Prosthetics designer Barrie Gower has been nominated for two Emmy Awards this season for his work on the television shows The Last of Us and House of the Dragon. This is a significant accomplishment for Gower, who has previously won Emmys for his work on Game of Thrones and Stranger Things. However, this success is the result of a lifelong passion for his craft.
Gower’s passion for special effects and makeup began at a young age. Growing up in the north of England, his father managed a cinema and would take him to screenings and showings of films. It was during these experiences that Gower developed a fascination with stop-motion animation and special effects makeup. He was particularly drawn to the works of animator Ray Harryhausen and the Sinbad movies, which featured visible stop-motion characters.
As a teenager, Gower’s passion for art and sculpture grew, and he discovered a magazine called Fangoria that highlighted the work of special effects makeup artists in Hollywood. This magazine showcased the behind-the-scenes process of creating monsters and creatures, which amazed Gower. It was at this point that he realized he could turn his passion into a career.
Gower applied to art programs and stumbled upon a promising option at the London College of Fashion. However, he was initially rejected because he had no experience with hairstyling. Determined to pursue his dream, Gower enrolled in a hairdressing course and reapplied the following year. This time, he was accepted and had the opportunity to meet industry professionals who would shape his career.
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After graduating, Gower worked for the BBC in their visual effects department, where he honed his skills in prosthetics, prop-making, and various other techniques. He had the opportunity to work with renowned prosthetic designers and a creature effects supervisor named Nick Dudman, who was responsible for the effects in the Harry Potter series.
After a decade of working in the film industry and freelancing on large-scale projects, Gower decided to start his own company, BGFX, with his wife Sarah, who is also a prosthetics designer. Their company began as a home-based studio but quickly gained recognition when they were given the opportunity to design prosthetics for HBO’s Game of Thrones. This opportunity opened the door to many more projects with HBO, including House of the Dragon and The Last of Us.
Designing the prosthetics for House of the Dragon was a unique challenge for Gower and his team. They focused on creating the aging and decay of Paddy Considine’s character, Viserys Targaryen, who develops a flesh-eating disease over the years. Gower describes this as a powerful tool to show the passage of time in the narrative. They also created full-body makeups for a double of the character, highlighting his bone structures and ulcerated wounds.
Simultaneously, BGFX worked on The Last of Us, which Gower describes as the biggest project they have ever undertaken. The show required them to design a post-apocalyptic world consumed by a fungus, as well as the zombie-like creatures that are born from it. While they relied on the designs from the original video game, they still had to create various stages of infected makeups, including thin raised veins, significant mushrooms, and silicone and foam latex prosthetics.
Despite the grotesque nature of his work, Gower finds it gratifying. This passion for creating realistic and immersive prosthetics is what drives him in his career. His dedication and talent have led to multiple Emmy nominations and wins, solidifying his status as one of the industry’s leading prosthetics designers.
In conclusion, Barrie Gower’s journey from a young fan of special effects to a renowned prosthetics designer has been driven by a lifelong passion. His work on shows like Game of Thrones, House of the Dragon, and The Last of Us has earned him critical acclaim and Emmy recognition. Gower’s ability to bring fantastical creatures and characters to life through his prosthetic designs is a testament to his unique talent and unwavering dedication to his craft.
