Issue link: https://digital.copcomm.com/i/1331269
THE ARTISAN WINTER 2021 • 27 in her stock, knowing that Martial Corneville was making a new wig for the film. After photographing the make-up/ prosthetics, which I knew I needed to improve (such as where the edges should begin and end and the coloration of the silicone for the nose and gelatin for the ears), I removed the appliances and took new casts of Glenn's ears and nose with Body Double. The nose cast was taken while she breathed through her mouth, so I could get a full impression of the insides of the nostrils. After I returned to Austin, I made the new positive molds with Smooth Cast 385, sculpted the new nose and ears, used PlatSil 73-45 for the negative molds and encapsulated the silicone with BJB 1630. The density of the silicone negative molds allowed me to avoid any undercuts on the sculptures and produced extremely thin cutting edges which allowed for a seamless blend onto the skin. The ear appliances were formulated with a harder gelatin so they would not be susceptible to high temperatures and humidity. The nose was PlatSil Gel- 10 plasticized at 100 percent and skinned with Super Baldiez. In mid-May, I found out production had hired Eryn Krueger Mekash to head the department and Jamie Hess as her second. I was so relieved that Glenn's prosthetics and make- up would be applied with precision and artistic care by two extremely talented artists. T H E H A I R BY PATRICIA DEHANEY DEPARTMENT HEAD HAIR JD Vance's story is a personal one with roots in Appalachia and Southern Ohio. It is a delicate task to portray someone's family and friends. This was not about pretty hair! Thanks to the research done by our costume designer Virginia Johnson and her team, we were given a place to start from. Our challenges were transforming the attractive, well-known faces of Amy Adams, Glenn Close, and Haley Bennett into their characters. Ron Howard took the cast to Ohio to meet this family so they had a strong vision of how they wanted to look. Having the opportunity to work with a director who truly works from the spirit of collaboration like Ron Howard does, is a gift. In the same spirit, the hair and make-up department came together. I was thrilled to receive the news that Eryn Krueger Mekash would be heading the make-up department. Hair stylist Tony Ward was referred to me by Terry Baliel. I felt assured a good team was in the making. I had seen Tony's impeccable wig work on Tom Hanks in A Beautiful Day in the Neighborhood. I needed the right person as we had wigs working with multiple period hair styles in the heat and humidity of Georgia and Southern Ohio. Continuity hell, right y'all?! Fortunately, I have come across loyal and good hair stylists in Atlanta. Appreciation goes out to Robert Wilson, Cynthia Chapman, Katrina Suhre, and each and every one of our local crew members! Bravo! As we moved over to Ohio where the conditions became even more challenging, Ann Marie Reyer assisted us through to the end. 1997 STYLES For Glenn Close's Mamaw, JD's grandma, I would start with a quick wig wrap combed straight back, anchored with pin curls and clips. Schwarzkopf GOT2B gel was used around the hairline to keep fine hairs from interfering with the lace. Glenn would gather up her pup Mr. Pip and start the make-up process with Eryn and Jamie Hess applying their prosthetic pieces. Glenn's wigs were made by Martial Corneville. The two wigs he made were from lightly permed hair featuring his expertise with blending colors, and of course, a perfect fit. I needed to roughen up that hair to give it an over-processed permed look. Using Paul Mitchell setting lotion spray and water to dampen, I would set on white, gray, and pink perm rods. When it was completely dry, I used a small Japanese iron to create texture. Finally, I brushed it into shape with a small round bristle brush. For Amy Adams' Bev, JD's mother, I prepped her hair using the Fracture Wrap technique which helped secure and achieve a nice head shape. You can also get a Patricia Dehaney with Close