Issue link: https://digital.copcomm.com/i/1512433
48 • THE ARTISAN WINTER 2024 FROM THE PERSPECTIVE OF KAZU HIRO AND SIȂN GRIGG TALKING ABOUT KAY GEORGIOU'S WORK: Siân Grigg and I had the pleasure of working with Kay Georgiou on Maestro who is incredibly talented in establishing various hair styles on the film for the actors. Georgiou tried to give the actors hair styles that matched their real-life counterparts whenever possible. This sometimes necessitated coloring, wigs, or hairpieces. She was provided photos by the Bernstein family. Considering the story spans five decades, Georgiou also extensively researched the eras and the individuals with whom Bernstein interacted. In preparation for filming, she communicated with the cast months in advance, asking them to grow out or refrain from coloring their hair to maximize the authenticity of their looks. Bradley was deeply involved in crafting the looks for the cast. He preferred using the cast's natural hair whenever feasible. Most of the time, Georgiou adapted actors' existing hair to fit their character's style. However, in some instances, her team had to resort to wigs, extensions, or even thinning out the actor's hair to reflect aging. A significant challenge of the film was depicting the aging of the Bernstein family and several other characters over the story's timeline. The Bernstein children, portrayed by various actors from infancy to adulthood, had multiple looks throughout the film. At certain points in the story, Georgiou's team used temporary extensions on both Alex and Jamie Bernstein. For Felicia, whose looks spanned from the 1940s to the 1970s, the real Felicia underwent numerous hair style and color changes throughout her life. After discussions with Bradley about her appearance and ensuring that both Lenny and Felicia aged harmoniously, Georgiou limited the number of styles she had. Her MAKE-UP DEPARTMENT CREW Jackie Risotto, co-department head Elisa Tallerico, make-up artist Duncan Jarman, prosthetic artist Nicky Pattison Illum, crowd make-up supervisor NY Dawn Tunnell, crowd make-up NY Sam Denyer, crowd make-up supervisor UK HAIR DEPARTMENT CREW Jameson Eaton, key hair stylist Amanda Duffy, crowd key hair stylist Jimmy Goode, hair stylist Lou Sheppard, crowd supervisor UK youngest look in the '40s and her eldest in the '70s were achieved with wigs, while her styles during the '50s and '60s were based on her natural hair, dyed to resemble Felicia's original color. All crowd members underwent pre-fittings. Female extras received period-appropriate hair styles based on what their natural hair could accommodate, though Georgiou's team occasionally used wigs. Male extras were given haircuts suited to the era they depicted. Sometimes, Georgiou asked them to grow out their hair before filming. In certain cases, this meant they had to be fitted with wigs or hairpieces. Her team's collaboration with the extras casting department was invaluable; provided them with detailed information and visual references for the desired looks. Georgiou's team used approximately 150 wigs during production. Bradley, a hands-on director, offered unwavering support and collaboration throughout the process. •