Issue link: https://digital.copcomm.com/i/1331269
40 • THE ARTISAN WINTER 2021 appropriate style, complete with purposeful flyaways. And for Monika Gossman as Fraulein Freda, using as our reference a strong German nurse, neat and tidy, we used extensions colored to match, giving her shoulder-length hair enough length and thickness to create her signature look. The Men David Fincher wanted something very specific for Ferdinand Kingsley as Irving Thalberg—"Enough pomade to see your reflection," he said. Layrite Supershine Cream helped achieve the look. For Tom Pelphrey as Joe Mankiewicz, I purposely gave Tom a haircut very similar to Gary's; a younger version being thicker and darker to capture the believability of their being brothers. For Toby Leonard Moore as David O. Selznick, I want a kinkier, denser wave pattern. After cutting, I used two different-sized texture irons and Bumble and Bumble Sumo- tech pomade, giving moldable texture, similar to David O. Selznick's. On Sam Troughton as John Houseman, we did a tapered haircut finished with Layrite Super Shine Cream. Our film would not have been complete without a plethora of characters; to name a few, George S. Kaufman, Charles MacArthur, Ben Hecht, Sid Perlman, Eddie Cantor, Norma Shearer Thalberg, Greta Garbo, John Gilbert, Charlie Chaplin, Bette Davis, Carole Lombard, Clark Gable. As well as the many studio executives, secretaries, writers, directors, camera operators, showgirls, actors, actresses, grips, electricians, make- up artists, waiters, cocktail waitresses and the many background artists substantially contributing to the atmosphere of the film. With much gratitude, I thank Cynthia Romo for gathering the team that brought their extraordinary talents on a daily basis. You were monumental to our success and I thank you all; as well as Norma Lee, Jackie Masteran, Josee Normand, Charlene Johnson, Jasmine Kimble, Barbara Daly, Dugg Kirkpatrick, Lucia Mace, Barry Rosenburg, Kase Glenn, Theodora Katsoulogiannakis, Trish Vecchio, Myesha Sparks, Marc Mapile, Brent Winhold, Stacey Bergman, Yiotis Panayiotou, Fahmee Hakeem, Claire Corsick, Audrey Anzures, Jens Zilken, Karen Zanki and Anthea Gappmayer. Bravo. • for certain looks. How does the research and prep change for a time period which you never personally experienced? Did it help or hinder your approach at all? GW: It's funny, I actually feel like I lived in those decades. I watched every black- and-white movie with my mother while growing up. I love those old movies. That's where I got my bug to be a make-up artist. You know, I'd always look at the credits. When I went to do research, I went through my bookshelves first, and I had no idea that I had so many research books from that period sitting in my house. I had actually been studying that period my whole life. Q: Who are the main characters in Mank, and what looks did you create for them? Do you have a favorite and, if so, why? GW: The Mank character (Gary Oldman) is a devolving drunk so I was going for realism with his look. As he is writing the script in 1941 from a bed in Victorville, he is at rock bottom. He has the DTs. He's sweaty, has deep dark circles, bloodshot eyes, sunken cheeks, and in need of a shave. Then we see him in flashbacks as he relives the scenes that inspire Citizen Kane. For Gary's make-up, I wanted him to NOT fit into the flashbacks completely. He's in the flashback but he's looking at the flashback. So Gary is not as polished as the people in the scenes. He's more real. He's disconnected. So that part was a lot of fun because I tried to reflect his age and mood through sweat and texture. I had a silky foundation for his younger scenes and a drier textured one as he ages. Then I used lots of Elizabeth Arden eight-hour cream as a base for his sweat with a light glycerin and DC200 mix on top of that, then lots of Evian spray. Michelle Audrina Kim, my make-up collaborator for the last six years, brought Marion Davies (Amanda Seyfried) to the silver screen. Marion really is the glue in the whole movie. We see her in 1930, 1934, 1937, 1941. David Fincher didn't want the eyebrows to be as skinny as they were in that period, so we had to figure out a way that was reminiscent of the brows of that time but not so shocking that it became a caricature. Michelle and Amanda spent weeks working out her look. It took some time to find the right shades of lipsticks, the right eyelashes to change Amanda's eyes to a more rounded open shape, and a foundation that created a flawless finish. Then for 1941 when Marion Davies became older and more bloated, Michelle used different shading and highlighting to subtly create that older MAKE-UP Continued from page 37