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Adrien Morot
Adrien Morot
Adrien Morot
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Adrien Francis Morot (born 1970 in Montreal) is a Canadian makeup artist. In 2023 he won the Best Makeup and Hairstyling Oscar for The Whale (sharing the award with Judy Chin and Annemarie Bradley),[2] having earlier received an additional nomination in the same category for the film Barney's Version,[3] and he has won the Genie Award for Best Makeup twice for his work on Barney's Version and Cruising Bar 2.

Key Information

Early career

[edit]

Morot had taken on various artistic interests since he was around five years old.[4] He drew creatures inspired by those from monster movies;[4] sculpted casts of his friends Star Wars toys; experimented with plasticine, Styrofoam, and Vaseline to make masks;[5] and was making home movies beginning at the age of twelve.[6] Though originally wanting to get into the film business as a stunt actor, his childhood experiences and a reading of a Fangoria feature about The Thing (1982) is what changed his career path to becoming a visual effects artist.[6]

Morot tried to break in when he was seventeen by working as a prop assistant[6] and storyboarding for various films made in Quebec.[7] He quickly grew dissatisfied with being on set and the lack of FX work available in the area.[6] At the age of 20, he went to Los Angeles as part of a tour offered by his friend, Jacques.[7] After showing his portfolio to various workers in the effects industry, including Tom Savini (a man he first knew about from reading Fangoria), he quickly garnered six job offers.[7]

Personal life

[edit]

Selected filmography

[edit]

References

[edit]

Works cited

[edit]
  • Rowe, Michael (May 1997). "The Island of Dr. Morot". Fangoria. No. 162. pp. 28–33.
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Adrien Morot

View on Grokipedia
from Grokipedia
Adrien Morot (born 1970) is a Canadian artist and designer renowned for his innovative work in , particularly in creating realistic character transformations through prosthetics and . He shared the Academy Award for Best Makeup and Hairstyling in 2023 with Judy Chin and Annemarie Bradley for his contributions to The Whale (2022), where he led the prosthetic design that transformed actor into the film's obese protagonist, marking his fifth collaboration with director . Born in , , Morot developed a passion for s and as a child, experimenting with clay and household materials to craft monsters by age 10. After honing his skills as a hobbyist, he entered the film industry professionally, accumulating nearly 30 years of experience by the early 2020s and contributing to over 125 productions. His career highlights include designing the scarring effects for in HBO's (2018), creating prosthetics for Steve Carell's portrayal of in (2018), and developing the animatronic doll for the M3GAN (2023) alongside his wife and creative partner Kathy Tse. Morot founded Morot FX Studio in , a facility that has become a hub for high-profile projects, hosting actors like and for fittings and testing. His techniques often incorporate cutting-edge tools like and digital sculpting, as seen in The Whale, where he pioneered unprecedented prosthetic applications to achieve lifelike results. Morot's earlier recognition includes an Academy Award nomination for Best Makeup for Barney's Version (2010), underscoring his longstanding influence in the field of makeup effects.

Early life

Childhood and initial interests

Adrien Morot was born in , , , where he spent his formative years immersed in the city's cultural landscape during the and . From an early age, he displayed a profound fascination with makeup, beginning experiments at around six years old by creating masks in his father's basement using household materials. These homemade creations reflected his budding ambition, as he dreamed of seeing his work featured on the cover of , the influential horror film magazine that captivated young enthusiasts like him. His interest was sparked by exposure to iconic films and media, including Hammer horror movies at age five, which his parents encouraged despite their intensity. This evolved into a deeper passion after encountering a comic book, leading him to produce costumes and masks from cardboard by age seven following a Star Wars TV special. By age nine, Morot's curiosity had intensified; he began crafting face casts using plaster bandages pilfered from his school nurse's office, marking his first foray into prosthetics. These childhood pursuits extended to more daring homemade prosthetics, such as saving —often by skipping meals—to purchase alginate for life casts, which he applied experimentally even to his own eyeball, enduring brief but intense pain. At around age 12, his experiments with flammable rubber resulted in accidentally setting his house ablaze, while school-day applications of fake bloody finger stumps using and landed him in the principal's office. The local scene, vibrant with international releases and emerging productions during this era, provided a rich backdrop that amplified his hobbies, as theaters and media outlets brought Hollywood's groundbreaking effects to his doorstep.

