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36 • THE ARTISAN FALL 2024 Daisy Edgar-Jones as Kate seminar days to ensure our whole team from Oklahoma, Texas, Atlanta, and Los Angeles all knew the looks needed for every scene. e Crystal Springs and El Reno tornado sequences were designed by showing our director, Issac, wound options and then specifically choosing background artists and make-up artists from our team to do them on a daily basis for continuity. We had custom mud that could be used wet or dried. I had it made in two colors: a brick red that matched Oklahoma earth, and a brown, to give us extra dimension. ree real-life Oklahoma rodeo clowns were cast and were part of the rodeo sequence. ey traditionally do their own make-up, but Isaac wanted the designs to appear more cinematic. We had to research the meaning and significance behind rodeo clown make- up versus other types of clowns because there is a lot of nuance and meaning behind the designs. We came up with several custom looks. Each clown had a unique nose applied and designed make-up, which made for a better film version of rodeo clown make-ups. Our lead rodeo clown, who was a third- generation rodeo clown, had a specifically designed airbrushed make-up that allowed for dimension. so I designed gradual breakdown make-up looks, as a visual for the film. Daisy Edgar-Jones' character, Kate Carter, has the most wound stages. Aer multiple tests at Jason Hamer's FX Studio in L.A., we were able to establish her wound stages and design a visual story: Kate's younger look, modern-day look, and four wound stages throughout the film. We used both silicone and a Pros-Aide transfer pieces. During our preliminary make-up tests, Isaac Chung loved the shape and design of the wound on Kate's leg from the first tornado in the flashback sequence. So much so that this wound design inspired some of the production design: the "scar on the land" that the tornado le in its path to match Kate's leg wound. Glen Powell, who plays Tyler Owens, had to look ruggedly handsome and LuAndra was able to enhance his look through subtly layering tan, flush, and character tones to get him to his cowboy/tornado chaser look. Glen also has a leg wound toward the end of the film where his leg is slashed by a trolley. I knew that this was something that had to go on and off quickly with the pace of our schedule. We pre-prepped the silicone leg wound with punched hair as a pull-on version so that he could quickly slip on and off, which allowed quick changes for the actor and stunt double. All the other characters were designed to set an individual look for each person through facial hair, character looks, and tattoos. e characters of Lily (Sasha Lane) and Ben (Harry Hadden-Paton) have custom-designed twister tattoos that were made by Kentaro Yano. Leslie Devlin and our second unit team mirror-imaged everything we did on the main unit, but in true Twisters style, had to do tattoos, tattoo cover, facial hair, and dirt at lightning speed while navigating the chaotic days of driving scenes with Oklahoma tornado shutdowns and extreme weather and elements. As our team oen rotated to both units and we were at different locations, it was necessary for Leslie and myself to talk on a daily basis to ensure a cohesive film. Background was run by Renee Caruso- Napolitano impeccably and our previous strong relationship grounded the background world, and it ran like clockwork. is included MAKE-UP Continued from page 34 is film was a whirlwind and tested the skill set of our team but was truly such an enjoyable undertaking and with our talented director, we're excited to bring Twisters to a new generation of movie audiences. • Rodeo clown Rox Hodenfield with "dirt"