Issue link: https://digital.copcomm.com/i/1512433
Robert De Niro Leonardo DiCaprio. Carla designed Bob's make-up, while Jon Carter did his hair. William King Hale's crisp and dapper look was subtle, yet very effective. Leo is always keen to become a character visually first and is very involved in the process. Siân and Kathy tested many different ideas for Ernest Burkhart. In the end, they settled on bleaching his eyebrows, for starters. Add to that a prosthetic nose piece and ear augmenters made by Vincent Van Dyke, and teeth and jaw by Chris Lyons from Fang FX. For his exhausted and drunk/ drudged look, Leo wore scleral lenses to make his eyes blood shot. Kathy had Leo's hair lightened with golden highlights, then gave him a WWI military haircut, as he had just returned from the war. The parting and styling were changed to show his change in circumstance throughout the story, as Ernest grows in wealth, status, and complicity. Jason Hamer's dummies and body parts were so beautiful and realistic. One couldn't even tell what was real and what wasn't. When he and Hiro brought their dummies from Los Angeles to set, we teamed up and tweaked the "victims" in order for them to look identical. His beautiful and intricate work amazes me every time we get a chance to work together. The wound and blood pieces that I designed for our dead bodies, meanwhile, could be pre-blooded for different effects. Wherever possible, Kay and I both had a team member assigned to an actor for comfort and continuity reasons. Every make-up artist has their own routine and products that they're used to, and we used it all, as long as it resulted in the required look. From beauty to age to death, from healthy glows to sickened pallors ... this movie covered all bases. It does take a village. It takes so much talent and dedication from every department and everyone involved to pull off a project like L-R: Lily Gladstone and Cara Jade Myers this. The make-up department came mostly out of Local 706, LA; the hair department was hired out of Local 798, NY. As there were only about half of the needed additional make-up artists available from Oklahoma, we flew the rest in from Los Angeles and New York. The additional hairs stylists came from either New York, North Carolina, Arizona, or Atlanta, Georgia. This was a challenging project, but again, I am very proud to have been able to contribute to this incredible film and I hope that it will receive the recognition that it deserves. I feel honored and proud that Martin Scorsese trusted me to create characters that felt authentic and true to this chapter of the Osage people's story. Thank you Mr. Scorsese, for having us. •