Education and entry into the industry

Adrien Morot's path into professional makeup artistry was marked by self-directed learning rather than formal academic training. Born in in 1970, he began experimenting with makeup as a child, creating masks and face casts in his family's basement by age nine, inspired by films like and Star Wars.<grok:render type="render_inline_citation"> 35 </grok:render> These early hobbyist efforts laid the groundwork for his skills, as he taught himself techniques such as life casting using materials like alginate, often acquired through personal sacrifice during his teenage years in .<grok:render type="render_inline_citation"> 43 </grok:render> Although he initially planned to pursue studies at the University of Montreal, Morot opted against formal education upon recognizing the practical opportunities in the field.<grok:render type="render_inline_citation"> 43 </grok:render> Morot's transition from amateur experiments to professional work occurred around age 17, when he began taking on paid roles in makeup effects, initially through low-budget and experimental projects in Montreal's burgeoning scene.<grok:render type="render_inline_citation"> 20 </grok:render> A pivotal moment came shortly after, at age 18, when he attended a horror convention in , where his portfolio impressed industry professionals and secured seven job offers, propelling him into entry-level positions assisting on sets.<grok:render type="render_inline_citation"> 43 </grok:render> This exposure marked his first structured involvement in the industry, focusing on practical apprenticeships and hands-on contributions to local theater and productions in , where he honed techniques without structured mentorship programs.<grok:render type="render_inline_citation"> 43 </grok:render> By the early , Morot had established himself in Montreal's , weighing opportunities for within but ultimately rooting his there amid a growing demand for talent in Canadian productions.<grok:render type="render_inline_citation"> 31 </grok:render> His self-taught foundation, built on years of solitary experimentation, enabled a seamless shift to professional assisting roles on low-budget Canadian films and theater sets, setting the stage for broader industry involvement without reliance on institutional credentials.<grok:render type="render_inline_citation"> 20 </grok:render>

Professional career

Early career in Montreal

Adrien Morot launched his professional career in special effects makeup in during the early 1990s, drawing on his self-taught roots from childhood experiments with monster creations. Based in the city for over a decade, he contributed to more than 50 local and Canadian productions, establishing himself as a key figure in the Quebec film scene through his expertise in prosthetics and practical effects. His work focused on horror, sci-fi, and genres, where he crafted realistic transformations using hands-on methods tailored to resource-constrained environments. Morot's early projects showcased his specialization in special makeup effects. In 1994, he handled makeup effects for the biographical drama Mrs. Parker and the Vicious Circle, a production filmed partly in that marked one of his initial credited roles in period prosthetics. He advanced to supervisor positions soon after, serving as special makeup effects supervisor for the Quebecois drama Maelstrom (2000), directed by , where he created custom prosthetics to enhance character realism in a low-budget . In the horror genre, Morot consulted on makeup effects for the independent Montreal production Subconscious Cruelty (2000), applying practical techniques to depict grotesque and surreal elements without relying on digital augmentation. He also supervised makeup effects for 22 episodes of the anthology series The Hunger (1997–2000), contributing to its atmospheric transformations in supernatural tales. By 2005, his skills culminated in key special makeup effects artistry for the historical drama Aurore, a Quebec-based film that highlighted his proficiency in aging and injury prosthetics. Through these endeavors, Morot mastered foundational techniques like mold-making from life casts and fabricating practical appliances from and , essential for delivering convincing effects on modest budgets. His initial collaborations with directors and crews, including Villeneuve and teams on local indies, fostered lasting networks in Canada's from 1995 to 2005, setting the stage for broader recognition.

Hollywood breakthrough and major collaborations

Morot's transition to Hollywood gained momentum in the mid-2000s, as he undertook extended stints in to collaborate on high-profile U.S. productions, building on his foundation for international opportunities. After an earlier apprenticeship period in during the 1990s, he increasingly divided his time between and , establishing Morot FX Studio in the area near L.A. to facilitate work on American blockbusters. This period marked his shift from regional Canadian projects to global-scale films, where he specialized in practical prosthetics and effects that blended seamlessly with digital elements. A pivotal moment came with his work on Barney's Version (2010), where Morot served as makeup department head, earning an Academy Award nomination for Best Makeup for his transformative aging effects on lead actors Paul Giamatti and Dustin Hoffman. This recognition opened doors to major studio assignments, including his role as special makeup effects artist on X-Men: Days of Future Past (2014), directed by Bryan Singer, where he crafted practical prosthetics for mutant characters like Mystique and Beast to enhance the film's time-travel narrative. Morot's expertise in realistic, durable prosthetics proved essential for the production's demanding action sequences, allowing actors to perform dynamically without relying solely on CGI. Throughout the 2010s, Morot forged key partnerships with visionary directors, notably collaborating five times with on films such as (2006), (2014), and mother! (2017). In , he designed biblical-era prosthetics and environmental effects to depict the epic flood, while mother! featured his grotesque, symbolic transformations that amplified the film's allegorical horror. These projects highlighted his ability to innovate practical techniques for abstract and intense storytelling, often involving custom appliances that withstood long shoots. He also headed makeup for The Revenant (2015), creating visceral wound prosthetics for Leonardo DiCaprio's survival ordeal, emphasizing tactile realism in Alejandro G. Iñárritu's wilderness drama. By the early 2020s, Morot had contributed to over 50 Hollywood-adjacent projects, prioritizing practical effects in action-heavy blockbusters to maintain authenticity amid rising digital trends. His advancements in prosthetic design, such as lightweight, breathable materials for extended wear, were evident in and historical epics, allowing performers greater mobility while delivering photorealistic results. This era solidified his reputation for bridging traditional craftsmanship with modern production demands, influencing a generation of effects artists.

