Issue link: http://digital.copcomm.com/i/1256324
44 • THE ARTISAN SPRING 2020 All photos courtesy of Kazu Hiro IN DECEMBER I RECEIVED AN EMAIL from Cean Chaffi n, executive producer of Mindhunter, Season 2, on behalf of herself and director David Fincher, asking if I could design char- acters for the show—notorious serial killers Charles Manson and David Berkowitz. I had worked for David and Cean on The Curious Case of Benjamin Button in 2006 and really enjoyed the experience— and all of their fi lms. I had left the fi lm industry in 2012 and came back when Gary Oldman requested that I design make-up for The Darkest Hour. After that project, David and Cean had sent me an email complimenting me on the work. There was no way I would turn down their offer for this show. At that time, I had not seen Mindhunter, Season 1—I didn't even have a television in my house. So I bought a TV, got a Netfl ix membership, then started to watch it. It took me only a day and half to fi nish the fi rst season. I thought it was really amazing, scar- ily entertaining and beautiful. After seeing it, I felt excitement and anxiety at the same time when I thought about working on the sec- ond season. I loved to work with David when we were on Benjamin Button, and I knew what a perfectionist he is. His attention to detail is beyond anyone. Besides needing to watch Mindhunter, a big reason I got a television was to see how much the latest cameras were able to capture and how images would be projected on the newest TV sets. I was hearing how the digital cinema camera captured and emphasized details and was very concerned about how the make-up would look on TV. After I watched it, I realized it was totally different compared to what I had seen even just a few years ago. After also watching some FROM MEN TO MONSTERS FROM MEN TO MONSTERS CREATING MANSON AND BERKOWITZ FOR MINDHUNTER B Y K A Z U H I R O