Issue link: http://digital.copcomm.com/i/1058399
72 • THE ARTISAN FALL 2018 lines were added using a combination of Skin Illustrator Glazing Gels and Skin Illustrator. For his younger looks, a full corrective make-up was applied using a warmer, more robust color, as well as careful use of Peter Thomas Roth Instant Eye FirmX and Clinique pore minimize, as well as regular treatments to keep his skin in good shape. Bob's lashes and brows were filled in lightly using a Skin Illustrator Brow Palette. All of his looks were finalized with his ubiquitous Cherry Chapstick. Casey came to us straight from another project looking like a wild man with a thick head of hair and a large bushy beard. Casey wanted his character to be a bit disheveled and, after a brief discussion, we decided on a minimalist approach. We shaved his massive beard to a light stubble and carefully trimmed his mustache back to a roughly Magnum P.I. style mustache. In the end, we did a light corrective make-up using REN Evercalm to reduce redness, a bit of spot work with an Everything pencil and, finally, RCMA foundation in a combination of several olive shades. For scenes in his later years, a change of hair style from Laine and a subtle highlight and shadow make-up were the order of the day. Sissy's make-up was handled by my key artist Sara Ann Callaway. For Sissy's younger looks, Sara spot-corrected with a Make Up For Ever concealer palette and then used Laura Mercier Tinted Moisturizer in nude, a taupe brow, brown mascara and a very tight brown liner to finish her eyes. For her cheeks and lips, we used Benetint rose stain. For Sissy's more mature looks, Sara added subtle shading and a more matte look for her skin. Speaking of skin, skin care was a big part of Sissy's daily routine and centered on several of her favorite products from the Mad Hippie skin care line. Sara also handled Tika, Elizabeth and Danny (including Danny's bullet wound). Since Tika, Elizabeth and Danny were really only seen in one era, their make-ups were all clean corrective looks using period-appropriate colors. One of the more fun things we got to do was to apply "disguise" looks to the over-the-hill gang. David requested that the mustaches look good but not too good. It was important to him and to the story that it didn't seem that the characters had access to top-of-the-line hair goods but they couldn't be so cheap that they wouldn't fool people at a distance. I had Ann Maree Hurley ventilate a few pieces for the gang. On our first test, David thought the pieces were too good, so I actually had to send them back and have Ann Maree make them denser and less believable. Overall, this show was a real pleasure to work on and I owe a lot of that to my team: My key on the show was Sara Ann Callaway, who handled most of our ladies, Jodi Byrne, who was our third, and was a huge help in organizing or addition- al help in the Ohio and Kentucky area and, of course, our additional make-up artists, Andrea Veitch, Ashley Flannery, Madeline Rose and Anna Richardson. • MAKE-UP CONTINUED FROM PAGE 70 HAIR CONTINUED FROM PAGE 71 hair. This would include my scissors when he felt the need, so keeping his continuity was a small challenge. Any good hairdresser worth their salt has been in this situation and I enjoy the challenge of working with the actors when this happens. Every day is a new adventure. As far as the rest of the cast—we did what we could to emulate their hair styles when they were alive in those years. Looking at photos of Tom, Danny and Sissy from the early '80s and using those styles on them for the film. We did not want the styles to distract at all from the story so we did our best to keep everything as humble and non-assuming as possible. Just enough to make the actors feel their character without being distracting from the story. We knew going into this film that it was going to be Redford's last. David knew that too and he gave it a classic feel. The kind of movie that an iconic movie star should have for his last film. The Old Man & the Gun was such a pleasure to work on because it was a true collaboration on all parts. I feel like nowadays, those kind of jobs are few and far between. • Director David Lowery wanted the mustaches "to look good, but not too good." At left is Casey Affleck.