Issue link: http://digital.copcomm.com/i/713430
19 ated. I thinned out about 40 percent of his hair and hairline with a razor and then followed up with a shaver. C: I was amazed at how much you took out, a lot of his hair, especially in the back. M: Because people are so used to seeing Bryan bald, they don't realize he has this amazing thick head of hair. C: Something you really wanted and brought up with Jay, was the idea of keeping all the looks gritty and real … that in conjunction with Daniel Orlandi, the costume designer, and I, we'd try to not sugarcoat everybody but to play everybody real and kind of messy, really raw. M: Defi nitely, something I discussed with Jay was texture. It was really important; stray hairs, transparency in styles and fuzz was something that would be realistic and more raw. It was not supposed to be a beautiful representation of the '60s as much as it was supposed to be intimate and up-close and in that, more real. All three departments: costumes, make-up and hair, worked together on this. C: As far as the rest of the cast, Jay wasn't concerned that we go to the same extent as Bryan and frankly, we didn't have the time or budget. M: The fi rst actor we saw after Bryan was Melissa Leo. She wanted it as close as possible in experience and look. I thought we'd have to use wigs. Ultimately though, we colored her hair, cut it and dressed it as Lady Bird. One of the best jewels of this was speaking with Lady Bird's real hairdresser in Texas. She gave me some insight and that was fantastic! C: I think Frank Perez did an amazing job on Lady Bird. Talk about range, from period beauty to prosthetics, Frank really did a great job for me on this picture. Melissa had very specifi c ideas and was very instrumental about what she wanted done and how the make-up should look and Frank did a beautiful job. M: We got word that Frank Langella wanted to look as close to Richard Russell as possible. I designed and had a beautiful wig made by Natasha Ladek. Then, he had a conversation with you. Left and above: Bill Corso applies make- up to Bryan Cranston. Below from left: Anne Morgan and Bill Corso apply fi nishing touches to Cranston; the real Lyndon Baines Johnson; Corso, Cranston and Morgan.