Issue link: http://digital.copcomm.com/i/759117
30 The fi lm was titled The Birth of a Nation. Forget about the fi lm that was released in February of 1915. The two mov- ies would share nothing in common other than title. My immediate thought was … "OK, this is a low-budget fi lm," as the producer stated. A true story period piece set in America 1831 about a slave uprising. "So, a 50-day, maybe 55-day shoot. Forty-fi ve days minimum." The producer said 27 days. I thought he was pulling my leg. He was serious. Twenty-seven days, OK. The camera test was scheduled for May 8, 2015. It got better. We would shoot this epic in Savannah, Georgia, at the beginning of summer. That meant high temps and high humidity for the duration of the shoot, not to mention the ticks, chiggers, and mosquitoes. At this point, I thought I would graciously price myself out. Then I read the script and spoke with Nate Parker. Before that conversation was over, I realized that there was no way I could pass up this amazing opportunity regardless of circumstances or money. This fi lm would be a 'game changer.' Nate called to ask me personally if I would consider hiring someone as my second that he had worked with before and liked very much, Dionne Wynn. Dionne and I have worked on numerous occasions together and she was always a welcomed part of my team. A solid founda- tion began to form, and a wave of relief swept over me. As Christien Tinsley's studio was generously provid- ing the prosthetics and specialty dentures required for the fi lm, Christien had planned on sending one of his trusted team members, Rolf Keppler. As department head and designer with experience in every aspect of make-up, I always appreciate it when all make-up and prosthetic endeavors are covered under the umbrella of one person. Nothing gets lost in translation and there are never any miscues this way. The department head is the last line of defense. So my plan was to hire a third 27 DAYS A R E F L E C T I O N O N T H E M A K I N G O F A R E F L E C T I O N O N T H E M A K I N G O F B Y D O U G L A S N O E D E P A R T M E N T H E A D M A K E - U P | M A K E - U P D E S I G N E R who would roll with this in mind. Then came the favor, would I consider Rolf as my permanent third in an effort to save a small fortune traveling him back-and-forth from Los Angeles to just serve as a prosthetics artist? Of course! I didn't even pause. Rolf was completely on board, and he appreciated that only one person was need- ed to guide the ship. Rolf, Dionne and I collaborated, but respected that I had been, and would continue to be, in constant dialogue with our fearless leader regarding what was needed, how it would be shot and exactly how he expected it to look. Rolf did much more than just prosthetics; we would all get glue, blood and paint on us and under our nails. A true team was set, my entire department core was (as we say) political hires, and I could not have been more at ease. Local talents Randi Owens Arroyo and Devin Shayla Morales completed the