Isabella Watling is a London based artist who paints portraits in the tradition of Van Dyck, Veláquez and Sargent. She got entangled with Hollywood when Rian Johnson commissioned her to paint portraits of characters like Benoit Blanc and his co-stars for the credits of “Wake Up Dead Man,” the third entry in the Knives Out series.
Mrs. Watling spoke with Cheddar about her first experience in the film world from how she collaborated with the cast and crew to what materials crafted the wonderful portraits she made for the motion picture. This interview has been edited for length and clarity.
Rian Johnson, the director of “Wake Up Dead Man: A Knives Out Mystery,” said he messaged you out of the blue for this project, what was your reaction to receiving this message? Were you a fan of his or the “Knives Out” series before taking the job?
When I received the commission I was very surprised! I had seen the previous two films and was a big fan.
About how long did it take from receiving the offer to getting in front of the actors to paint their portraits?
It was a few months.
You paint directly across from the sitter in natural light, was there any difficulty getting that accomplished? Were you able to bring the actors to your studio to paint them? Did you go to the set and paint them between takes?
Yes, some of the actors came to pose in my studio and the others were painted on the film set. I always prefer to paint in my studio where I am used to the light but I was lucky in that there where some clever lighting technicians on set who where able to mimic the sort of light I need. I had never been on a film set before and so it was a great experience.
Was the film screened for you before you started painting? If so, did it affect your approach to the work in any way?
They hadn’t finished shooting the film when I started painting so I relied on the actors and production team to give me a flavor of what was suitable. The actors were very helpful in giving me an explanation of their characters. Some of the actors used the time whilst they posed to run through their lines which was hugely inspiring.
You follow in the tradition of masters like Van Dyck, Velázquez and Sargent, were they an influence on these portraits? Were there any artworks or artists outside of them that influenced your work on this film?
Yes, especially Sargent who was known for his quick all prima portraits. His portrait of Vernon Lee is said to have been painted in just one sitting and is an extraordinary example of his work. I didn’t have much time with the actors and so I tried to paint broadly and not worry too much about any details. Alongside Sargent another painter known for quick character studies was Frans Hals, whose work also influenced me in these portraits.
How were the poses of the actors determined? Did you give your input and then the actors give theirs? Did Rian Johnson have the poses already figured out?
Yes, it was a combination of direction from the director and assistant producer, input from the actors and then my own input as well. In this way, it was a collaborative process which I think is quite typical in the film world. It was really fun to try and have some variety between each portrait. When designing, a portrait painter is usually trying to find a pose that makes a good picture whilst also describing the character of the subject.
Were you star-struck meeting any of the actors? If so, who and why?
Oh yes! By all of them really! I think even by Hollywood’s standards, this was an exceptionally star-studded cast.
When you were painting the actors, would you chat with them or work in silence? If you chatted with them, what were some highlights and/or surprises you can share?
I like to work in silence and I had to paint fast so I was mainly concentrating on the brushstrokes! Listening to some of the actors practicing their monologues was really great but I’m afraid I can’t recall much detail. I’m sorry to disappoint, but a good portrait painter tries never to gossip!
Typically how long did each portrait take you to paint? Would the actor be there for the whole process?
Most of the portraits were done in two sittings and sometimes I would work on the painting in between the sittings to soften and also to add details from the clothing and props.
What size canvases were used for these portraits? Do you prefer working on a bigger or smaller scale?
I always work life-sized and these portraits where painted on canvas sized 70x90cm. Some of them were cropped a bit at the end.
What brushes and kinds of paints did you use on these portraits?
Hog filbert and sable brushes and then a limited palette of oil paints. I use lead white, ivory black, yellow ochre and red vermillion.
Was there any color that was difficult to mix?
I struggled to mix the colour of the purple material around Josh Brolin’s/Jefferon Wick’s neck. I ended up dusting off an old tube of alizarin crimson.
Which portrait was the easiest to paint and which was the most difficult? Did the answers to this question surprise you when you were painting them?
This is a good question. I think the most difficult was the portrait of Noah [Seagan] as Nikolai. I had never attempted a pose like it before and so I was a bit out of my comfort zone which is always bit stressful. Thinking about it, painting a portrait is never easy!
When you got to see the final portraits in the finished film on a big screen, how did it make you feel?
I was glad because by then it was almost two years since I first heard of the commission and so it was very satisfying to finally share the work with everyone.
How did the people in your life (parents, siblings, partner, friends, etc.) react to your work being in this huge movie?
They were all very pleased I think. My husband’s aunty Carolyn went to see the movie twice at the cinema!
What happened to the final portraits? Did you keep them? Did each actor receive theirs? Does Rian Johnson have them all?
I don’t know actually. I didn’t get to keep them, unfortunately!
