Issue link: https://digital.copcomm.com/i/1469328
18 • THE ARTISAN SUMMER 2022 hold with some bounce while also maintaining the integrity and health of the hair throughout the duration of filming. I then set the wig in a roller set that was customized for the detail that we wanted to see in Candy's final style. I ended up calling this set, 'The Candy Wrap.' The Candy Wrap consisted of a headband section of horizontal rollers at the front, horizontal rollers brick layered through the midsection, and vertical rollers set through the nape. This allowed the curls to fall effortlessly onto her face, to hug her cheekbones, and to sit close to her nape when styled. These are all small details that can tie the piece into the person, and help a wig truly become part of the character. Jess's wig would then dry in the wig cabinet overnight, or under a hood dryer, so that it was ready to be combed out, and finished in the morning. Equally as important as the style is the wig wrap. The most impor- tant details of Jessica's wrap were ensuring that her hairline and part line were properly detailed, also ensuring that her hair was laid as close to her head as possible. Her wig wrap included laying her hair- line and part line down with diluted gafquat. I always use Bdellium's muscle brush, and Park's pin tail comb for this process. To get Jess's hair as flat to her head as possible, I would dampen her hair, and add a significant amount of pattern, leave-in conditioner prior to wrapping. I used leave-in conditioner rather than gel or mousse here because Jess's hair was always tightly secured inside of her wig cap, which means that hold wasn't necessary, and that her wig wrap could then double as a protective style. Utilizing this opportunity for a protective style allowed Jessica to step off of set and into candy press with a healthy, shiny head of hair, which is a goal that I always strive for. Melanie Lynskey's wig was also constructed by Stacey Butterworth. Just as with Candy's style, we incorporated all the details that we could find in photos of the real Betty from the time. Betty's haircut was a round, graduated bob commonly known as the pageboy. It's a style that was very popular throughout the '60s and '70s and made most famous by Olympic champion figure skater Dorothy Hamill. My favorite thing about recreating Betty's style is that when she was younger, Betty's hair is precision cut and appears to have been done professionally, but as she got older, the shape is not as strong and at times it even looks a bit lop-sided, as if she may have even been main- taining it herself, especially after she had children. We pictured Betty trimming her fringe herself in the bathroom mirror with cuticle scis- sors to keep it out of her eyes. Also noteworthy was a cowlick that Betty had in her fringe; I often joked about her cowlick having its own number on the call sheet because we carefully planned which scenes she should have it in vs. when she likely would have blown it out. You'll often see it when she's at home, cleaning or at the end of a long day when it would have begun to re-emerge. It was of great importance to us to find ways to preserve some things that were unique and very personal to her. Pablo Schreiber's hair is an entire story all on its own. Pablo plays Betty's husband Alan and while we had hoped to use his real hair, it just hadn't gotten long enough by the time that filming began to properly suit the time period. We chose to re-front wigs from my personal stock for Pablo to get them done efficiently, and the deci- sion to do that wasn't finalized until just days before we began film- ing. I re-fronted Pablo's first wig myself. Robert Navarre re-fronted Pablo's second wig. When you see Alan at his youngest in 1978, his style is longer and fuller. We did this to not only make him more youthful looking, but also to pull his style into something more remi- niscent of the mid 1970s, with a natural looking texture that is even a bit messy at times. By the time that we see him in the courtroom, he has a close-cropped style that is very polished to reflect the overall change that you see in his demeanor following the death of his wife. Highly detailed hairlines and a slim, realistic fit were our primary focus in wig construction. I'm so thankful to Pablo for trusting me with his look on such a short turnaround, and for bringing so much inspiration to his character. Overall, roughly 100 different wigs and hairpieces were used throughout the shoot, including looks for much of our main cast, as well as for our background actors. We even matched some of the jury members' hair to people that we found in news footage from the trial. It was such an honor to design and execute these looks with our exceptional team of directors, producers, and ADs. This was an extremely talented, skilled, and experienced crew, which kept morale high and our work strong. Thank you so much to our wigmakers, Stacey and Robert, my key and right hand—Sonya Riviere, and all of our additional hair stylists. Thank you to our cast for keeping our trailer so full of life. Jessica Biel … you are a breath of fresh air and a complete inspiration. I am forever a better woman for knowing you (love you, mean it). Last, I cannot thank Robin Veith and Michael Uppendahl enough for choosing me to be a part of this production. We are able to accomplish so much when our show runners and directors who truly understand our craft, and have full faith in our ability and potential to make their wildest dreams come true. Their knowledge and experience are evident, and I would follow those two to the ends of the earth and back in a heartbeat. • Department Head Hair Katie Ballard (right)