Local 706 - The Artisan

54 • THE ARTISAN SUMMER 2021 select the textures that would be indicative of African Americans. In the process, we would have to try to create wigs that don't look too silky or too European in order to make them look real. A wig that is supposed to look like a person's hair creates the biggest challenge when you must recreate textures for African Americans that live at a specific time. My wig company, Louisa Anthony Hair Goods, has wigs made specifically for this type of work, using Afros or hair that has slightly textured edges and softens out as it goes out toward the ends. One of the reasons I started creating these Afros and textured hair wigs was because it just wasn't available off the rack. You could get something made, but to go and purchase, rent or grab something off the rack, ready to go, was more challenging. Most of the hair products are designed for European hair. They're all silky, straight and soft. Not to mention, a full day on set starts somewhere around 5:00 a.m. and doesn't end until 8:00 p.m. So, the maintenance on wigs is very high and takes a very keen eye to try to keep it looking a certain way throughout the day. Wigs are a ride and look great, but they take a lot of maintenance. It's quite challenging but very, very rewarding. Marietta, what was the challenge with creating make-up looks that you knew were being shot in black-and-white? Marietta: In the beginning, when Little Re finds her voice, everything turns to color. All the flashbacks you see in black-and- white, are before she finds her voice; once she finds her voice in the church, that's when that camera does a circular dolly shot, completely around her. She goes gradually into pale pink and becomes pinker and pinker. Then, the camera pans the audience and starts to pick up the colors—she's found her voice. That determines the story, everything prior is in black-and-white. The liner, everything, all of that matters. Whether it be the '50s, '60s, '70s, '80s or our background people, the make-up was done according to how they were dressed. The more upscale they would dress, the more upscaled the look. For the men in the '40s, it was mostly clean-shaven or a very, very thin mustache because that was the look of the decade. Louisa, what advice would you have for your fellow artisans when approaching a prep for a period piece of this nature, and how crucial is it for you guys to work together as a team in order to pull it off without a hitch? Louisa: It is 100% crucial to work as a team. The acronym for EGO is "Edging God Out." Be sure not to edge God out and to keep the ego at bay while working together. Each person has a unique and powerful gift, and if we allow each person to bring that to the table, we can have a bountiful meal. What is it about being a hair stylist on a motion picture or a televi- sion series that makes your work genius? Louisa: Be resilient. Don't say no to anything. Where there's a will, there's a way. What creates genius is when you can constantly come up with new ideas and new ways to do things. When you're under the gun and you've got to make something happen, just stay open and know everything you need is already within you. It is just lying beneath the surface, waiting for you to pull it out. • From top: Carter-Narcisse and Anthony work on the cast; Anthony with a wig; Rev. C.L. Franklin (Vance) with Little Re (Shaian Jordan) performing a solo at her father's church; Franklin performing "Nessun Dorma" during the Grammys; at the Aladdin Theater in Las Vegas in June 1979.

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