Paul Engelen, a celebrated make-up artist known for his work on iconic films including 'Star Wars: Episode I — The Phantom Menace' and 'Gladiator', as well as his many contributions to the James Bond series, passed away on November 3, 2024, in West Sussex, England. He was 75 years old.

Born in Walton-on-Thames, Surrey, on October 30, 1949, Engelen’s path into film began unexpectedly. As a graphic design student, he accompanied a friend to Shepperton Studios, where the friend’s father, Harry Frampton, worked as a make-up artist on the film 'Oliver!'. This experience ignited a passion that led Engelen to leave his design studies behind and begin a career as a make-up artist.

Early Career and Introduction to James Bond
He started as an assistant to Tom Smith, working on films like 'Get Carter'. His first opportunity as a lead make-up artist came in 1974 on the film 'Gold', which starred Roger Moore. This kicked off a five-year working relationship with Moore. Engelen got his start in the Bond franchise in 1974 on 'The Man With The Golden Gun,' Moore's second outing as Bond. He remembers that Phuket, where they filmed, did not have a tourist industry at the time.

Iconic Looks and Behind-the-Scenes Challenges
Over his career in the Bond films, Engelen worked on 'The Spy Who Loved Me', 'Moonraker', 'Die Another Day', 'Casino Royale', and 'Quantum of Solace'. He was responsible for crafting many memorable looks for Bond villains. In 'The Man With The Golden Gun', he created a third nipple for Scaramanga and a fake nipple for Bond, at the request of the producers. In 'The Spy Who Loved Me', he gave the villain Karl Stromberg webbed fingers. Engelen also had to figure out how to create and maintain Jaws' metal teeth, which he described as an “easy job,” because the design had already been decided.

He developed a strong working relationship with Moore, who even helped to maintain continuity with his tan between shooting in different locations. Engelen said that film sets were “much more serious now,” than they were in the 1970s. He remarked that sometimes it seems “like 10 people [are] doing one person’s job nowadays.” He remembered that back then, “all of us were just doing everything. Running around; carrying gear; more like a documentary crew”

Later Bond Films and Reflections on the Franchise
After 'Moonraker', Engelen wouldn’t work on another Bond film for 20 years. He returned for 'Die Another Day', where he was tasked with creating a diamond-encrusted look for the henchman Zao. He remembered that “the idea was key, although I don’t think we could safely say this is a realistic outcome,” he said. “Nevertheless, it was felt that it would be quite interesting to keep those diamonds embedded in his skin”.

He worked with Daniel Craig on 'Casino Royale' and 'Quantum of Solace', creating a more rugged look for the character reflecting the realistic approach director Martin Campbell envisioned. He also designed Le Chiffre's distinctive weeping eye. Engelen said that “it wasn’t like going to work. It was more like just hanging out” when describing what it was like to work on the Bond films. “They were lovely people,” he said of the cast and crew.

A Legacy in Make-up Artistry
Engelen's career spanned numerous other notable productions, including 'Greystoke: The Legend of Tarzan, Lord of the Apes,' 'Little Shop of Horrors,' and 'Batman'. He worked on 'Star Wars: Episode I — The Phantom Menace', where he contributed to the design of Darth Maul’s look. His skill, collaborative spirit, and dedication led to a successful career in the film industry.

He received numerous awards and nominations for his work, including: two Oscar nominations for 'Greystoke: The Legend of Tarzan, Lord of the Apes' and 'Mary Shelley's Frankenstein'; a BAFTA Award for 'Greystoke: The Legend of Tarzan, Lord of the Apes'; and multiple Emmy Awards for 'Game of Thrones.'

Paul Engelen leaves behind a lasting legacy of creativity and artistry. His work, especially his contributions to the James Bond franchise, will continue to be admired by film fans and professionals alike.