Issue link: https://digital.copcomm.com/i/1331269
44 • THE ARTISAN WINTER 2021 because of shooting in black and white? Was there anything about shooting in black and white that was totally unexpected or challenging? GW: We tested hundreds of foundations and lipsticks. The contrast made it challenging because what you thought was working in the make-up trailer may not be working on the set. We narrowed 300 lipsticks down to an eight-color palette of different shades ranging from peach to deep red and just the right amount of sheen. Then we'd get everyone ready and take them to set, look at them and make adjustments. We'd run in and make some of them go all the way down to black, which, in the beginning, scared me—really scared me, that deep black lipstick. On all of David's other projects, he hates the color red. He doesn't like to see the red on set, on lipstick, on clothing, nothing. But we had lots of red in Mank. We had to find a red that he was okay to see in person to then show him in black and white. So that was interesting to retrain your eye because you're not seeing on screen what you're looking at in person. Q: How big was your team? I imagine that with such a large cast and plenty of big background scenes, you had to have a strong team, anyone you'd like to mention? GW: Michelle and I were the main team, then on big days when we had 120 BG and 27 speaking parts with our days beginning at 3 a.m., our team swelled to include Keiko Wedding, Anthony Gordon, Maha Mimo, Jeong-Hwa Fonkalsrud, Mark Bautista, Laura Calvo, Marianna Elias, Raqueli Dahan-Gonen, Vera Steimberg, Valli O'Reilly, Cindy Williams, Peggy Teague, Jennifer Aspinall, Kris Evans, June Brickman. I thank all of them for their hard work and talent. Q: On a scale from one to 10, how excited are you to see this film, and how does that rank against the excitement you feel to see other projects you've worked on? GW: I can say a 10! This is a unique feeling. The pride I feel for this project is out of this world. The first time I see a rough cut of a movie, all I look at is the make-up. I'm just scanning my work with my stomach in knots. And when I got to the end of the screening and I was like, "Oh, I am really happy!" • ABOUT THE ARTISANS: Kimberley Spiteri Award-winning hair stylist Kimberley Spiteri has been mastering her craft in the film and television industry over the past 25 years. Her credits include Mank, The Marvelous Mrs. Maisel, Seberg, What/If, I'm Dying Up Here, War Dogs, Iron Man 3, Pirates of the Caribbean: On Stranger Tides, The Dark Knight, Charlie Wilson's War, Deadwood, The Last Samurai, Spider-Man and more. Kimberley earned Emmy nominations for The Marvelous Mrs. Maisel, The Originals, Ike: Countdown to D-Day and Six Feet Under. Kimberley's first Emmy win was in 2005 for her work on Deadwood. In 2004, she was recognized with the Make-Up Artists & Hair Stylists Guild Award for Best Period Hair Styling on The Last Samurai. Gigi Williams Gigi Williams has worked on more than 80 films and television productions in a career spanning nearly four decades. A longtime collaborator of director David Fincher, her credits include Gone Girl, Inherent Vice, Argo, Mindhunter, Pearl Harbor, Leon: The Professional and more. Her work has been recognized with award nominations from the Make-Up Artists & Hair Stylists Guild.