Issue link: https://digital.copcomm.com/i/1433300
50 • THE ARTISAN WINTER 2022 and for the extras an absolute attention, as if everyone were the protagonist of the lm. For the extraordinary theatre scene, they all had to be perfect, 300 living and real witnesses of the 18th cen- tury. I said over and over to my amazing department that I want this lm to be taken as an example for the period. I know it was a strong and presumptuous statement, but I really cared about this project for the director, for the cast, for the story, an unrepeatable opportunity who deserved this. In the end, I cannot help but have an immense thanks to all my magnicent make-up department. I will never know how to reward their immense generosity. A special Grazie to Marta Roggero, Laura Solari, Paola Gattabrusi, Liz Ann Bowden, Jennifer Harty, Kathryn Fa, Nicola Iles, and Ryo Murakawa. What are the most enjoyable aspects of creating a look from a different time period? What are some of the challenges? We have tested various products and various dierent materials, to nd the perfect colour tones and materials. e challenge was to shoot in full COVID time, we had to apply protocols that obviously inuenced the process, but not the quality or the nal result. I decided to use a narrow range of colours for the tests. In the end we used two colours for the base, two for the reds, which were the same for the lips without distinction between men or women. ink about it now, a real madness! A single foundation and reds, the same for cheeks and lips, doing the same make-up for both men and women, also using as a nal colours with an air brush used to create a dusty eect. In the end, we saw during the tests that the same colours on dierent characters created a dierent result. Indeed, an extraordinary organic homogeneous eect is created, and so also during the shooting we used the same methodology. I want to be honest—it was a risky bet, but I was condent in the result. Also, during the shoot, I wanted the touches to be kept to a minimum, and for the natural decay of the make-up during the day, to create the reality that I was desperately looking for. Was there ever a time when your approach/technique had to change in order to achieve a more authentic look? I have done it and I do it continuously, continuously experiment- ing, looking for new products and new techniques such as, for example, using two colours for about 300 characters and having an unexpected and organic result. I really like to think of make- up as an alchemy, I like to question rules and nd new ways to explore. Can you break down the looks of some of the film's main characters and describe the thought process behind them? is was a very interesting choice. I decided to entrust to the reality of the period all the characters except for the main ones. I thought that, out of dramaturgical respect, they should be dier- ent from all the others, seem closer to us and to modern thinking about author, a kind of poetic license. To explain better, I wanted them to have a more romantic aspect and be aesthetically closer to the elegant image that pictorial art oers us. • BEHINDTHESCENESPHOTOSBYALESSANDROBERTOLAZZI Peter Dinklage and Kelvin Harrison Jr. Alessandro Bertolazzi applies make-up