Issue link: https://digital.copcomm.com/i/1277606
32 • THEARTISAN SUMMER 2020 sizes of Zabrak head horns and horn sockets for the charac- ters. Once molded, I cast the horns out of tinted Skin Tite and the horn sockets out of prosthetic transfer material. In between covering set, we would go to the trailer and run all of the pieces so that we would have a large mass to play with on the day. Alexei designed and made the Zabrak tattoo mark- ings. For the female Zabrak, Maria created an elaborate hair style with a "Mohawkian" hairpiece. MS: Much of the prep was spent figuring out ways to create hairpieces that would be easy to explain to our day players while saving time on the application each day—as the charac- ters worked multiple days over two different episodes and not all of our hair stylists were available every day we needed them. In the end, the collaboration between hair/make-up, the AD department, and our costume team allowed us to have each unique individual look ready in record time on the day. Some of our favorites: wired dreadlocks that were fishtail braided and sculpted to look like ram's horns; a female Zabrak with a crimped, braided, and leather-threaded Mohawk; and even a dusty pink samurai bun glued on the back of a bald cap prosthetic piece of the same color for a monochromatic effect. Episode 3: The Client BS: Werner Herzog, who played The Client, didn't require much make-up beyond a light layer of Armani foundation and powder before he was camera-ready. But IT'S WERNER HERZOG!! How cool is that?! MS: I have to say that giving Werner Herzog a haircut was hands on one of the most sur- real experiences of my career. We kept his look clean and tidy, a true holdout from the Empire, and with a slight nod to Peter Cushing's Grand Moff Tarkin from the origi- nal films. Episode 4: Cara Dune MS: It's always a challenge to design a new recurring female lead for any production, but knowing that Cara Dune would be a Star Wars heroine (and eventually, an action figure!) made this especially important. Gina Carano was determined to keep this character's femininity while staying with a more mod- ern warrior idea. We decided on a diagonal pull-through side braid tied up with a bit of string from her wardrobe, and an asymmetric silhouette with textured hair. Cara Dune fast became a beloved character, and I am so proud to see people cosplay her online! Alexei Dmitriew: Brian had mentioned that there was going to be a new female Star Wars main character introduced in this episode, and I was very excited about that and wanted to take the opportunity to do her make-up and help estab- lish the look. We were told that Cara was an ex-shock trooper and that they possibly wanted her to have some tat- toos or markings, so I began designing a bunch of tattoos for her. I noticed that some of the shock troopers' armor designs have a band with squares wrapped around their arms, so I pulled from that for inspiration for the tattoo on her arm. The producers also had us play with the idea of a little teardrop type of tattoo and maybe make it the rebel symbol, so I did several designs of that and in several sizes. After the first make-up test, the two tattoo elements were locked in. For her make-up, we went back-and-forth with her look, with a lot of input from Gina and the director. We all looked at the past Star Wars female leads and took inspiration from the "natural-looking make-up" and "dirt contour" looks that most of them have had. By the third make-up test, Cara's look was dialed in and ready to go. Cara Dune (Gina Carano) The Client (Werner Herzog)