Issue link: https://digital.copcomm.com/i/1490669
film. These were painted on by Eyesha using an Illustrator Palette. For the character of Janine, played by Hannah Onslow, Sam wanted her to be a goth, and we referenced people like Siouxsie Sioux and Nina Hagen. We wanted her to look not quite good, and rather a bit homemade, so Rebecca Cole would complete Hannah's hair and make-up, and then we'd start breaking it down, smudging her eye make-up and messing up her hair. Her make-ups were classic goth: big black-rimmed eyes (MAC Kohl again!) with a lot of pink and maroon and stripy bright pink blusher, dark burgundy or black lipstick (Morphe Matt EX), and chipped black nail varnish. Her hair was a long-hair lace wig by Peter Owen Ltd, who supplied all the wigs for our film, with the base color being red, the same color as Hannah's natural hair. We then badly dyed it with black hair color, as if she'd painted it on herself. Rebecca added some pieces to bulk up the backcombing at the top and would do variations on a theme for the hairdo, sometimes little plaits at the back or bunches. We had a lot of fun with Hannah, who was up for anything! Colin Firth, who plays the sleazy cinema manager Mr. Ellis, was given an '80s haircut by Doone Forsyth, which complemented his wife Brenda (played by Sara Stewart) who we modeled on a glamorous Diana Dors. Rebecca Cole used a bald cap under her blonde wig to give a feeling of lightness and reality. Tanya Moodie plays Stephen's mother, Delia, who works as a nurse. She had a very simple and sensible plaited hair style. The biggest challenge in the film had to be the large crowd scenes. As is often the case, the background artists supply the texture of a film, and every effort was made by Andrea Lance Jones, our crowd supervisor, to be as authentic and accurate as possible. A huge amount of research was done and a big prep was executed to get a jump on the haircuts, wigs, and make-up. The skinheads also had tattoos of the period that we designed and applied. Every supporting actor was photographed and approved by me, then shown to Sam for final approval. In the end, I really felt that the way people looked, and how their appearance related to the times they lived in and the lives they led, was seen in their hair and make-up. And that truly reflects the joy I have in my work. • Ward with Eyesha Yates L-R: Jones with Doone Forsyth