Issue link: https://digital.copcomm.com/i/1512433
52 • THE ARTISAN WINTER 2024 Michael: For the character of Angus, Alexander wanted to keep Dominic's hair as naturally curly and effortless as possible. Sarah and I feel that we seamlessly interpreted Alexander's thoughts and ideas to an end result that brings a realism to 'Angus' … a student living at a boarding school in 1970. Through the entirety of filming, I worked alongside key make-up artist Scott Hersh, to whom Sarah delegated the daily responsibility. To create his look, I used Tresemme products to control frizz from humidity and a Solano blow dryer to gently mold into shape. Sarah: Alexander once told Michael and I that he 'wanted faces and follicles as natural as God made them … pimples, red spots, and hair that moves!' Of course, this concept can prove challenging for make-up and hair departments, as this type of 'no-fuss approach' can sometimes cause issues with continuity and certain aspects can become distracting if we are not mindful. Michael and I carefully walked this fine line with all our characters, especially our 'Barton Academy boys.' We kept Dominic's skin natural and realistic by using Dermalogica oil-free matte sunscreen and Bobbi Brown correctors. His sideburns were designed and shaped in a trendy '70s format, and his eyebrows groomed and brushed in place using Anastasia brow gel. For Angus' dislocated shoulder gag where his shoulder "protrudes at a sickening angle," I reached out to Tom Denier Jr. to custom-build a silicone shoulder appliance for us—he also did the application and standby on our test and shoot days and it worked a treat, adding lots of squeamish moments to the ER scene! My wonderfully talented key make-up artist Scott Hersh did a fabulous job looking after Dominic all the way through filming with morning make-up application and on-set standby. Michael: Da'Vine Joy Randolph plays 'Mary'—the school's head cook whose son recently died in the Vietnam War and who is described to us as a no-nonsense, hardworking, real, and grieving woman. Da'Vine expressed to Alexander her wishes for 'Mary's' hair which was then discussed and explored by Sarah and myself through references and mood boards. Da'Vine was inspired by the rhythm of the HMU trailer and often stayed in the truck until she needed to go to set, sharing historical references and music from the late '60s and '70s. The incredibly artistic hair stylist Shannon Bakeman looked after Da'Vine as her personal hair stylist throughout filming. To achieve her many different hair styles, multiple wigs were made (wig construction by Robert Pickens). Shannon dressed, applied, followed continuity, and maintained 'Mary's' aesthetic as described to Sarah and myself by Alexander. I feel that the realism of the wigs and storytelling of her hair styles brings forward a dynamic and emotionally relatable 'Mary' to the screen and fulfills Alexander's vision. Sarah: We gave a natural satin finish to Da'Vine's skin by using Temptu Perfect Canvas Hydra Lock Airbrush Foundations, creamy Fenty contour, concealer, and highlight creams, and skin kept nourished using Octavia Morgan Restoration Crème mixed with a few drops of Radha Beauty organic rosehip seed oil at the end of each day. We also used Pat McGrath silky-soft powder blush, punching it up or down based on where we were at with our visual storytelling. Within the storyline, we added glistens of sweat and/or shadows of fatigue in scenes where it made sense, which gave us a wonderful contrast to when she gets gussied up for the Christmas party. The brilliant Donyale McRae came on board to personally handle Da'Vine's make-up and did an incredible job looking after her all the way through filming—he tested and established her looks, plus morning make-up application and on-set standby. We had lots of colorful characters to design beyond the central three, including Carrie Preston who plays school administrator Miss Crane. She was described to us as sweet and sincere, slightly quirky, well presented and unpretentious. For my process, I honored classic make-up techniques of the late '60s and early '70s, inspired by popular trends and color schemes of that era. She's a quirky type so we had fun with things like lipstick on her front teeth when she awkwardly brings Christmas cookies to professor Hunham. I used Armani Luminous Silk Foundation for good coverage whilst staying light enough to maintain a natural glow/ Besame lipsticks and colorful MAC eyeshadows were perfectly Carrie Preston as Miss Lydia Crane Darby Lily Lee-Stack as Elise