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adding eyelids and a nose. Vincent Van Dyke is my partner in all things prosthetic and he also worked on Bombshell, so he knew exactly what Ryan was asking for. He and I sat down with Jake's head cast to see where we could go with subtle prosthetics and ended up with a nose, ears, eyelids, and a lower lip. Ryan also wanted to show the teeth makeover that Rock's longtime agent made him get which would be seen a few epi- sodes down the line. A few different sets were made until we found the ones that suited Jake best. Jason James at VVDFX created both sets of teeth for Jake and Jim Parsons for us. Ana Gabriela Quinonez and I applied them every time Jake worked. Gaby was lead on this make-up for the last two episodes with help along the way from Bruce Spaulding Fuller, Abby Lyle Clawson, Kerrin Jackson, Mike Mekash, and Cary Ayers. Everyone jumped in to help! The pieces were all run very soft and encapsulated in Super Baldiez, hand-painted with Skin Illustrator alcohol paints, Tarte BB treatment cream founda- tion was dry-brushed over all the pieces and face to tie it all together and eyebrows shaped to look more like Rock's. Jake did an amazing job wearing this make-up and sitting for us. The whole application was brought down to one hour. Jim Parsons played agent Henry Wilson who shaped many actors' lives. Jim wore a beautiful set of yellowed and crooked teeth and silicone bald pate applied daily by Kerrin Jackson. Kerrin also did his make-up and took care of him on set. Ryan wanted to be able to see Henry's scalp through the "bad tou- pee" Michelle created for Jim to wear, hence the bald pate. Jim also wore brown contact lenses designed by Cristina Patterson to change his blue eyes; the shade Jim and I decided on were light enough to still see him under them. I didn't want any- thing too dark so that he wasn't getting any "life" from them. Brittani MacNeal was our lens tech through Professional Vision Care on most days. It made for a very realistic odd look which we all loved. It was really fun for me to get to do both sides of things—the character work and the beauty work. Kim Ayers is my longtime assistant department head and did another amazing job on this project. We met back on John Carter in 2010 and have worked together on almost all of my projects since then. Among the many make-ups she was responsible for, Kim did Patti LuPone on this series, which was high 1947 glam. We all fought over who was going to do Rob Reiner's make-up! My main team for Hollywood was Kim Ayers, Kerrin Jackson, Ana Gabriela Quinonez, Tina Harrelson, Abby Lyle Clawson, and Tanya Cookingham. Eden Elizalde was our make-up PA. We had a multitude of wonderful day players to help with the workload. VVDFX made all of our stunning prosthetics, Sasha Camacho all of our hairpieces, additional hair work by Zoe Hay. ———— Eryn Krueger Mekash has more than 30 years of television and fi lm indus- try experience as a make-up artist and is diversifi ed in beauty, make-up effects and design. Her credits cover a wide range of productions. She has been recognized with eight Emmys—seven for make-up and one for produc- ing, 10 MUAHS Guild Awards and 34 Emmy nominations. large amount of the workload was the hundreds of background that it seemed we had daily through the series. The show takes place in 1947 with fl ashbacks and recreations in the '20s and '30s. This made our jobs so much fun. We were able to incor- porate a broad spectrum of looks from Hollywood glamour to at-home casual, but we found ourselves in glamour more often than not. My favorite thing about the looks of this period is the fl ow of shapes and detail; beautiful rolls and waves. Sexy glamour was becoming acceptable and that shows in the evolution of hair styles. It always amazes me how much work went into doing hair at that time. How women would get their hair done every week at the salon, protect it and maintain it until they went back for a fresh wash and set. We're blessed to be working in the era of Google and when researching, Pinterest was my best friend. It was so enjoyable going down that rabbit hole, fi nding beautiful hair styles, then fi nding space for them throughout the project. We also had many reference books. Hollywood in Kodachrome was one of my favorites because it was colorized to what we believe were the most accurate hair color references. In addition, I have older parents from large families. My father is 95 and was in WWII, so I am lucky that some of the inspiration for basic period hair styling I could fi nd in many of their old pictures. Thanks, Mom and Dad! Ryan gave references for each character and I created boards for each actor. I also like to work closely with costumes and make-up to visualize how it's all going to come together. Inspirations for Jack's (David Corenswet) look included a young Marlon Brando, Cary Grant, Randolph Scott, Frank Sinatra, and young James Cagney. Ernie (Dylan McDermott) HAIR Continued from page 29 Patti LuPone; Holland Taylor. Extras photo courtesy of Eryn Krueger Mekash