Director Gerard Johnstone and animatronics wizard Adrian Morot break down how they made this evil doll so terrifying—and leftover ideas that just might make it into the sequel.
and the prosthetics for this year’sThe quality Johnstone knew he could expect from the pair’s work allowed the director to “really go there” withMorot and Tse had a clear directive from the beginning: Their animatronic doll had to be pretty, but in an uncanny valley sort of way. Morot credited Tse with spearheading M3GAN’s design. “She really supervised the entire thing,” he said. “I just made sure everything was done properly physically.
Morot and Tse focused on the eyes, making sure that when M3GAN looks at someone, she stares straight into their soul. Her facial expressions would be muted to create a sense of menace. “We dialed down everything,” Morot said. They placed restrictions on the motors in M3GAN’s face to keep her expressions chilly.
Morot explained that any full-body shots of the doll were all Amie Donald, the 12-year-old national dance champion from New Zealand appears as her stand-in for moments like that. During those scenes, Donald wore a M3GAN mask; at times, the production used CGI to superimpose expressions they’d shot with the robot M3GAN onto the mask. And for shots that captured M3GAN from the torso upward, the production mounted their animatronic creation onto a dolly.
Beyond the many “invisible miracles” Johnstone attributes to Morot and Tse, he was equally stunned that the production found a talent like Donald on the small island of New Zealand, where the production moved in response to COVID. They needed someone who could not only move like a robot but also do gymnastics, dancing, and martial arts—“The casting agent found Amie straight out of the gate,” Johnstone said.
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