Recent projects and innovations

In the early 2020s, Adrien Morot advanced techniques through his work on Darren Aronofsky's The Whale (2022), earning an Academy Award for Best Makeup and Hairstyling shared with Judy Chin. For Brendan Fraser's transformation into the 600-pound character Charlie, Morot created a groundbreaking full-body prosthetic suit weighing around 200 pounds, designed to flex like while supporting added water weight for realism. The suit incorporated in the torso to prevent compression on Fraser and an internal structure of water-filled gelatinous Orbeez balls mixed with glycerin to simulate movement. Morot's process began with a 3D scan of Fraser's body, over which he digitally sculpted the prosthetics before using to produce ultraviolet-cured resin positives and silicone-injected molds, blending digital precision with traditional craftsmanship. Daily application, handled by a team of five, averaged 3.5 hours and included facial prosthetics, hair, and a custom cooling system pumping ice water through vinyl tubing beneath a harness to regulate temperature during extended shoots in New York. This innovation addressed performer endurance in heavy prosthetics, reducing initial seven-hour sessions to under three hours through iterative refinements. Morot extended his collaboration with partner Kathy Tse of Morot FX Studio to the horror film M3GAN (2023) and its sequel M3GAN 2.0 (2025), pioneering animatronic doll designs that emphasized hyper-realistic facial expressions and movements. They crafted multiple puppets for close-ups and dialogue, featuring advanced eye mechanisms with pivoting irises and lubrication for subtle, eerie blinks that enhanced the effect, operated by puppeteers for graceful hand and arm gestures lacking physical strength but rich in nuance. For the sequel, the dolls were scaled up in height and musculature to match the growth of performer , integrating with her masked action sequences. These projects highlighted Morot's post-2020 shift toward hybrid practical-digital effects, as seen in the 3D-printed heads for —requiring up to 50 hours of digital rendering per unit—and the seamless fusion of prosthetics with in The Whale to achieve lifelike transformations without relying solely on CGI. His ongoing ties with Aronofsky underscore this evolution, prioritizing sustainable, performer-focused innovations amid industry transitions to digital-heavy workflows.

Awards and recognition

Academy Awards

Adrien Morot received his first nomination in 2011 for Best Makeup for Barney's Version, where he crafted the aging transformations for Paul Giamatti's lead character. Morot's second nomination came in 2023 for Best Makeup and Hairstyling on The Whale, shared with Judy Chin and Annemarie Bradley for their prosthetic designs that transformed into the film's reclusive protagonist. The team won the award at the , held on March 12, 2023, at the in . In the acceptance speech, presented by Samuel L. Jackson and Jennifer Connelly, Morot thanked the makeup department and highlighted the emotional depth of Fraser's performance, noting that it elevated the technical work into something meaningful. He described snatching the Oscar from Jackson's hand as a surreal moment, underscoring the win's significance for the collaborative effort. The victory marked Morot's first Oscar and boosted his profile in Hollywood, leading to key roles in subsequent productions like the horror films (2023) and (2024), as well as M3GAN 2.0 (2025).

