Issue link: https://digital.copcomm.com/i/1486000
30 • THE ARTISAN WINTER 2023 changes in seven minutes. That's how tight our schedule was for this shoot. Those moments tested me. After communicating concerns to the director, he replied, "Don't worry JL, you won't get kicked out of the hair club." On hearing this, all I could do was laugh, step back, and trust my director. Once we hit 1960 in our storyline, that's when the final, true platinum wig would be needed. We had multiple recreations for this time period, not only the iconic styles for Some Like It Hot, but also images we knew were closer to her final days. TRK: For the 1960s, I reduced the reflective foundation, added Bluebird FX Old Age and changed the eye make-up for a subtle ag- ing effect. I had a few discussions with Andrew about doing a more broken, dishevelled or even a simpler look, factoring in the impos- sible schedule. Reducing the make-up made her look too young or too much like Ana. His answer to changing the classic look was sim- ply "Don't...." He felt like she could be coming or going to work or even could have slept in her make-up. Norma Jeane clung to Marilyn even when she didn't want to be her, one of contradictions we'd see a few times in the film. I would've liked the opportunity to show more change in her look, but we've all been in this situation. As hard as this was to reconcile, Andrew had been working on this project for 10 years, his vision was clear. Like all period films, everyone should be seen by make-up, hair and costumes. Even though this is not a biopic, many needed to match real people: young Norma (Lily Fisher), former athlete (Bobby Can- navale), the playwright (Adrien Brody), and the former president (Caspar Phillipson), to name a few. I'd recently worked with key make-up artists Elena Arroy and Cassie Lyons. I knew they were good at implementing make-up designs. And not only did they work well together but both had the drive, curiosity and hard-work ethics that I knew I would need to help me pull off this very big, small film. Gladys, Marilyn's mom—Julianne Nicholson would play both the younger and older version of this character. The goal was to cre- ate a clear distinction, showing not only the passage of time but also signs of a difficult life. Elena would be taking care of Julianne's make- up for the early years to create a realistic, period look for this troubled single mother. When it was time to show Gladys in her later years, Elena and Cassie worked together to apply layers of Bluebird FX Old Age to her eyes, around her mouth, neck, into her décolletage and Ana de Armas recreates the iconic scene from The Seven Year Itch. Ana de Armas with Adrien Brody as the "playwright"