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THE ARTISAN SUMMER 2022 • 41 Kazu Hiro with prosthetics used for the film big only if it needed to be big. For the men, I used a lot of Brill cream and gel and created side parts. As you reflect on Gaslit, what are you most proud of? Tricia: It's very rare to do a job where you have to touch every single actor who walks into your trailer and transform them. It was a joy. I would love to thank all the day players who helped us make the back- ground look perfectly period and brought the Gaslit vision to life. I also want to give a big thank you to Judy Hudson—the goddess lens tech—and Jessica Johnston and Taylor Ragan of Le Luxe Tanning for keeping Betty Gilpin's tan flawless. BECOMING JOHN MITCHELL: KAZU HIRO ON SEAN PENN In 2020, Sean contacted me about transforming him into John Mitchell in Gaslit. I was excited as I had wanted to work with him for a long time. No one looks like Sean so I had to think about the things that would make him look unlike himself. John and Sean's proportions are quite different. John had a bigger face compared to his head and Sean has a wider head com- pared to his face. I also had to consider the hair style because John Mitchell's hair was quite tight to the head, so as I was sculpting, I was adding a hair style to it but I also didn't want to cover too much. I didn't want it to look like a mask so his forehead is his own and I gradually built things up. We didn't want to shave Sean's head so I put a bald cap on the top which also made his head slightly bigger. I made a neckpiece in the back of the neck, and then a chin piece, an upper lip, and a nose piece. Sean has a bigger nose so I couldn't add much more to it, so I made a piece for the bridge of the nose that was sharper. Sean has very distinctive eyebrows but John had longer eyebrows, so I put a small partial piece that extended his eyebrows to make him look more like John. There were 11 prosthetic pieces in total which, by the end, took two and a half hours to apply because we learned how to make the process faster. We never want actors to sit in the chair for too long because they still have to do their job afterward. Sean's skin is darker so we also had to cover up his skin tone. There was no beauty make-up on him, just natural-looking make- up. We used PPI's Skin Illustrator and some grease make-up. Working with the costume designer, we also made a bodysuit because John was much bigger than Sean. Part of the prosthetic was a shoulder pad to make his posture more slouchy and his neck shorter which helped to create a new body shape. There was also one flashback scene in Gaslit where he was 20 years younger. We darkened the wig and painted a healthier com- plexion, along with some highlight and shadow work, and we made the lips healthier and younger. We also darkened Sean's eyebrows with PPI's temporary hair color mascara which worked well. One of the most challenging parts of the shoot was filming during the summer. We always had to try to cool down the studio because as soon as Sean would start to sweat, the pieces would come off. I knew that Sean was a great actor, but he is also amazing to work with. He never complained about any of it. BRINGING MARTHA MITCHELL BACK TO LIFE WITH JEAN BLACK & JULIE HEWETT, AND TERRIE VELAZQUEZ-OWEN What were the initial conversations about Julia's make-up and how did you divide the role? Jean: I was brought in several months early to collaborate with Julia and help design the character. Most of our early conversations were regarding how to approach the character to create a look for 'Martha' that would address the physical distinctions but best serve Julia and her performance. We wanted to evoke Martha without utilizing facial prosthetics. Consequently, we discussed all the ele- ments, including make-up, hair and wigs, and her body and shape that would combine to help create this overall look. With make-up, I wanted to reflect Martha's very simple approach to her make-up while using her specific coloring and shades that were of the period. Also, with the bodysuit Julia decided to wear, I wanted to create more fullness in her face, which we ultimately achieved by using a dental prosthetic to add depth to her jawline and cheeks. I brought in the talented Art Sakamoto and we designed several different-sized pieces to create slightly different modifications to her look. Due to a prior commitment, I had to leave the filming of this production early and I was fortunate to be able to bring in the very talented Julie Hewett to pick up the storyline.