Other major awards and nominations

In addition to his Academy Award successes, which represent the pinnacle of recognition in film makeup and prosthetics, Adrien Morot has earned significant accolades from Canadian and international bodies for his transformative work. Morot won the Genie Award for Best Achievement in Makeup twice: in 2009 for Cruising Bar 2 (shared with Réjean Goderre, Marie-France Guy, Bruno Gatien, and Nathalie Trépanier), and in 2011 for Barney's Version (shared with Micheline Trépanier), recognizing his detailed aging and character enhancement techniques on Paul Giamatti's lead role. On the international stage, he received a BAFTA nomination for Best Makeup and Hair for The Whale (2022), collaborating with Judy Chin and Annemarie Bradley to create Brendan Fraser's profound physical transformation, highlighting innovative prosthetics in dramatic storytelling. Morot has also been nominated multiple times by the Academy of Science Fiction, Fantasy & Horror Films through the Saturn Awards for his genre-defining effects, including a 2015 nomination for Best Makeup on X-Men: Days of Future Past (shared with Norma Hill-Patton) and a 2019 nomination for Pet Sematary (shared with Annick Chartier), underscoring his expertise in superhero and horror visuals. Throughout his career, Morot has amassed over 10 nominations at specialized film festivals and genre awards for his horror and effects work, such as his visceral animatronic alligators and injury simulations in Crawl (2019), which contributed to the film's critical acclaim in survival horror.

Personal life

Family and partnerships

Adrien Morot is married to Kathy Tse, a fellow and his longtime creative collaborator. The couple tied the knot after developing a professional partnership spanning over two decades, during which Tse transitioned from banking to the film industry under Morot's guidance. Morot and Tse have two sons (as of 2023). Together, Morot and Tse co-own and operate Morot FX Studio in , a design shop focused on prosthetics, , and makeup for film and television. Their collaboration is characterized by complementary skills, with Tse handling detailed logistics and providing support during high-pressure productions, fostering a dynamic built on mutual trust and chemistry. Morot maintains a low public profile regarding his , sharing few details beyond his marriage and professional ties, which allows him to prioritize amid demanding industry schedules. This discretion extends to avoiding anecdotes about family dynamics during shoots, emphasizing instead the seamless integration of his personal partnership into his work.

Residences and lifestyle

As of 2023, Adrien Morot maintained a dual-residence arrangement, with serving as his family home and as his primary work base to accommodate his career demands in the film industry. This setup allowed him to divide his time between the two cities, motivated by family considerations that kept close ties to his roots in . More recent reports from 2025 indicate that Morot and Tse have relocated to the area. In the Los Angeles area, Morot operates Morot FX Studio in , alongside his longtime collaborator and wife, Kathy Tse, which functions as a creative hub for prosthetic and animatronic designs, including work on projects like . The studio's location in a family-oriented suburb reflects a deliberate choice for a supportive environment amid their intensive professional schedules. Morot's lifestyle involves frequent travel between and to balance his nomadic career with , particularly emphasizing work-family equilibrium following his 2023 Academy Award win for The Whale. Outside of his professional commitments, he pursues interests such as mentoring emerging makeup artists in , fostering the next generation through hands-on guidance.

Selected works

Film credits

Adrien Morot has amassed over 130 credits as a makeup effects artist and department head across film and television, specializing in practical prosthetics and transformations. In Barney's Version (2010), Morot served as makeup department head, designing subtle aging prosthetics that depicted the protagonist's evolution from his thirties to seventies, earning an nomination for Best Makeup and Hairstyling. For X-Men: Days of Future Past (2014), he contributed as makeup effects designer, crafting practical mutant transformations and character enhancements that integrated seamlessly with the film's superhero action sequences. Morot's work on The Revenant (2015) involved practical makeup effects for wilderness injuries, including simulated bear maulings and environmental damage to support the survival narrative. His most acclaimed film contribution came with The Whale (2022), where Morot led the prosthetic design as makeup department head, creating a full-body suit for Brendan Fraser's obesity transformation, which won the Academy Award for Best Makeup and Hairstyling. In (2018), Morot designed and applied prosthetics for Steve Carell's portrayal of , contributing to the film's transformative character makeup. For (2023), Morot co-designed the animatronic doll and alongside Kathy Tse, creating the film's titular killer robot with realistic movements and expressions. He continued this collaboration on the sequel (2025), enhancing the for more advanced and effects, including perfected eye mechanisms for heightened horror impact.

Television and other projects

Morot's television work spans numerous series and , where he has specialized in and to accommodate the demanding schedules of episodic production. With over 130 credits across film and television, a significant portion involves broadcast projects, emphasizing practical effects for recurring characters and rapid scene changes. One of his prominent television contributions is the 2019 Showtime miniseries , where Morot served as prosthetic makeup supervisor, creating aging transformations for Russell Crowe's portrayal of . The process involved multiple silicone prosthetics to depict Ailes across decades, initially requiring five to six hours per application but optimized to two hours through innovative layering and material techniques tailored for television's tight timelines. In Helix (2014–2015), a Syfy horror series, Morot acted as special makeup effects artist and department head for all 13 episodes, designing grotesque mutations and creature effects to support the show's sci-fi outbreak narrative. His work on Tom Clancy's Jack Ryan (2018–2023), as makeup effects department head, included practical enhancements for action sequences across multiple seasons, ensuring durability under stunt conditions. For HBO's (2018), Morot served as special makeup effects department head, designing and applying over 400 custom scars on ' character Camille Preaker, using medical adhesive molds to depict words carved into her skin for a realistic and poignant visual narrative. These television projects highlight Morot's advancements in prosthetics for quick turnarounds, such as pre-molded appliances and lightweight silicones that allow for faster application and removal compared to film counterparts, while maintaining realism in close-up shots.

