Issue link: https://digital.copcomm.com/i/1475069
someone who embodies just that. Kate and I had worked closely in the past, so hearing that she was on board put me at ease, knowing I would have a partner who would be a collaborator in every sense of the word. Particularly with the Angelyne make-ups on Emmy, they must be critically examined from many perspectives. Kate has an exceptional eye, so we would really scrutinize everything together, often spending hours late at night going over sculpture and design as a whole for the different decades of transformation. The order was tall, but one that I think we were both incredibly excited for and quite frankly intimidated by. My approach to prosthetic work in general is less is more, and the balance of prosthetic work, character make-up/beauty, and coloration for her different looks was a dance that needed to be dialed in. We had the luxury of testing each look multiple times at my studio prior to principal photography. This allowed Kate, Martin Samuel, Emmy, and me the time to weigh in, address issues—try new things … resculpt pieces, etc. We don't always have the time for this, so we took full advantage and pushed ourselves to keep trying to get closer to something that felt like the right balance. Full likeness was never the intention but bringing the essence of Angelyne into Emmy while giving her the freedom of not limiting her performance but adding to it for every stage. The other characters in the show who required prosthetics were also quite daunting. At the time, nine different prosthetic age make-ups were being created for supporting characters and iconic likenesses, some of which were extensive 12-plus piece prosthetic looks, for example, Martin Freeman playing Harold Wallach in his 70s. Angelyne was a show I knew early on that I wanted to be on set applying as much as possible, which is rarely the case for me. Ordinarily, I will help establish a test and then hand things over while I stay at my studio. But for Angelyne, I wanted to be there as much as possible for these specific looks. I continued this trend post-COVID. Bart Mixon was a frequent collaborator before lockdown. After our return, Department Head Make-up David Williams' key Chris Burgoyne was my partner in almost every other character application. We would test each look together, and as often as possible, I would come in for the days the characters worked. Chris and I really got a wonderful dance down that I enjoyed immensely. Glen Griffin would also step in, Abby Lyle Clawson when she was not wrapped up in the Angelyne look, as well as Mara Rouse. This endeavor proved to be one of the most challenging of my career but by far one of the most rewarding. I'm proud of our work—and must credit the artists and technicians at my studio VVDFX, who pushed the envelope through this build to deliver a high caliber of prosthetics, hairpieces, and contact lenses. VVDFX crew: Daniele Tirinnanzi, Patrick Mathews, Carl Lyon,