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56 • THE ARTISAN FALL 2018 two twist strands all over and diffused to dry, picked and stretched them and finished with a sponge for effect. It was an amazing experience collaborating with Steve and watch- ing him connect with all crew members." Noriko Watanabe has been traveling the world with Liam Neeson. For this one, they decided to use a couple of wigs. "Both wigs were made by Peter Owen for different films. With little time to prep, I thought using them would be a great way to show passage of time and also allow his hair to grow out for our next movie. One wig had very little gray and the main one had about 18 percent. We had an open mind to bring art to this film and found great team support." Ken Diaz came in with Robert Duvall for a quick couple of days. Robert played a retired politician in one scene giv- ing a speech to Chicago's elite, looking very dandy and per- fectly groomed, and, in other scenes at home with his son, looking perfectly disheveled. Why mess with perfection? Daniel Curet took care of Cynthia Erivo, who played a single mom and struggling hair stylist with a bleached- blonde short cut that was sponged into naturally textured curls. Carrie Coon, who played the fourth widow with a newborn child, was given a very spicy short and sassy hair- cut; Molly Kunz played the assistant with some provocative Lolita-esque hair styles. Jon Bernthal had a cool disconnect- ed fade and spiky top. Manuel Garcia-Rulfo had a nice sexy messy hair vibe for the gambling lothario. Garret Dillahunt had a nice ex-military short cut styled with texture. Daniel Kaluuya and Brian Tyree Henry played a thug and politi- cian brother pair who were barbered into perfect fades with etched hairlines by Nolan Kelly and styled regularly by Daniel. Denise Wynbrandt helped us with some of our additional guest and featured background actors. Steve was involved in every look. What would appear on the surface to be a fairly simple contemporary action film, turned into a lot of "creating characters" hair styling work. Everyone had to have something done. We used custom-made wigs, hair extensions, hair color, haircuts and barbering to compliment each character. Each hair style said something about them and represented either their social stature or personal struggle and yet made them feel natural. • MAKE-UP CONTINUED FROM PAGE 53 In Widows, Viola Davis playing the character Veronica, is a well-heeled, glamorous version of the powerful desperado. She lives a moneyed life and is suddenly in urgent need of $12 million in cash. I created a look of someone who no longer can afford the luxury of living the soft life. Veronica has no choice but to be rough and tough. Veronica needs to look beautiful, elegant and raw. Gold- and red-based foundations were used as highlights to bring out her inner radiance. During the climactic scene, dramatic tension is inspired with sweat-induced sheen and smudged eyeshadow. In contrast, in flashback (Veronica in bed with her husband as played by Liam Neeson), she is all velvety and yielding. Her body is painted lucent with ground nano gold into coconut oil. All shapes are made mellow and round. Her eyes, cheeks and chin have a hint of blush. Initially, the women in Widows were facing varying challenges and yet felt victimized and powerless. This changed when they decided to turn their lives around with drive, nerve and raw guts. Their faces reflected their initiation into action, resolve and purpose. I made their cheekbones and jawlines more pronounced. Their look was all strength and edge. There were some specific challenges with make-up. Steve McQueen and Sean Bobbitt are known for their five minutes-plus camera moves. There was one scene where a van starts moving with doors flung open, Florek (Jon Bernthal) comes running and is shot in the stomach, throws himself up into the van (the camera is filming in the van). The van speeds three blocks with camera moving in on Florek ripping open his thick denim overalls and lifting up his shirt to reveal his bloody wound. With the intense rubbing of the prosthetic with his overalls, by the time he lifted his shirt, he was a bloody mess. In the end it looked very real, though after each take, I felt it was a miracle the prosthetic was still on. Colin Farrell, who plays the character Jack Mulligan, wanted to look 10 years older with a flushed face from drinking. When you work with subtle aging, the paint has to be meticulously maintained. This is always a challenge in the heat and when working on a tight rigorous schedule. It takes a gracious actor and a love of art and people to pull it off. On a Steve McQueen set, it is all of this and more. • Jon Bernthal Daniel Kaluuya and Brian Tyree Henry