Issue link: http://digital.copcomm.com/i/1189512
54 • THE ARTISAN WINTER 2020 After so many years of hearing about Kazu and seeing his phenomenal work on screen, I was thrilled to have this moment to work together. Vivian and I have worked in the past and have enormous respect for each other. I knew both Kazu and Vivian would be striving for detail and perfection as much as myself and I was excited to get started. Each actor/actress that came in our trailer was patient with the process and eager to become the character they were portraying. It was an honor to help them transform. I worked with a new hair team on this. After recommendations, I had the great luck of having the support of my two hair teammates: Jamie-Leigh MacIntosh and Margarita Pidgeon. Both of them were incredible and we worked together to make it happen on screen. There was also a great background department that really listened to the detail and directive that was given for any scene. I am so grateful for their hard work. Vivian and I felt that we each needed to be in the same workspace as our teams. It really was a heartbreaker to not be together in the same trailer but the decision we made during prep was necessary for logistics and space. Reputation precedes but the complete transformation, perfection and attention to detail that Charlize Theron brought to this role set the bar high and set the tone. I usually spread the work around with different core wigmakers contingent on what I might need. Peter Owen made the four wigs for Charlize, as well as the wigs for both Nicole and Margot. For many of the characters' wigs, I might take a wig that exists and have them re-front for expediency or cost-effi ciency. Wigmaker Associates, as well as Diana Choi were standing by for all our needs, no matter how small. Kazu had been working with John Lithgow when we met. His transformation was so beautiful yet elaborate and occupied a considerable amount of time. I liked the balance of using John's own hair. I knew my work needed to be minimal in design and execution. His hair grows quite dense so I thinned it using a clipper within the interior, and an electric shaver. I maintained this daily. Roger Ailes' hair had an interesting pattern of graying, so I colored John's hair the same. When he plays a bit younger, I used a water-based pigmented pomade to keep it tight and neat and affect the color subtly. I added Hair Palette touches for detail. I used (skin) wefts on occasion to further the stringiness and unkempt quality. I colored these to match. For texture and fuzz, I used a Japanese small-barreled iron. The goal was to balance the shape of John's head with the prosthetic appliances; Roger had a much rounder head that I kept in mind with the desired result. Jay had a photo hanging in his offi ce during prep. It was a grid of headshots of the on-camera women of FOX. They all looked THE SAME! It was THE singular image of inspiration for me. They were so overtly sexualized and it was such a blatant tonal palette of skin and hair color. This was my blueprint. Any female on camera would likely be blonde (with some exception). Long hair. Wefts ... fl at irons, curling wands... They would be stylized according to the Roger Ailes dictate at FOX ... what HE liked on camera. Even the men became caricatures once we started breaking down their looks. Geraldo Rivera, Brett Baier, Sean Hannity... Megyn Kelly is well documented, as were most of our HAIR Continued from Page 45 Margot Robbie and Charlize Theron Department Head Hair Anne Morgan touches up John Lithgow Director Jay Roach instructs the actors