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THE ARTISAN WINTER 2024 • 45 the passage of time or to reflect where he was emotionally in his life. Through this meticulous attention to hair, I contributed to Bradley's transformation into Lenny. For styling, I opted for a wet set approach. Starting with clean hair and using setting lotion, I would comb the hair into waves and then pin these waves in place to dry. I finalized the set with a light misting of Ouai "Wave Spray." This set, the curls and waves perfectly, allowing the hair to move and fall naturally. I used the same pin set for each stage, ensuring a consistent wave pattern. The wigs were adhered using Super Baldiez. I had ample time before filming to familiarize myself with its application, and now, I consider it one of my indispensable tools. One of the joys of filmmaking is continually learning and sharing new techniques. Stage 1 showcased his youngest look, shot in black-and-white. I employed a partial wig, adjusting his hairline and ensuring a consistent curl for all stages. Bradley's own thick, wavy hair blended seamlessly with the wig after some styling. To conceal any gray in Bradley's hair, I applied Reel Color Palette "Dark," achieving a flawless on-screen look. Stage 1 Plus used the same partial wig from the previous stage but covered a slightly later period. I let some of Bradley's natural gray show, complementing the gray I had added to the sides. Stage 2 involved a slightly different hairline, mimicking Lenny's look from those years. This was almost a full wig, extending down to the mid-ear at the back. Because the gray hair had a wilder texture and was less dense, Kazu applied a partial bald cap to prevent any underlying hair from showing. I then blended the neckline with the wig using the Skin Illustrator "Hair Aging" palette and Reel Color Palette "Dark." Stage 2 Plus had a wig similar to the previous stage but with the hairline adjusted slightly. This hair style was a tad longer, with the top extending about two inches and an additional one-half inch over the ears. The blending and styling process was consistent with the previous stage. Stage 3 was our most intricate. Our call times were often at 2 a.m., and this look took us five hours to complete. At this stage, his hair was almost entirely white and its thinnest. A full bald cap, painted by Kazu to show aging spots and texture, was employed. The wig was designed in two parts, allowing the neck piece to be secured first, with the three-quarter wig laid over it, ensuring a seamless look. This technique is especially effective in ensuring that the neck piece lays flat without sticking out. Bradley was nothing short of exceptional. He always afforded us the time we needed, holding himself to the same high standards we set for ourselves. The commitment he showed, spending hours in the trailer and then transitioning to a full day of directing, was awe-inspiring. Overall, this film was an incredible journey. Working alongside Kazu pushed me to my best, and the leadership of Kay Georgiou, Siân Griggs, and their teams was instrumental. Their dedication to perfection resonated throughout the production. SIÂN GRIGG: DEPARTMENT HEAD MAKE-UP My mother, a make-up artist, had extensive experience working with black-and-white. Since the first portions of the movie were filmed this way, she became the perfect primary source of research. Conversations about the brown and red sensitive studios, which required different make-up styles, were enlightening. Though technology has advanced, we still faced challenges with certain colors disappearing in black-and-white, particularly concerning lipsticks.