Issue link: http://digital.copcomm.com/i/1058399
THE ARTISAN FALL 2018 • 71 H A I R B Y L A I N E T R Z I N S K I DEPARTMENT HEAD HAIR As a child of the '70s, I grew up watching gritty Westerns and cops-and-robbers type of films with my dad. The likes of Dirty Harry, Bruce Lee and of course, Butch Cassidy and the Sundance Kid. Never then did I imagine I'd be working as Robert Redford's hair stylist in his reputed last acting role. Once I met with David Lowery and heard of his vision for The Old Man & the Gun, I knew I was on my dream job. I first met Mr. Redford when Corey Castellano introduced me to him on All Is Lost in 2012. It's been a dream team ever since. Bob always likes to talk about his upcoming projects so we knew this one was in the works for a while. This gave us plenty of time and a chance to brush up on our research for the period far in advance. Even though the film is based on real-life events, we did not have to concern ourselves with matching the actor to the part they were playing. This gave Corey and I some creative freedom with the look of the film. Then collaboration with David and the cast, we were able to come up with looks that made everyone happy and felt true to the time. David's choice of 16mm gives an edge to their looks that I love and make you feel like you've gone back in time. Shooting a period film on a low budget, out of town, was our first hurdle. I was grateful to have found Scott Reeder, a local in Ohio, to join the hair team as the key hair stylist. His knowledge of the period and the styles of the time were vital to us pulling this off. Scott, knowing the area hair stylists, helped immensely with hiring on the days when we had extras. Casting also did some early calls months before principal photography for background to Finishing touches are applied to Tom Waits for his character, Waller. help choose our atmosphere. Since we were shooting in small towns in Ohio, Kentucky, Michigan and Texas, it was like a blast from the past. Hair, make-up and costumes included! This took a lot off our plate when it came to principal photography. Also made for lots of fun antique shopping! R O B E R T R E D F O R D / F O R R E S T T U C K E R Technically, I had to break down Bob's looks into three different stages for the film. The middle look, being the brunt of the movie, we left his hair in its natural state. Full and robust, the man has a lot of hair. The first look, flashbacks, was accomplished by simply using mousse color in his hair to hid any grey. His final look was the aging. First, I would go through his hair with a mascara wand and a blend of colors from the Hair Illustrator Aging pallet. Then, I would slowly build up the Bumble & Bumble White Powder Spray until it got to a level we all liked. It gave just enough coverage to knock out a good portion of the red from Bob's hair, but still leaving a slight red tone. Which believe it or not, the man does not color his hair. All that pigment is his. I found a rinse with 244 Fluid before shampooing was best to get the aging from his hair. C A S E Y A F F L E C K / J O H N H U N T Most of the film takes place around 1981. When Casey came to us with a full beard and a lion's mane of hair, we had an easy time shaping him into our Magnum P.I./Tom Selleck sort of detective look. His character of John Hunt, the detective chasing Forrest Tucker, has a bit of a woe-is- me complex, so we tried to keep him as carefree as possible. Casey is one of those actors whose hands are always in his CONTINUED ON PAGE 72