Issue link: https://digital.copcomm.com/i/1521284
60 • THE ARTISAN SUMMER 2024 the hair department and inevitably to this film, making it an such enjoyable experience. I am truly grateful. ere were multiple wigs that needed to be custom made for various characters. e talented Dawn Dudley was our in-house ventilator, as well she built various pieces on the fly for different characters. Working with wigmaker Natasha Ladek is always a pleasure. Going through her extensive inventory of hair with her is always a delightful playground to create in. Natasha and I have done countless projects together. I always enjoy collaborating with her and respect her opinions immensely. An audience can be taken right out of the story if the hair, or a wig, does not look the part, especially in a period piece when the silhouette is so important. ere is nothing more distracting than a bad wig. Although, there are exceptions. Opera, theater and in sketch comedy, there is a bit more leeway with the audience. With most period projects, whether film or television, wigs are customary for principal cast. It's the fastest way to achieve the look without beating up the actors' hair, as well as it assists with continuity. Collaborating with my longtime friends, Department Head Make-up extraordinaire Bill Corso and the astounding costume designer Susan Matheson, jointly with our director, Jerry Seinfeld, and producers was nothing short of inspiring. Whether we were recreating characters or designing looks with the actors, we all reminisced about our childhood memories watching cereal commercials and all of the iconic characters and historical events that this script encompassed. Some of the historical figures included Walter Cronkite, Johnny Carson, Ed McMahon, Jack LaLanne, JFK, and Andy Warhol. Brand icons, including Chef Boyardee, Little Debbie, Quaker Oats, Tony the Tiger, Rice Krispies Snap, Crackle, and Pop, Fruit Loops Toucan Sam, the Keebler Elf, Wrigley's Doublemint Gum Twins. Not to mention the multitude of mascots that protest in front of the Kellogg's building, a comedic take on the January 6 onslaught. Apart from having hundreds of background artists working, we had countless principal actors as well. e whirlwind of contrasting scenes that Jerry and his partners, Spike Feresten, Andy Robin and Barry Marder, wrote is brilliant. One day, we visit main street USA, we're dealing with Shakespearean actors with a more downtrodden Elizabethan look. Next thing, we're in a lab with intellectual, analytical thinkers, not all experiments workout which brings us to a funeral. We journey to Puerto Rico, Russia, Vietnam, back to Michigan for a state senate hearing and stop in for a quick meeting at the oval office in Washington, DC. Before you know it, we're at the Holiday Inn for the Golden Spoon Awards (the Academy Awards of cereal), two huge days of 1960's glamour and glitz. en we found ourselves in Florida at Mar-a-Lago with Marjorie Post. But the fun didn't stop there. Jimmy HAIR Continued from page 59 Dean Norris as Nikita Khrushchev and Maria Bakalova as Rada Adzhubey Teressa Hill with Maria Bakalova Jon Hamm as Ad Man #1 Melissa McCarthy as Donna Stankowski James Marsden as Jack LaLanne Peter Dinklage as Harry Friendly and Christian Slater as Mike Diamond