Issue link: https://digital.copcomm.com/i/1469328
40 • THE ARTISAN SUMMER 2022 ground but we were in separate trailers because of COVID which made it harder. Tricia: Karen and I met with every single actor and determined what was going to be done to them and who would do them. There were days when Karen and I didn't leave the trailer because there were so many actors coming in. It was a crazy accomplishment and I'm very proud of it. What was your approach to transforming Betty and Dan into John and Mo Dean, and Shea into G. Gordon Liddy? Tricia: There were quite a few photos of John and Mo Dean which was helpful. We worked closely with costume designer Susie DeSanto because she had looks for certain events so we followed her lead, as well as the historical aspect. Then, of course, the actors had their own ideas that they brought to the table as well. Karen: Dan used his own hair and we added some highlights. He knew how he wanted to look as John Dean and he got really into it! For Betty, I had my wigmaker, Natasha Ladek, make a bleached- out, white blonde wig, and that helped put her in that character. It was the first time Betty had worn a lace-front wig made just for her so she was in shock at how much it looked like her hair. I had a couple of extra pieces that I put in for updos and different looks, but it was the same wig for the whole time. I set it every night—in curls, rollers—for whatever the style was going to be for the next day and I did a lot of teasing and brushing. I also used my favorite hair spray—Alterna's CAVIAR—which is really lightweight and perfect for a wig. Tricia: For Betty's make-up, she just let us go! I wanted to allow skin and texture to show through. These were real people and they weren't in Hollywood, so we definitely tried to err on the side of realism rather than extremism. For Shea, he had contacts and that very specific Liddy mustache. He was shooting Mission: Impossible and then Perry Mason, so Karen had her hands full with restrictions on what he could and couldn't do. Karen: We could have done a bald cap and piece for Shea because his character was receded in a specific way, but I suggested that we shave it using a tight razor. Shea was down with it and so we dyed his hair black and shaved his hairline in. We had to do it every time he came in because he'd have a five o'clock shadow on his forehead but he was so into it and let us go for it. What tools and tricks did you employ for recreating 1970s style? Tricia: Dan and Betty's characters were really the only leads anchored in the '70s because a lot of the D.C. people still had a more '60s look as these were people who weren't necessarily hip to new styles. There wasn't the huge range of colors or make-up lines we have today. I used a lot of cake eyeliner and strips of eyelashes. In the late '60s, frosted textures had been introduced so frosted nail polish, eyeshadows and lipstick were a big tell of the era. We used modern brands like Pat McGrath and Kevin Aucoin, but also a lot of Revlon colors of that era because they are still the same. Karen: For the hair, I wanted it to look real and not like they were cartoon characters which sometimes happens with '70s hair. I let some of the flyaways fly as long as they weren't distracting and I went