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Description

Adam Driver in stern profile as Caesar in Francis Ford Coppola's upcoming film, "Megalopolis," short romanesque hair revealing the shell of his ear, silvering fringe curling over a forehead free from furrows, serious gaze fixed to our right, light shining on the swell of his cheekbone and the slopes of his nose, mouth set softly, clean shaven jawline scattered with small scars, strong neck girdled by a banded collar and framed by the smokey marbled swirls adorning the lapels of his overcoat.

The description being bandied about at the moment is that this movie is going to be like "Julius Caesar meets Bladerunner," which, I must admit, is giving me tragic vibes for this particular character; after all, we know how things ended for the historical Caesar, and I wouldn't say the grim grittiness of "Bladerunner" is exactly a beacon of hope for a future utopia. Regardless, what little we do know suggests that this Caesar will be both intense and intensely interesting, and I expect that Adam will do his usual magic and manage to make what could have been a rude caricature of a character into a fully realized and relatable person that will captivate us every moment he's on screen.

At this moment he's very serious, but not quite to the point where he's frowning; there are no lines on his forehead, and his brows aren't knitted. You can see the tiny little bump of that one large mole he has over his left eyebrow, and it was fun to finally, after so many years, get to paint the moles he has on the shell of his ear again. The angle of the light is such that it brings all the tiny little scars along his jawline into sharp relief, as well as revealing the hollow just behind the point of his jaw, and I love how the shadow cast by his earlobe curves over the swell of the tendon of his neck.

Photo used for reference was taken by an unknown (to me) paparazzi who was lurking around the edges of a scene filmed on 28 Feb 2023.

About 10 hrs of painting time. A combination of the amount of foundation applied to his face, the shine of the light, and the smaller size and lower quality of the reference meant that many of Adam's usual landmark moles and crinkles weren't as visible, which made for a lot less time spent fussing with mapping them.

Description

Adam Driver in stern profile as Caesar in Francis Ford Coppola's upcoming film, "Megalopolis," short romanesque hair revealing the shell of his ear, silvering fringe curling over a forehead free from furrows, serious gaze fixed to our right, light shining on the swell of his cheekbone and the slopes of his nose, mouth set softly, clean shaven jawline scattered with small scars, strong neck girdled by a banded collar and framed by the smokey marbled swirls adorning the lapels of his overcoat.

The description being bandied about at the moment is that this movie is going to be like "Julius Caesar meets Bladerunner," which, I must admit, is giving me tragic vibes for this particular character; after all, we know how things ended for the historical Caesar, and I wouldn't say the grim grittiness of "Bladerunner" is exactly a beacon of hope for a future utopia. Regardless, what little we do know suggests that this Caesar will be both intense and intensely interesting, and I expect that Adam will do his usual magic and manage to make what could have been a rude caricature of a character into a fully realized and relatable person that will captivate us every moment he's on screen.

At this moment he's very serious, but not quite to the point where he's frowning; there are no lines on his forehead, and his brows aren't knitted. You can see the tiny little bump of that one large mole he has over his left eyebrow, and it was fun to finally, after so many years, get to paint the moles he has on the shell of his ear again. The angle of the light is such that it brings all the tiny little scars along his jawline into sharp relief, as well as revealing the hollow just behind the point of his jaw, and I love how the shadow cast by his earlobe curves over the swell of the tendon of his neck.

Photo used for reference was taken by an unknown (to me) paparazzi who was lurking around the edges of a scene filmed on 28 Feb 2023.

About 10 hrs of painting time. A combination of the amount of foundation applied to his face, the shine of the light, and the smaller size and lower quality of the reference meant that many of Adam's usual landmark moles and crinkles weren't as visible, which made for a lot less time spent fussing with mapping them.