Issue link: http://digital.copcomm.com/i/1256324
46 • THE ARTISAN SPRING 2020 lenses from 9mm. Manson also had some chest hair and since he was wearing a tank top, we had a hairpiece made for the chest hair. It was actually a small hairpiece made for Oliver's nape which I ended up not using. The arm tattoo pattern transfer was made by Kentaro Yano. Jamie and Thom did the application for daily fi lming for this character also. Art Sakamoto made a denture, but Damon preferred not to use it as it changed the tone of his voice. Damon also expressed that the eyelid pieces made it hard for him to blink, so I ended up gluing his eyelids up to mimic the deep socketed eye of Manson, since eyes were so critical to the character and performance. In the end, that change helped him to be more expressive. Damon had a good amount of hair on his arms, and Manson as well, so we used transfer paper to lay out the tattoo pattern, Jamie and Thom hand painted the tattoo on his arm through the hair, as it would have been too much to shave and do a tattoo transfer and lay hair on top of it in the humid Philadelphia weather. Fortu- nately, the tattoos on Manson's arms were not the most complex design, so that helped. Materials used were the same as on Berkowitz. The hairline of his beard was hand laid for better movement. To save time, I scanned the sculptures to make a wig block and hairpiece blocks. When the sculpture was refi ned, I used a handheld scanner, then printed each part, then made a brush-up mold with a bandage jacket. I poured rigid polyfoam in the mold to make the wig block. This way, I wouldn't ruin the sculpture by making a mold right on it, nor did I need to wait to get a copy of the appliance to make the wig block with the appliance on it. So every process was moving pretty much at the same time. We did test make-up in my studio in Los Angeles, then fi lmed in the Mindhunter studio in Philadelphia, which was a big con- verted warehouse. The scene with Manson was shot in an actual jail on location. It was very eerie to be in there. It is always fun and nerve-racking to see the reaction of people on set when they see actors in make-up fi rst time. Damon was already in character right after the application was done. He stud- ied Manson on every detail, mannerism, voice, expressions. Some were excited to see and some were freaked out by him. Mindhunter, Season 2, was an amazing experience. I was very fortunate to have Jamie and Thom apply make-up on set, and all of the lab crew to collaborate with. Cean's production was fi lled with so many great crews, everyone was happy. David Fincher was amazing and working with him is always a great educational experience. He has a reputation for being hard to please, but he is one of the easiest directors to work with since he is really to the point when he explains what he wants and I always get excited to please a director who is a perfectionist. I learn so much from him and it is kind of a great analytical test to see how I work on the project. David helps everyone refi ne their skills and brings the best out of each crew. I hope there will be another opportunity to work with them! • Kazu Hiro is a Japanese-born American special make-up effects artist and visual artist. He was recognized with two Academy Awards for his work on The Darkest Hour and Bombshell and nominations for Click and Norbit. He is a member of the Academy of Motion Picture Arts and Sciences and Local 706.