Issue link: https://digital.copcomm.com/i/1189512
THE ARTISAN WINTER 2020 • 63 BRAD PITT AS CLIFF BOOTH Jean Black was a personal make-up artist for Brad Pitt. Stevie Bettles did his EFX make-up and Janine Thompson, our department head hair, did his hair. Brad's hair was styled to look like it was styled by him driving in his Karmann Ghia all day. Classic. California. Carefree. When working with Rick, Cliff brings his own wig as any good stuntman would at the time. His wig is his bread and butter and Quentin wanted it to be comical, so we made it hard as a rock, and when Brad pulled it on and off, it did not move. We made the Pompadour a bit too high to add to the humor of it all. Jean Black accentuated his California good looks and Stevie created and applied numerous scars for Brad's face and body, refl ecting a carrier in stunts and past military service. MARGOT ROBBIE AS SHARON TATE Sharon Tate was very fashion forward and whether it was because of fashion or her being pregnant, she gave up on the more styled hair and make-up and spent plenty of hot summer days in the pool and she let her hair go. We pulled up every photo we could fi nd of her and narrowed the looks down to the looks we all loved and matched them with the outfi ts Arianne Phillips, our costume designer, and Quentin had locked down. We walked a fi ne line while trying to create an authen- tic impression of Sharon Tate without changing a lot of who Margot Robbie is. Both Sharon and Margot are beauty icons and we felt the need to honor them equally. Sharon was so angelic, and that is what Quentin wanted to capture. We wanted to show her at home doing every- day things, being herself. Sharon had two cowlicks which we included in her wigs. We had them colored to the classic 1969 Champagne Blonde and the color was kept up with Overtone Color Conditioners when Sharon was in "Movie Star Mode" and Over Tones Gold Conditioner once she became more of a homebody. With her hair becoming more natural, so did her make-up. She looked more Bohemian where bronzed skin and natural eyebrows took precedence over her more iconic "Greta Garbo" look. Her signature look empha- sized her eyes. Major lashes were always part of that, and lucky for us, Cherry Lashes had just come out with "Valley of the Dolls eyelash box set" which was a life-saver. When she made Valley of the Dolls, Ben Nye took a classic Greta Garbo and adapted it for Sharon. He used a tech- nique which is called the "banana," which is a dark line in the crease of the eyes. She loved that look and made it her own. We redesigned the look yet again for Margot's Sharon, where it was softened a bit to fi t into Quentin's laid-back 1960s Los Angeles using neutral shadows from Viseart and using eyebrow mousse in Taupe for the "banana" and still upper and lower lashes but more natural individual lashes from Picky. For her iconic look at the Playboy mansion, we used both strip lashes and individual on top of them. Hourglass foundation in two different shades was used for her Bohemian look and SUQQU for her iconic look. Professional Vision Care fi t her for Amber contact lenses which fi nished her look. In general, on this fi lm, blow dryers were avoided as they were not that common in the '60s. However, we used them sometimes for Sharon because her former boyfriend, Jay Sebring, was at the forefront of introducing them in the States through his salon. We did a few wet sets on Margot as well because a wet set will always bounce more than a blow dry. It is a fun technique that uses huge rollers. At the time, L.A. women would go to the salon and get a beautiful updo but leave the hair at the nape of their neck a little messy and undone: "pool fuzz." They wanted people to know they had a pool—or think they did, even if they did not. We saw many photos of Sharon with hair loosely laid-back 1960s Los Angeles using neutral shadows from Viseart and using eyebrow mousse in Taupe for the Margot Robbie as Sharon Tate