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Dick Smith applies makeup to Marlon Brando for his performance as Don Vito Corleone in "The Godfather" (1972).

Smith, one of the first makeup artists to win an Academy Award when the category of Best Makeup was introduced 30 years ago, was a leading practitioner of his craft since joining NBC Television in 1945 as its first staff makeup artist. His experience in live television, and his mastery of old age makeups, led to a remarkable film career that includes such outstanding work as "The Godfather," "The Exorcist," "Little Big Man," and his Academy Award-winning old-age makeup designs on "Amadeus."

Dick Smith's death at age 92 was announced on Thursday, July 31, 2014, by his protege, fellow makeup master Rick Baker.

By CBSNews.com senior producer David Morgan

As the popularity of live television grew, so did Smith's workload; he supervised a staff of 20 artists at NBC. He also needed to work quickly; makeup changes sometimes had to be completed during commercial breaks.

Robert De Niro in "Taxi Driver" (1976). In addition to all the blood effects - and there were a LOT of blood effects in "Taxi Driver" - Smith also created De Niro's shaved head makeup, using a plastic cap and introducing a method of blowing on chopped-up hair to look shaven.

Laurence Olivier as an artist who develops leprosy in a 1959 TV production of "The Moon and Sixpence." Olivier was an actor enamored with the makeup arts - he relished becoming a new person with a new nose, for example. Smith said Olivier praised his work by saying the makeup "does the acting for me."

While many makeup artists of the time created single masks to be worn by actors - simple to create in a mold and apply - Smith's expertise was in creating makeup incorporating several separate latex appliances - for chins, cheekbones, brows, jowls. Though they could take longer to design and apply, the multiple-appliance approach gave actors more flexibility in their expressions and greater realism.

Although Hal Holbrook had played humorist Mark Twain numerous times on stage, Smith used more detailed makeup to physically transform the actor for the TV production "Mark Twain Tonight!" (1967). Smith won an Emmy Award.

Smith designed makeup for actor Dustin Hoffman's character in "Midnight Cowboy." Two years later, Smith was in charge of turning the 31-year-old Hoffman into a 121-year-old man, for "Little Big Man" (1970).

Dustin Hoffman having makeup applied by Dick Smith, to transform Hoffman into a 121-year-old man. The design included extremely thin eyelid appliances and colored contact lenses. The makeup took five hours to apply.

Marlon Brando in "The Godfather." The actor was in his mid-40s when he played the aging Don Corleone. He famously submitted to a videotaped audition with crude makeup, fooling Paramount studio executives who had earlier believed Brando was wrong for the role. For the film, Smith thinned and colored the actor's hair, used old-age stipple (a gum that tightens the skin, creating realistic wrinkles), teeth discoloration and dental plumpers that fit between Brando's lower teeth and cheeks.

Marlon Brando in "The Godfather." Smith also applied aging spots and shadows to the actor's skin."My approach is always to use as little makeup as possible," Smith said. "It's easier for the actor, it tends to look more natural and so forth, and it takes less time to put on."

The traditional dividing line for perpetrating on-screen violence has been, if a bullet hit is on skin, it's the makeup artist's job; if it's on clothing, it's the special effects department's responsibility. "The Godfather" provided an opportunity to blur that line, as Smith worked closely with the special effects crew to create realistic mob hits. At left: Effects man Joe Lombardi instructs Al Pacino on how to handle a pistol wired to explosive squibs hidden inside latex appliances in the foreheads of actors Al Lettieri (Sollozzo) and Sterling Hayden (Police Captain McCluskey). The explosive squibs contained fake blood, and a further explosive on the back of Lettieri's head mimicked a rather profusive exit wound.

Dick Smith applies makeup to Linda Blair, who played a young girl suffering demonic possession in "The Exorcist" (1973). In addition to turning a pretty young girl into a horribly-deformed creature, Smith was also responsible for some of the film's gruesome special effects. Here he camouflages a "vomit device" within an appliance worn by Blair.

Dick Smith also created old age makeup for Max Von Sydow, who played Father Merrin in "The Exorcist." Sydow was about 44 years old when the film was made; His complex appliances took about 3.5 hours to put on.

Other horror films for which Smith contributed bloody and macabre makeup designs were "Burnt Offerings," "The Sentinel" and "The Fury" - and for "The Stepford Wives," Smith created fake breasts for Katherine Ross (as the "replacement" wife).

An attempted hit on Don Fanucci in "The Godfather Part II" (1974), when he has his throat slit with a razor, was cut from the final film but later inserted in the re-edited television mini-series broadcast in 1977. The illusion was created by makeup artist Dick Smith and effects man A.D. Flowers with foam latex appliance around the actor's throat that would gush blood when opened. For Vito Corleone's murder of Fanucci, Smith made a duplicate of the revolver with a rubber shaft, so that De Niro would not accidentally cause injury when he stuck the gun in actor Gaston Moschin's mouth and fired. "I mean, you take a regular metal gun and go like this, like you mean it? I mean, an actor could easily overact!" said Smith.

Some of Smith's makeup effects for "Altered States" were distorted by video and optical effects, or were cut entirely - given the editing that the film underwent even after director Ken Russell submitted his first already-hallucinatory cut.

Left: An early test of aging makeup, with appliances and long hair, designed by Dick Smith for Al Pacino's Michael Corleone, that was rejected for "The Godfather Part III." "This was a softer, more Byronic treatment of the hair rather than have it so mobster-looking," Smith said in 1990. "[Pacino] loves long hair. We had more trouble with him on 'Godfather I' because though he was supposed to be straight out of the army he always wanted his hair long. It was always a fight with him to trim it to make it match." Smith had walked off of a film before (he exited "The Deer Hunter" after Robert De Niro's perfectionism over another actor's makeup outdid even Smith's own perfectionism), and he left the third "Godfather" film after director Francis Ford Coppola decided Michael Corleone should have a crew cut and no appliances - AND persuaded Pacino to cut his hair short! - without real discussion or preparation for the makeup staff. (At right: Pacino in the final film, with a crew cut and old age stipple applied by another artist.)"Al, like any good actor, has to do what the boss decides, so he just went along with it," Smith said in 1990. "I'm sure he didn't mind not wearing the appliances; he's not an Olivier in terms of love for makeup, so I'm sure he didn't mind that. To be perfectly honest I don't think that the film is certainly going to suffer for lack of a couple of jowls - that would be absurd to think that anyone's going to miss it, but like other touches I think it would have been a nice one." ff782bc1db