References

  1. https://www.latimes.com/entertainment-arts/movies/story/2025-05-14/making-m3gan-exclusive-visit-design-shop-adrien-morot-kathy-tse
  2. https://globalnews.ca/news/9547109/montreal-makeup-artist-adrien-morot-oscars-2023-academy-awards-the-whale/
  3. https://www.modernluxury.com/adrien-morot-the-whale/
  4. https://www.hollywoodreporter.com/tv/tv-news/how-sharp-objects-makeup-artists-scarred-amy-adams-entire-body-1132198/
  5. https://www.latimes.com/entertainment/envelope/la-en-mn-craft-vice-makeup-20190205-story.html
  6. https://variety.com/2022/film/features/brendan-fraser-the-whale-career-1235399057/
  7. https://www.hollywoodreporter.com/movies/movie-news/oscar-nominees-react-75483/
  8. https://www.theglobeandmail.com/arts/film/montreal-makeup-artist-floored-by-oscar-nod/article563479/
  9. https://montreal.citynews.ca/2023/03/14/montreal-oscar-win-makeup-fx/
  10. https://www.latimes.com/archives/la-xpm-2009-jun-07-ca-workinghollywood7-story.html
  11. https://www.imdb.com/title/tt0110588/fullcredits/
  12. https://www.imdb.com/title/tt0220627/fullcredits/
  13. https://www.imdb.com/title/tt0166370/fullcredits/
  14. https://www.imdb.com/title/tt0118346/fullcredits/
  15. https://www.imdb.com/title/tt0430895/fullcredits/
  16. https://www.cbc.ca/radio/q/adrien-morot-fat-suit-the-whale-q-tom-power-interview-1.6749293
  17. https://mande.net/btl/awards/contender-makeup-artist-adrien-morot-barneys-version
  18. https://www.oscars.org/oscars/ceremonies/2011
  19. https://www.motionpictures.org/2023/03/the-whale-oscar-nominated-prosthetics-artist-adrien-morot/
  20. https://www.cbc.ca/news/canada/montreal/adrien-morot-oscar-win-makeup-the-whale-1.6779968
  21. https://www.metacritic.com/movie/the-revenant-2015/credits/
  22. https://www.imdb.com/name/nm0606110/
  23. https://closeupculture.com/2019/08/21/interview-makeup-effects-expert-adrien-morot-on-creating-alligators-and-gore-for-alexandre-ajas-crawl/
  24. https://www.latimes.com/entertainment-arts/awards/story/2023-02-15/whale-makeup-prosthetics-blaze-new-technology-trails
  25. https://www.motionpictures.org/2025/06/the-secret-behind-m3gan-2-0-fx-duo-adrien-morot-kathy-tse-reveal-how-they-perfected-horrors-creepiest-eyes/
  26. https://www.cined.com/practical-effects-in-film-the-craft-of-prosthetics-then-and-now/
  27. https://www.oscars.org/oscars/ceremonies/2023
  28. https://www.imdb.com/name/nm0606110/awards/
  29. https://www.imdb.com/title/tt1423894/awards/
  30. https://www.imdb.com/title/tt8364368/awards/
  31. https://globalnews.ca/news/9433234/quebec-adrien-morot-oscar-nomination-the-whale/
  32. https://www.advertisernewsnorth.com/news/local-news/vernon-student-learning-from-makeup-masters-LXAN20150625150629958
  33. https://nationalpost.com/arts/cancon-at-the-oscars-barneys-version
  34. https://www.tvguide.com/celebrities/adrien-morot/credits/3000279894/
  35. https://variety.com/2020/tv/features/the-loudest-voice-russell-crowe-prosthetics-makeup-collaboration-1234693230/
  36. https://www.vanityfair.com/hollywood/2019/06/the-loudest-voice-fox-news-roger-ailes-russell-crowe-makeup
  37. https://www.imdb.com/title/tt2758950/fullcredits/
  38. https://www.imdb.com/title/tt5973870/fullcredits/
  39. https://www.backstage.com/magazine/article/russell-crowe-prosthetics-interview-adrien-morot-68437/
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