Local 706 - The Artisan

Spring 2023

Issue link: https://digital.copcomm.com/i/1490669

Contents of this Issue


Page 28 of 51

THE ARTISAN SPRING 2023 • 27 that would add up to 30 more daily, 170 background performers all in 1800s facial hair with 50 dancers and 15 stunts ... all in the summer! Andrew Clement designed 'Corpsey Marley,' played by Patrick Page. Corpsey Marley played sporadically throughout the schedule so Andrew would fly to Boston for each application. Andrew and his team at Creative Character Engineering also fabricated 'Yet to Come's' boney hands— designed for an easy on-and-off application which Niki and I managed on a day-to-day basis. Wicked smart Nichole (Niki) Pleau looked after Marley's make-up and maintained his sideburns. She was instrumental with the day-to-day running of the department, especially in hiring our crew. Scott Hersh headed up the dancers make- ups & the revolving crew of many make-up artists. He made it effortless, and I was so grateful he was there. Sara Seidman Vance supervised the dancers & BG in the 1800s London dance sequence. Using mine and Vivian's facial hair kits, Sara and her right-hand Shannon Dollison fit every dancer and background performer. Styling all the facial hair to the period and character. They were extremely organized and, on the day, all was ready for the additional Local 798 members to apply. Did I mention we shot this in the summer? There is a 'Ghost World' in this version of the story, almost all of the ghosts were dancers. I wanted to differentiate the 'ghosts' from the 'humans' and director Sean Anders wanted the dancers looking "fabulous." So, we went with a natural glam—matte smoky eyes, full brows, no frosts or glosses, no reds or pinks (which suggests blood and life), blush and lips were matte nude hues that complemented the warm undertones of the skin. Naturally, we did the opposite for the 'humans' by using more color. We had a Christmas costume party with many characters, a Hall of Miracles which depicted different people and eras throughout time. As we flashback with 'Clint,' we first meet his family in 1988 where the brother and sister are played by young actors. Finding continuity with moles, freckles and eye color was a must. 'Mom' is a little rough around the edges and played by Jen Tullock. In real life, Jen is mid-30s and played that in 1988. '80s make-up and that character allowed for one of my favorite looks (you know the one) where the foundation doesn't match and there's a lovely brown line where it stops on the jaw. We see 'Mom' again in 2008 where she is about 55 years old. I sculpted and ran some PTM small eye bags & jowl appliances, aged her eyes, lips, neck & hands with Bluebird Old Age. Spirited was one of those special shows where lasting friendships were formed. VALERIE NOBLE AND SHANNON BAKEMAN: MAKE-UP AND HAIR FOR OCTAVIA SPENCER When we read the script for Spirited, we knew this was going to be a fun project for Octavia. Especially, her first on-screen musical dance number. At the start, she plays a conservative office manager, so we knew she would have a toned-down look. Clean dewy foundation, light blush, a tad of eyeliner and mascara and a neutral toned eyeshadow was on tap. We also kept her lip color a moist nude (Love NYX's Butter Gloss). For her hair, we made sure it was something still stylish, short, sassy, and easy to maintain, since we were filming a musical Christmas movie in July. We didn't want anything too long that would hinder her performance. We bumped up this look for the office party scene with more eyeliner, added lashes, darker shadow on the outer corner of the eye (for a more dramatic look) and a pop of blush. We also gave her a nice beach wave asymmetrical bob to finish off this look, which made her look stunning for the party and the date night scene. For her dance number, we used the office party look with a more matte foundation to stand up to the dancing for fewer touch-ups between takes. For hair during the dance scenes, we kept it short and used a soft finishing spray (Oribe Superfine hairspray) to tame any flyaways, but still give the movement and keep the integrity of the style. We can't wait for everyone to see this new take on a Christmas classic. RITA PARILLO: DEPARTMENT HEAD HAIR This project was an exciting and challenging endeavor from first reading the script until the moment the director Sean said "that's a wrap." We knew it would be important for the hair department to have a team of stylists with a very diverse skill set on this production to be prepared for the variety of character looks the director and actors wanted to achieve creatively. Although challenging, the most exciting days were when we had the thrill of changing several individual actors & dancers into multiple characters in the same day. We knew this project had several layers but never anticipated how much fun we were about have! This incredible cast of actors and dancers, inspiring direction and outstanding choreography for all these musical numbers was truly a joy to play any part in watching it come to life. •

Articles in this issue

Archives of this issue

view archives of Local 706 - The Artisan - Spring 2023