Issue link: https://digital.copcomm.com/i/1500442
THE ARTISAN SUMMER 2023 • 43 Weird: The Al Yankovic Story is not the typical film you see written about in The Artisan. What sets this film apart is that it was shot in only 18 days, with a budget totaling under $10 million. There were only 10 days of paid prep leading up to the film, which had a lot to accomplish in such a short period of time. It was one of the most challenging jobs I have ever had, but also one of the most satisfying of my career. In the late summer of 2021, I got a text from my friend, Eric Appel, letting me know that Roku was going to produce a feature film he and Al wrote together, based off of a fake trailer for a fake biopic that Eric had filmed back when we were both working at Funny Or Die in 2009. Even after our time at Funny Or Die, Eric and I continued working together, so when this opportunity came up, I jumped at the chance to collaborate with my friend on a project that felt like we were going back to our roots. We looked at Funny Or Die as the school we both came up under and had graduated from, so going back to our alma mater for a reunion was something we were both very much looking forward to. And it was just before Thanksgiving of 2021 that I got a call from my line producer Zac Halley from Drunk History, saying, "It looks like we are working together again! We will be shooting the "Weird Al" Yankovic movie in February of 2022." So from there I knew, that even with the limited budget and the limited number of shoot days, I would be surrounded by people I was familiar with, who know exactly how I work. Coming up in the world of low-budget comedy prepared me for this exact moment. When it came to choosing my core team for the make-up department, I knew it had to be artists that not only had talent, but could roll with the punches and deflect any of the B Y L E S L I E B O R C H A R D D E P A R T M E N T H E A D H A I R — HAIR — B Y K A T B A R D O T D E P A R T M E N T H E A D M A K E - U P — MAKE-UP — This project came straight out of left field. In February of last year I received a call to work on an autobiographical production of the life of "Weird Al" Yankovic. Having worked with Al a handful of times over the last two decades and witnessing his infectious sweet spirit on set, I said, "Absolutely." Producer Zach Halley hired me just after principal photography had begun, so I would be stepping in with zero prep. It was a "fly by the seat of your pants, work at lightning speed, make a miracle happen" kind of production. The package deal included collaborating with Kat Bardot (Department Head Make-up) who I had the pleasure of working with previously on an Apatow film. Knowing and appreciating her attention to detail, I was excited for us to put our creative forces to good use. The wild ride began with a deep dive into my wig inventory. My partner in crime on this film was Jackie Weiss. She and I jumped straight in spending two full days sifting through every piece to find anything with a potential in helping us to recreate some of the very most iconic looks of the '80s/'90s. There were wigs covering two full rooms of the house using the entirety of the space by the time we were done. It was quite the scene. Continued on page 46 PHOTOS BY AARON EPSTEIN/THE ROKU CHANNEL "Weird Al" Yankovic as Tony Scotti Continued on page 44 L-R: Evan Rachel Wood as Madonna and Daniel Radcliffe as "Weird Al" Yankovic