Issue link: https://digital.copcomm.com/i/1512433
40 • THE ARTISAN WINTER 2024 Stage 1 Stage 1 Stage 1 Plus nose, upper and lower lips, chin, cheeks, neck, and earlobes. Given the closeness of Lenny's hairline to Bradley's, I applied a bald cap, leaving the nape exposed. This allowed Lori to seamlessly blend the wig with Bradley's natural hair. Stage 2 Plus (1977-1978): Initially, I designed and sculpted an older look but Bradley wanted Lenny to appear more youthful and "sexy" during this period, especially since Lenny was dating a younger man. I introduced a forehead piece to the existing Stage 3 look and added old-age stipple around the eyes, along with eyebrow hairpieces. This stage also had scenes featuring mustaches and beards. Stage 3 (1989): This comprehensive stage included prosthetics for the top of the head, forehead, eyelids, nose, upper and lower lips/chin, cheeks, neck, back of the neck, shoulders, earlobes, hands, and arms. Due to Bradley's sensitive eyes, we avoided contact lenses and minimized prosthetics around the eye area. All in all, I crafted 137 individual pieces, ranging from small to large for test make-up, film test and filming. For the character Felicia Montealegre, portrayed by Carey Mulligan, I had sculpted two age stages. However, Bradley preferred a subtler aging process to portray her character. Siân Grigg and Duncan German took on the application of the aging stages. Duncan contributed by sculpting new nasolabial folds and neck pieces, utilizing the nose and earlobe pieces I had sculpted. I also designed wigs based on images and sculptures of Lenny. Wigmaker Diana Choi ventilated each one. I had been working on a method to coat the lace front while maintaining flexibility. I requested Diana to use ultra-fine lace around the hairline. Once Lori styled the wig, I applied a light-curing fishing lure resin to ensure flexibility and prevent fraying. This also helped maintain dye vibrancy. Most pieces were casted using Platsil gel 10, with 225% deadener or more. I adhered them using Telesis 9. Because of its slow drying time, a small fan proved invaluable. For Bradley's comfort during long application sessions, I modified an ergonomic office chair with extension. For coloring, I used a blend of Skin Illustrator flesh tone and Super Baldiez to cover some of his skin tone. For other colors, I mixed Bluebird FX Gloss & Matt sealer with acrylic paint, achieving a balance of translucency, elasticity, and sheen. For shorting application time, I designed a stand holding nine airbrushes and spray guns. This allowed me to switch between colors without constantly cleaning and refilling. I used Iwata CM-C, HP-TH, HP-TH2, and LPH-80. For convenience, I also assembled a mic stand with mini-tables for my glues and brushes so I can apply make-up myself efficiently. For the younger stages, I used RCMA silicone make-up thinned with 244 for finishing touches, followed by sprays of Ben Nye Final Seal, Baldiez, and Bluebird sealers. On days when Bradley wore high-collar shirts, I applied extra sealers to withstand rubbing by costumes. Watching Bradley transformed into Lenny, when the costumes went on in the make-up trailer was awe-inspiring. His voice would change right away. However, it was challenging as Bradley wanted make-up applied before the crew call. Then he'd proceed to set up shots and rehearse. Most crew members had to wait for hours before being called back. Yet, Bradley was always considerate, ensuring his make-up remained intact. Given his multiple roles on set, touch-ups were kept to a minimum. For the final two stages, I designed body suits. To save time, I printed a half-life-sized body form. After sculpting the body pads, I scanned the model, extracted sculptures, resized them to life-size in ZBrush, and printed them. Each body pad was molded and casted in foam latex. Vanessa Lee constructed the foundational body suits. After I glued on the padding, she covered the surface in spandex fabric.