Local 706 - The Artisan

THE ARTISAN SPRING 2021 • 35 expertise with prosthetics, including his created line of Out of the Kit, peel and stick prosthetics would be a strong support and the right choice for the creative and logistical challenges ahead. Collaborating with Kelvin, we used recent cast photos to begin designing character looks. Filming in New Mexico was a great help in building the make-up team. I was quite fortunate to have very talented additional make-up artists, Sheila Gomez as 2nd and Bonnie Masoner as 3rd. Working with them for several weeks prior to fi lming, we met with and fi nalized designs for most of the cast and background. This included cutting, shaping and sometimes augmenting beards, moustaches, sideburns and eyebrows with lace facial hair and laid hair, designing and choosing period prosthetic scars such as Almay's facial scar to subtly shape character, testing and creating a variety of combinations to create the weathered and begrimed looks for these characters in a world where bathing would have been infrequent at best. To achieve this layered "lived in grime" look, we used PPI Dirt, make-up liquid, DK Brun Dirt & Soot, Mehran Cake Dry dark brown and mixed them with SUNBURN Warm Liquids and water. Also, there were signifi cant doubles and stunt players that Sheila and Bonnie expertly handled to match the wide varieties of facial hair. I wanted the look for Captain Kidd to be iconic but very organic, knowing that Tom Hanks' performance would do everything else. I trimmed his grown-out beard and maintained a length that would seem to reveal more of his face when he was cleaned up and reading to his audience. Wanting Captain Kidd's appearance to refl ect the weariness of war, all his travels and sorrows, I colored his beard with gray and browns, reddened his eyes, tanned and aged him with layers of the dust, dirt and grime combinations to refl ect different levels, along with varying amounts of sweat and weathering to refl ect the elements while traveling in the open wagon and any particular situation they were in, such as the extreme cracked lips, dried skin and eyes from the windstorm. For the old scars on his back, along with all the other men's scars, I pored over numerous photos and descriptions of Civil War era wounds and chose our prosthetics to refl ect the weaponry of the period, from bayonets and sabers to rifl es and muskets. Stevie made and applied these, and we colored them together. During the gunfi ght, Kidd is wounded by shrapnel. This wound ends up marking time as it initially bleeds, is cleaned, heals, scabs and fi nally, scars over during the course of his Director and co-writer Paul Greengrass (left) and Tom Hanks on the set.

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