Issue link: http://digital.copcomm.com/i/1189512
THE ARTISAN WINTER 2020 • 57 characters. Once I knew where Kazu planned to place the pieces, then I made the decision that we needed to change and lower the hairline of Charlize to really liken the shape of Megyn's face. In real life, Megyn's hair looked to be quite fi ne and trashed. I cut, low-lighted and rooted all of Megyn's wigs, taking care to darken her widows peak so it would clearly defi ne the hairline. (Wig #1) I chopped into what could be called a "bi-level." We allowed it to be quite thin. We used tape-in wefts to load it up for her "FOX" look. I adapted their color with Tressa Watercolour shampoos and rooted with matching color. (Wig #2) This one was made to be super snug and needed the wrap to be done just right for the part to show and to fi t and look real at the nape. The cut was tight so you really had to get it right. (Wig #3) I had intention that the third wig would have more wave and be medium length. Unfortunately, it took on too much of a Charlize-look when we tried it ... so we chopped it up a bit more than originally planned. My suspicion was that in real life, maybe Megyn Kelly had gone to the hairdresser with a photo of the haircut Charlize had at that time. Therein, it was a coincidence that the tables were turned in art as in life! I used an iron and more of a paste pomade to help this wig in movement and shape. (Wig #4) The fl ashback wig. It was more golden honey and fuller with a soft longer bob. The idea was to make her more fresh faced as when she had originally landed at Fox. The golden hue helped her skin tone to look soft and younger. Adruitha Lee had worked with Charlize in the past. She came in a bit after we had started shooting and took my little group of Megyn wigs and carried the torch further. She made sure Charlize was happy. I was lucky to have her and I know Charlize felt the same. Most all our cast was affected by the use of wefts, hair color, extensions, toupees or Wiggys, hot rollers, airbrush... It was a full bag of tricks. The styles Nicole Kidman wore as Gretchen Carlson were researched and replicated beautifully by Kim Santantonio. Peter Owen also made her wig. Victoria and Rob at Wigmaker Associates accommodated every detail and request that I asked for the Rudy Giuliani wig. They had a tight window on delivery and yet it was exceptional ... like fi ne lace. They re-fronted a Peter Owen wig for the late casting of Connie Britton. Connie has that infamously gorgeous mane of hair that needed to be all tucked up inside and look more conservative as Beth Ailes. Dealing with an active lower hairline on her forehead meant that the wrap and details needed to be exacting. Leading in to my favorite, Margot Robbie. What can I say other than creating Kayla Pospisil was an extremely gratifying experience for me. Kayla was not an actual real person, so I had artistic license. I used a conservative right- wing woman named Tomi Lahren for inspiration. I loved the overly stark white blonde and felt that it befi t the persona of Kayla as a weather girl from Florida.