I recently caught up with Chris Bridges, the owner and operator of Gaslight FX Studio and a special makeup effects artist on various projects. With over 30 years of experience, Chris most recently served as the Head of Department for prosthetics on Star Trek: Strange New Worlds and has provided effects for the horror/drama Heretic. 

I had the honor of chatting with Chris about his work in prosthetics. He also happens to be an Emmy winner and multi-time nominee. Chris has pulled off some of the most amazing effects makeup on screens today. 

Check out my full conversation with Chris Bridges below, where we dive into Heretic, Star Trek, his career and more. 

How do you ensure that the prosthetics and special effects you create are not just visually striking but also serve the story and characters in meaningful ways?

I thought carefully about the characters in Heretic, their story, and the atmosphere of their scenes. This really inspires my imagination and helps serve the characters well. For example, the design process for the Prophets began with in-depth conversations with the Directors about how the prosthetics could enhance the actor’s portrayal. When you can analyze a scene and its mood and research real-world examples, it will bring authenticity to the prosthetics and special makeup effects.  

The film’s themes of confinement and psychological horror seem to be deeply tied to the prosthetic effects. How did you collaborate with the filmmakers to align the visual effects with these themes?

Confinement and psychological horror were definitely something I thought about. I thought about the physical toll that would take and what that might look like. Scott and Bryan were very generous with their time and were always available to talk about the characters’ looks, especially regarding the Prophets. I spent a lot of time developing different looks that could be a result of suffering from that kind of torment. I was also very involved in the casting and what kind of actors might play those roles and their physical qualities.

Can you discuss the process of developing some of your favorite looks?

My favorite look for Heretic was for Mrs. Reed, the lead Prophet. I was fascinated by the physical complications of long-term confinement, mental anguish, and malnourishment and how that might be portrayed. We did many renderings and makeup tests, which really helped the process.

What is the biggest challenge you face when creating prosthetics for complex characters or creatures, and how do you overcome it?

For me, the biggest challenge in creating these characters is the time crunch, which means making sure we don’t overcomplicate the build itself. It’s easy for things to get out of control, and on one hand, you want to create something amazing, but you know you have a finite time to build. I always try to keep things simple, or at least as simple as possible, and look for creative solutions to help the workflow.

Many people associate prosthetic makeup with shock value or horror, but you’ve shown it can be deeply emotional and narrative-driven. How do you see the role of prosthetics in storytelling evolving over the next decade?

I believe that prosthetics can add grace, empathy, and jaw-dropping wonder to a film, and I would love any opportunity to do that. I think the use of prosthetics is just so versatile that it can drive a lot of different storytelling, including horror, and it’ll just keep getting better and more refined over the next decade.

Looking ahead, are there any emerging trends or new technologies in the special effects industry that you’re excited to explore and hope Gaslight can be part of? 

As a prosthetics artist for over 30 years, I have seen a lot of new technology in lifecasting, silicones, prop fabrication, and painting. From alginate life casts with straws up the nose to silicone life casts to scanning and printing an actor’s head, things are really progressing in lifecasting technology alone. I’ve always been a fan of 3D printing and have a few printers here at Gaslight. We’ve 3D-printed animals, droids, mechanical parts, and even molds. These technologies are really another tool in the toolbox, and embracing them only helps the process.

As the Head of Prosthetics on Star Trek: Strange New Worlds, how do you balance maintaining continuity with the established visual style of Star Trek while introducing new elements that keep the series fresh and innovative?

As part of the original Trek fan base, I love the established visuals of Spock, the Klingons, and all those aliens that make Star Trek so familiar. In the show’s quest to stay fresh and innovative, we get to introduce new aliens that hopefully speak to the fans and fascinate the new ones. Although we are using new, innovative makeup and techniques, I feel that the excellence we bring to the table ties it all together.

How do you approach working with the show’s writers, directors, and actors when creating prosthetics that support both character development and storytelling? Any standout moments from the show that pushed your creative boundaries?

When I work with the show’s creatives, I try to be open-minded and inclusive of everyone’s ideas and expectations regarding how the prosthetics might support the storytelling. The finished prosthetic is an amalgamation of all of that, and It’s my job to bring that to create something that satisfies that. When I finish a character’s makeup, and I bring them to the set, I’m confident that we have created something special that fits into the episode’s narrative. 

One of the biggest creative pushes for me was in doing Spock’s makeup. To the casual observer, he’s wearing rubber ears and has pointy brows, but so many nuances go into creating that look. IT has to be perfect every time because when it’s not, it sticks out. Every application is an opportunity to push myself and perfect it.