Issue link: https://digital.copcomm.com/i/1469328
50 • THE ARTISAN SUMMER 2022 L-R: Patrick Gallo as Mario Puzo; Burn Gorman as Charles Bluhdorn; Patrick Labyorteaux as Murray Miller and Joe Marinelli as Peter Lovano; David Fogler as Francis Ford Coppola "If I say I'm going to handle something ... I'm going to handle it.'' —Al Ruddy Katy Fray: "Miles was an absolute pleasure to work with. I created his sideburns, maintained his skin and look throughout the show. We designed him based on the real Al Ruddy. Miles and Al had many conversations together about the task he had creating the original lm. Al was a great source of information and color when it came to creating the nal look. Using his essence through the reference of archival and 'behind the scenes' photos, we were able to create a young Al Ruddy. e real Al Ruddy said, "I can see myself in Miles''—so I feel we did a good job!" Renée Vaca: "It was an absolute pleasure working with Miles Teller. From the gate, Miles and I connected on three elements: A no- nonsense approach to communication, honesty, and collaboration. Being an executive producer on this project, he was not only com- mitted to his character, but was active with the needs and wants of the working crew. Miles willingly let his hair grow out and I cut and styled it for the period. Without a doubt, all these elements together, really brought Al Ruddy to life." "You wanna make a movie that makes my people look like animals … and that ain't gonna happen.'' —Joe Columbo Katy Fray: "What can I say—an incredible actor to work with. Myself and Renée worked together to develop the look, that I applied every day. He made my life easy. We designed his look to match the real Joe Colombo as much as possible. Giovanni gained weight, we shaved the middle top part of his head, kept the very small front piece and added a small custom lace piece in the middle of his head to make it look like a thinning comb over. is with the original 'Brill Cream,' polished nails, a very normal, real-looking complexion, natural make-up, shaped eyebrows and shading really brought the character to life." Renée Vaca: "Giovanni Ribisi completely transformed himself into Joe Colombo! Gaining 45 lbs. for the role and committing to every aspect of character realism. We cut, colored, and shaved the top of his head. en pieced out the hairline to create a base for the hair- piece applied by Katy Fray." "…a scene about gangsters arguing over sauce??" —Mario Puzo "…no, a scene about family arguing over sauce!'' —Francis Ford Coppola Katy Fray: "Working with Dan Fogler and Patrick Gallo who played Mario Puzo was a dream. ese two actors were actually roommates at the start of shooting. ey wanted to develop their characters together which I thought was incredible. With so many great refer- ence photos of Francis Ford Coppola and Mario Puzo, we chose to use all the elements from our actors and the original photos and meet in the middle. Patrick and Dan had to grow extra facial hair, luckily, they had strong facial hair—unlike a lot of actors! Nedra Hainey looked aer Patrick throughout the show, having to cover his own tattoos on the y when costumes were changed last minute." Renée Vaca: "I had a blast working with these two undeniably talented actors. eir connection was erce and they jumped o the screen every time they were together. Living together, bonding friendship, and respect for each other denitely shows on screen. Dan Fogler, and Patrick Gallo grew out their hair and it was cut and styled to achieve the period look. I used my favorite El Patron black hair gel to cover those grays temporarily which allowed us to show the passage of time from 1969 to 1974 with ease." "Marlon Brando is interested…'' —Al Ruddy Katy Fray: "For Justin Chambers playing Marlon Brando, we had to create a basic look for him before the transformation and then two other looks. e rst as Marlon Brando himself at the time, and another as him in the full 'Don' make-up. is look was origi- nally created by the late, great and amazing pioneer of make-up, Dick Smith. I followed many of Dick's techniques, and adapted them to modern-day products, using stretch and stipple, with a few plastic