Issue link: https://digital.copcomm.com/i/1512433
42 • THE ARTISAN WINTER 2024 In some scenes, Lenny's exposed belly was a focal point. Wanting to concentrate on facial prosthetics, I entrusted Vincent Van Dyke with the task of creating a silicone body suit. This suit combined a silicone skin exterior with a foam latex core. It included a chest piece that seamlessly blended into the belly, connecting at the base of the neck piece. The suit was pre-colored, and individual hairs were meticulously punched in. Vincent Van Dyke, along with his dedicated team, crafted all the molds and the silicone belly. They also sculpted the hand and arm pieces based on initial pieces I sculpted for testing. They were responsible for casting all the prosthetic pieces used in the film. Sasha Camacho demonstrated remarkable skills, ventilating Lenny's eyebrows, mustache, and beard, and punching hair into his arms, chest, and belly. During Lenny's era, people appeared noticeably older than their contemporary counterparts. Lenny himself started using a suntanning light. Just before entering the time of our Stage 3 of aging, he underwent neck and eyelid surgeries. Lenny's character was defined by his immense passion, love for many, bouts of insomnia, heavy smoking and drinking habit, and vigorous libido. He lived life to the fullest, exuding a larger-than-life presence. Our design aimed to reflect these facets of his personality. Bradley was keen on keeping the make-up application team lean. Most of the application was done by myself and Megan Longmeyer. Megan played a pivotal role assisting me, preparing all necessary supplies, managing orders, setting up and tidying our station, and helping make-up removal. Lori was our go-to for all things related to wigs; she cut, styled, and applied them. Our team was truly stellar, and it was an absolute privilege collaborating with industry talents like Siân Grigg, Kay Georgiou, and Lori McCoy-Bell. At the onset of the production, Mike Fontaine and Vivian Baker were instrumental in setting up our trailer and ensuring a smooth start to filming. On particularly hectic days, we were fortunate to have the assistance of Mike Mekash, Richard Redlefsen, and Glen Griffin to help with the application. I've had the privilege of collaborating with many talented individuals throughout my career, but Bradley stands unparalleled. He is without a doubt, the best person I've ever worked with. His boundless respect and consideration for every crew member were not just professional courtesies; they were genuine reflections of his character. Bradley's transparency and relentless pursuit of perfection were awe-inspiring. Yet, what truly set him apart was his openness to collaboration and his unwavering commitment to elevating every aspect of the project. In a dynamic industry, his ability to foster an environment of fluidity, adaptability, and ceaseless improvement was truly remarkable. Every moment spent working with him was a lesson in excellence and a testament to his unparalleled dedication. LORI MCCOY-BELL: HAIR STYLIST TO BRADLEY COOPER I devoted more than a year to studying and comparing images, capturing the nuances of Leonard's hair throughout his life. We likely had every photo ever taken of him plastered on our walls for reference, spanning each period. This covered everything from how his hair formed waves or hung over his forehead to the styles he sported both in his personal life and at special events. I was acutely aware of the journey I needed to depict: from the luxuriant, thick, dark hair of his mid-20s to the subtle graying process, culminating in the almost completely white and thin hair of our final stage. The wigs needed to be impeccable, and I was eager to rise to the challenge. As artists, I'm sure you understand the thrill of such a creative endeavor. One particular challenge was ensuring the wigs moved naturally during Leonard's conducting scenes. Lenny was an expressive conductor; he'd sweat profusely, and his hair would sway and shift as he resonated with every beat. I wanted to capture the realism of sweat flying off his hair, all while maintaining its natural movement and integrity. In total, I used four distinct wigs, with variations within each. I'd subtly adjust the gray levels by hand or alter the styling to depict