Issue link: https://digital.copcomm.com/i/1445703
40 • THEARTISAN SPRING 2022 pods to keep track of artists working, and splitting teams up in shifts to cover all the moving parts kept everyone on point. I am so proud and grateful to have a talented team of make-up art- ists that executed this task: Karrieann Sillay, assistant depart- ment head; Angela Moos, 3rd make-up artist; Erin LeBre, 4th make-up artist; Vanessa Dionne, background supervisor. Most men and women had mandatory grooming require- ments while working in the White House or the Pentagon. Men's facial hair was styled period-specific. Use of lace facial hairpieces, hand laying mustaches, sideburns, and beards authenticated the looks. Over 378 characters, including over 200 background artists worked throughout the production. SARAH PAULSON/LINDA TRIPP MAKE-UP | ROBIN BEAUCHESNE Sarah Paulson's transformation had multiple make-up tests. Linda Tripp's look was a combination between beauty and character makeup that was not perfect and a bit off. This was the starting platform. After the prosthetics were applied, I tied everything togeth- er, matching foundation tones and blending up and around the prosthetic edges. Overall, she needed to look heavier with a fuller face and cheeks. I applied highlights around her upper brow bone, onto the temple, rounding out to the front of her cheek and under eye. Highlighting was used under the cheekbone, on the jawline, front of chin, under nose and the upper lip. The insertion of upper and lower fake teeth filled out around her mouth. Contouring with blush tones on the apple of the cheek warmed up the skin tone. Sarah has very, full dark brown eyebrows. To achieve the perfect replication, her eyebrows were bleached, reshaped, and thinned. This process gave her a different eye structure. Filling in her eyebrows closer to her nose at a slight angle altered the eye shape. Using light brown/ taupe eyeshadow as an under base, I highlighted the brow bone to give a heavier lid and higher arch. Adding a '90s flair of bronze/brown and a touch of frost shadow to the eye made to bring a bit more of Sarah back into the equation, allowing more of her own skin to show through. This meant the overall anatomy of the whole look needed to be scaled down, reducing the visible weight in her body suit and appliances to match the new slightly streamlined look that both Sarah and Ryan wanted. After a couple of tests and minor adjustments to the new appliances, we were off and running with an approved look. The final look consisted of silicone nose and neck appliances that were carefully matched to her skin tone, and applied for the majority of the 100+ days of filming and test days by Kelly Golden and Chris Hampton. Department Head Make-up Robin Beauchesne applied a very subtle beauty make-up around and slightly over the appliances. Then Sarah would jump into Michelle's chair for the wig. Final elements were the body suit, costume, and dental appliances. Her overall daily process was about 3.5 hours between all departments, roughly one hour and 15 minutes for prosthetics, with about 45 minutes to clean up at the end of the day. During this time, we also started testing the prosthetics for Clive Owen as Clinton. We never actually had the opportunity to test Clive before the COVID shutdown. We had created two different versions of the make-up. The first version featured a subtler nose and brow, and the second version included full cheeks and chin. After initial testing, Ryan and Clive both felt the most subtle version worked best. Based on those notes, Kelly Golden and I modified Brian Wade's original sculptures for better edge placement, movement, and overall anatomical changes. Both the nose and forehead appliances were re-sculpted from the ground up. Suzy Mazzarese Allison, Clive's personal hair stylist, also made adjustment to the wig to close in Clive's forehead further. Clive and Clinton have very different facial anatomy from each other, and our goal was to give a nod toward Clinton as much as possible without completely covering Clive in appliances. The key features we decided to focus on were the shape of the wig to adjust his forehead spacing, a forehead/brow appliance that covered Clive's full dark brows and replaced them with very thin eyebrows, and a totally different bone structure. Their noses are also very different. Clive's nose is a bit wider on the bridge and a bit fuller on the tip. We ended up sculpting the appliance to lift the middle of the bridge, giving the illusion of looking thinner, while also defining the nose tip to give more of that iconic Clinton nose. This was all tested a few weeks later in London due to COVID travel restrictions. We had Rob Mayor and the team from Millennium FX in the UK handle the new test. The look was then retested in LA right before filming, and was approved as our final look. Thom Floutz and Chris Hampton applied Clive's prosthetics and overall make-up for the duration of filming. Because Chris Continued on page 42 THE MAKE-UP Continued from page 39