Issue link: https://digital.copcomm.com/i/1179836
38 • THE ARTISAN FALL 2019 The earlier races, race cars had no tops. When I looked at all the research pictures, although he was wearing goggles, Ken Miles had a lot of grease and debris on his face from going around the track. All the drivers had a weathered, sunburn tan because they were in the sun all the time. We had one set of period goggles and I borrowed them from props. I took a nice piece of leather and I cut out the shape of the goggles on that leather and attached a piece of Velcro to it which became the tem- plate. Then I put that leather template over his eyes during the make-up process—he couldn't see, essentially, he just wore it like a sleeping mask. With that on, I would airbrush fi rst the weathering, the tan, the sunburn. Next, I would start doing layering of splattering grease and dirt. When we took the template off, the goggle area around his eyes was white, the same shape as the goggles, just like in the photos we saw. The whole pro- cess took about 40 minutes, including dirtying his hands and his nails. Christian also wanted a farmer's tan and we used a spray tan to achieve that. By the time we got to the race at Le Mans, they were wearing helmets so their faces were covered but all the early, smaller races were not glamorous, they were more like family outings—friends and relatives would camp out in the parking lot and watch their fathers, brothers, and sons compete in these smaller races. I had a great team—Tyson Fountaine, Assistant Department Head, Kenny Niederbaumer, key, and Doniella Davy did cast . Ken Diaz was responsible for all the BG for pit crew. These are the guys that swiftly come in when the cars come in for a "pit stop" to change the tires, check the oil, etc. The pit crew required a completely different look from the racers, the spectators, and the corporate bosses. Jenni Greenberg was responsible for all the spectators and that was subdivided into period looks, whether that be 1959 or 1966. I split up my make-up crews because it's two com- pletely different types of make-up. One was dirty, greasy, sweaty, and then the other one was a period look and every single race required both— the racers, the pit crews, the mechanics, the fl agmen and the spectators—and the spectators looked different depending on the race and the year. We had to take every- body into account. Le Mans was enormous—I think we had 450 BG. At least 30 to 40 cast members. Drivers, stunt drivers, principal and background actors. Everyone had to be period-correct and job-specifi c and all had to go through hair, make-up and wardrobe. It was very hot during the day starting with freezing mornings—AND Le Mans is a 24-hour race and there were lots of night scenes in rain and cold. To get everyone through the works, I created a grid. I would fi gure out how many BG that day, how many stunt people that day, how many cast that day. Then I MAKE-UP Continued from page 36