Issue link: https://digital.copcomm.com/i/1490669
PHOTOS, EXCEPT AS NOTED: MERIE WEISMILLER WALLACE/UNIVERSAL PICTURES AND AMBLIN ENTERTAINMENT L-R: Paul Dano as Burt Fabelman, Mateo Zoryan Francis-DeFord as younger Sammy Fabelman, and Michelle Williams as Mitzi Fabelman B Y G L O R I A P. C A S N Y | D E PA R T M E N T H E A D H A I R HAIR I received a call from Mark Bridges, (our amazing costume designer) that he got my name from Donald Mowat, thinking that was nice … then he told me the project! Eryn Krueger Mekash, someone I always wanted to work with, was doing make-up and Steven Spielberg was directing … that would be yes, 1000 times yes, bucket list material! On top of that, shooting in Los Angeles. I was so in. My research began immediately watching the Spielberg documentary. It was a wealth of information, including personal photos of the family we had to recreate. We were doing real people and it was the director's actual family members ... no pressure. e period was from the late 1950's through to the late '60s… I started by pulling my stock wigs and had our 3rd, Miki Caporusso, help me begin the '50s styling. My fab second, Rox Hodenfield, lived in Austin, so she got a minute before I threw her into prep mode. Fittings began in Santa Clarita and we were off. Michele Arvizo and Maria Elena Pantoja started the prep and fittings along with Anthony Wilson, Barbara Cantu, Lucia Mace, Susan Lipson, Becca Weber and Jacki Brown … all were on board helping with the prep of the background players, which are so important to the overall look of the film. For the majority of the film, I had Barbara Cantu running background and … rocking out those period wigs, lots of them. ere were some great large background scenes including a Continued on page 32