“He’s a character with a great deal of fine hair all over him,” Dudman explained. “In the old days, if you were doing a werewolf, you would just lay loose hair on an actor, but nowadays the camera would pick that up, plus it’s such a coarse technique, it would be different every day.

“What we’ve done is punch fine goat hair into the pieces and pre-paint them, so when we apply the make-up, it won’t take as long. Because the hair has been punched, there’s no glue, so the movement will be freer. The reason we use fur is because it’s tapered and very fine. If you use human hair, yak or any other hair, because it’s been cut, it’s the same length at both ends and has a coarser flavor, whereas fur sits nicely close to the skin.

“The reason we’ve designed the make-up in seven pieces, including the ears, is that if it was just two pieces, maneuvering the silicone into position and gluing it accurately would become very difficult, so you choose sizes that you can manipulate and to allow a time frame that makes the make-up practical.”

With so much work going into Greyback, Dudman is justifiably pleased with the way the character has turned out. “I think he’s the prosthetic showcase for us on this film,” he said. “Plus it will give us some practice for the next one!”