{"id":3168,"date":"2026-06-28T20:38:23","date_gmt":"2026-06-28T20:38:23","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=3168"},"modified":"2026-06-28T20:38:23","modified_gmt":"2026-06-28T20:38:23","slug":"the-death-of-robin-hood-artisans-break-down-hugh-jackmans-brutal-transformation","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=3168","title":{"rendered":"\u2018The Death of Robin Hood\u2019 Artisans Break Down Hugh Jackman\u2019s Brutal Transformation"},"content":{"rendered":"
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\n\tThe artisans behind \u201cThe Death of Robin Hood,\u201d including hair designer Sean Flanigan and costume designer Lorna Mugan, wanted Hugh Jackman to become unrecognizable as Robin Hood. But of course, director Michael Sarnoski\u2018s (\u201cPig,\u201d \u201cA Quiet Place: Day One\u201d) vision for Robin Hood is much darker than most filmed adaptations.<\/p>\n

Read more Oscar Predictions 2027: Tom Cruise, Julianne Moore and Proof the Movies Are Back<\/a><\/p>\n

\n\t\u201cThis was really rough and rugged, and just downright earthy in a weird way. And I have never seen him completely silver with long hair like this,\u201d Flanigan tells\u00a0Variety<\/em>\u00a0of Jackman\u2019s transformation. \u201cAnd once we put it all together with the costumes and the beard, we had Robin Hood.\u201d<\/p>\n

\n\tSarnoski\u2018s take on the 17th\u00a0century ballad follows Robin Hood as he contends with a life largely filled with murder, a direct contrast from his renowned image as a hero. After narrowly surviving a battle, Robin Hood comes across Sister Brigid (Jodie Comer), a healer who also comes to contend with Robin Hood\u2019s role in the death of her own family.<\/p>\n

\n\tMugan, who had about eight weeks to design outfits prior to production starting, describes how Sarnoski wanted to track Robin Hood in three parts, with \u201cThe Revenant\u201d and \u201cThe Virgin Spring\u201d serving as rich inspiration for the brutality: \u201cHe [starts off as the] hermit, so we wanted him to emerge from the landscape, be part of it, be camouflaged. He is a creature of that landscape and so we did that with layering these skins, which were all ethically sourced, vintage and faux.\u201d<\/p>\n

\n\tRobin Hood\u2019s clothes in the first half of the film, including a fur coat that weighed roughly 200 pounds, were made from materials his character would\u2019ve found out in the wild during the time period. \u201cBecause it was so medieval, it was what he would find in the landscape, what he would have stolen from a village, so everything would be hand-sourced and handmade things. Everything is all in their costumes,\u201d Mugan says.<\/p>\n

\n\tThe second half of the film follows Robin Hood on the complicated journey to healing and finding peace. \u201cThen when he moves to the priory, they have given him their linens, and they have cleansed back some of his texture from his early life [that are] still present in his costume,\u201d Mugan says. \u201cIt\u2019s full of alchemy, this place, so I wanted to put some symbolism into his night shirts, and the way the stitching is done, and that was also echoed in the set design.\u201d<\/p>\n

\n\tThe silver hair that Jackman sports throughout the film is quite distinctive. Flanigan and the head of the makeup department, Pamela Westmore, decided on a silver-grey shade to \u201cage him up\u201d and \u201ctake Hugh away from Hugh\u2019s look.\u201d<\/p>\n

\n\tFor practical purposes, the hair department had three versions of the silver wig: one that was muddy and bloody, one that was kept clean, and one that was used for the photo double and stunt double (although Flanigan notes that Jackman did most of his own stunts).<\/p>\n

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\n\tFlanigan describes the different options for styling Jackman\u2019s wig: \u201cWe played with it all down, tied back, in a low braid, but we all came to the same conclusion \u2014 once we saw the different options, we liked the half back, so it was pulled back. There was no elastic; it was just a piece of leather on the back that tied it all together.\u201d<\/p>\n

\n\tPractical considerations and cross-department collaboration were especially important for \u201cThe Death of Robin Hood,\u201d which was shot on location in the middle of Ireland\u2019s harsh winter over 30 days, and features extensive fight choreography, bloody deaths, fire and muddy landscapes.<\/p>\n

\n\t\u201cThe hair was long and down most of the time in the back. Because the cape and costumes were so rough, and the weather, the hair would start to get tangled a lot,\u201d Flanigan says. \u201cI was in every single take behind Hugh, brushing [the hair] out, re-braiding to hold it in place to keep some of the texture \u2026 Thank god I only had to take care of him, because if I had to do the rest of the cast as well, I would be like, \u2018There\u2019s no way!\u2019\u201d<\/p>\n

\n\tFlanigan, who has worked with Jackman over the past several years, including on \u201cDeadpool & Wolverine,\u201d \u201cSong Sung Blue\u201d and \u201cThe Sheep Detectives,\u201d describes him as a \u201ccollaborative\u201d artist because of his theater background.<\/p>\n

\n\t\u201cThey trust the process with their team, and incorporate us, and they include us in their thought process as opposed to a studio saying, \u2018This is what we want,\u2019\u201d he says. \u201cWe play back and forth really well.\u201d<\/p>\n

\n\tMugan echoes Flanigan\u2019s sentiment on Hugh\u2019s work ethic through the harsh weather conditions, including times when the set got rained on without cover: \u201cThere\u2019s nothing that he would refuse to do or wear \u2026 He was stronger than most of us doing the job!\u201d<\/p>\n

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\n\t\u201cThe Death of Robin Hood\u201d is currently playing in theaters from A24.<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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