“It was at the very first makeup trade show,” he tells Baker, grinning at the memory. Marino thinks it was the late 1990s. “I was 20 or something. I showed you my [portfolio], and you looked through it and really liked it. You pointed out a few drawings: ‘This is really cool, this is really cool.’”
“I have so much respect for Rick,” says Marino. “It was his designs, and it was his work. And Rick said, ‘Yes, it’s cool. Just do it and kick ass.’” The two artists commiserate over the “Coming” character who gave them both the most trouble: Saul, the opinionated Jewish man, played by Murphy, who hangs out at the barbershop. “Doing a realistic person makeup is the hardest kind of makeup to do,” Baker says. “And to change a race like that — I mean, Eddie is obviously a Black man and Saul was a Jewish man. I was a little lost when I first started, but my father-in-law, who’s not Jewish — he’s actually from South America — was the right age.
Some of the technology around shooting the barbershop scenes has gotten more sophisticated since the original movie. For “Coming to America,” filmmaker John Landis actually used Baker’s father-in-law as a stand-in for Saul on camera when Murphy’s other character, shop owner Clarence, was speaking.
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