. He expressed hope that the pendulum would swing back, albeit cautiously, citing projects like The Thing prequel and various indie horror films that re-embraced old-school techniques. "There's a hunger for something real," he said. "Kids are watching old movies and asking, 'How did they do that?' And that curiosity is what will keep the craft alive."

Still, Baker was pragmatic about his own legacy. He has no desire to return to the grueling 4 a.m. call times, but he remains an active voice in the community, occasionally consulting on projects that seek his touch. He admitted that the industry’s shift toward pre-visualization and digital doubles has changed how directors approach makeup, but he refused to paint it as a simple good-versus-evil story. "It's just different," he said. "Sometimes better, sometimes worse. But I don't envy the kids today. They have to be masters of everything - sculpting, painting, and also knowing how to feed the data into a computer. That's a lot."

As for the future of AI in movies, Baker offered a cautionary note. He warned against the temptation to let algorithms design creatures without a human eye for emotion. "A monster needs to be sad sometimes, or angry in a way that reads on a face," he explained. "AI can create a face, but it doesn't know why that face should exist. That's still the artist's job." His decades of work remain a masterclass in that very principle - creating not just masks, but characters with depth, humor, and pathos.

For fans of Baker’s work, the interview is a nostalgic trip through a bygone era, but also a timely reminder of the enduring power of practical artistry. While he may have hung up his airbrush, his stories from the makeup chair - whether about Eddie Murphy’s improvisational genius or the tedious, beautiful grind of sculpting eyelids - paint a portrait of a man who loved the craft more than the accolades. In a world of endless digital possibilities, Baker’s voice stands as a warm, witty reminder that sometimes the most extraordinary magic comes from the most human of hands.

Source: Hollywood Reporter