Issue link: https://digital.copcomm.com/i/1512433
46 • THE ARTISAN WINTER 2024 We tested them rigorously to ensure the period-correct orange tones didn't vanish. I created lipstick palettes for the crowd for each decade, but they were most crucial for the black-and-white sections. Crowd fittings were essential to defining each decade. I had to advocate strongly for a make-up artist's presence during these fittings. Nicky Pattison in NY and Sam Denyer in the UK, the crowd make-up supervisors, did stellar work. Each background artist had a fitting sheet with photos for their shoot day, showing their hair, make-up, and wardrobe. I reviewed each sheet, adding notes as necessary. Eyebrow shape, lip shape, and facial hair are crucial in distinguishing the different periods. For the black-and-white section, crowd fitting photos were printed in both color and black-and-white. This helped illustrate the need for shading over color, suggesting a preference for neutral tones. Facial hair played a significant role in setting the periods, from the pencil-thin mustaches of the '40s to the bushy sideburns of the '70s. Much of it was hand-laid, with lace pieces crafted by Justin Stafford. I've collaborated with Carey multiple times and was eager to work with her again, especially since Kazu, an artist I've long admired, was involved. Aging Carey from 23 in 1946 to when her character passed away from cancer at age 66 in 1978 was an enticing challenge. To help Carey appear younger for the black-and-white sections, Jean Black recommended Intraceuticals oxygen facials. The company generously supplied and trained me on their machine, which had a transformative effect on Carey's youthful appearance. After several tests, I settled on mixing Saie Starglow 50/50 with Koh Gen Do base to give her skin a luminosity on screen. Working closely with our DOP, Matthew Libatique, we agreed that the effect was worth the careful lighting required. For close-ups, I used Too Faced Lip Injection Extreme to plump up fine lines. Matt's collaboration was invaluable, especially for Carey's middle-age look in the '60s. Having a supportive DOP can indeed make or break a make-up. Although Kazu had designed Carey's aging make-up, Bradley felt adjustments were needed after camera tests. Since Kazu was occupied with Lenny, Duncan Jarman, who was already assisting me with Carey's old age make-up, sculpted smaller nasolabial pieces and a silicone neck to complement Kazu's existing prosthetics. We also used Old Age Stipple for her hands and around the eyes and forehead. In her final days battling cancer, Felicia still needed to look elegant yet heartbreakingly frail. We tested various approaches, but ultimately decided that Felicia, being a proud and sophisticated woman, would never let Lenny see her in a deteriorated state. Mark Bridges found references of Felicia in head scarves, which we recreated. I commissioned Cristina Patterson to create subtle sclera lenses to age and sicken her eyes, complementing a small hairpiece made with mohair. Given that the cast portrayed real individuals, Bradley was deeply involved in all the design work to ensure accurate resemblances. Several principal characters aged throughout the film, achieved primarily through paintwork and flat mold pieces. For the Bernstein children, I had braces made by Fangs FX to assist with their progression through their teenage years and early 20s.