48 • THEARTISAN SPRING 2022
all his amazing talent and experience, he too was struggling with
the way Paul wanted us to do this film. Paul wanted people to
take their clothes home, show up to set, dressed, hair and make-
up done and ready to shoot. Which of course did not happen.
Every film has its challenges, but this one was next level, and this
speaks to how crucial the communication needs to be between
the costume designer, hair, and make-up. Collaboration in a
situation like this was crucial.
RM: All the characters look so natural. Given your distinctive roles
and talents, I'm curious about the diff erent attributes of your craft
or even shared mindsets which help manifest this look/feel.
LORI:
Paul is so dedicated to making his films look and feel like
real people and situations, which evinces itself in all kinds of
subtle ways. In terms of what I do, I don't like it when I watch a
film and someone gets out of bed, or the shower and their hair is
perfect. It's the flaws that make them real and relatable, someone
the audience can connect with. It's one of the reasons I love
Paul's films, his characters reflect this amazingly well.
HEBA: I don't like perfection, either. I like the make-up to move
and "live" on the faces. When I got to do the make-ups, I used
Mary Elizabeth Ellis
Maya Rudolph
