Issue link: https://digital.copcomm.com/i/1524900
THE ARTISAN FALL 2024 • 47 be red on the face, hands, hair, nails, and wardrobe. Many make-up team members shared their appreciation and gratitude for the veteran skills and techniques that Francisco and Mario shared. FX was the team's guide for the majority of the looks. Aer so many years of working with Kevin, he instinctively knows what Kevin wants. Both departments kept reference materials, books, and images available for our teams and actors. My trailer walls were filled with inspirations and reference photos, including an 1800s photo of my great-grandparents in Wyoming. I also utilized the Slack App to share photos, links, blogs, videos, and script and character breakdowns. I still use image boards, as well as digital reference files. ey are so convenient for quick visual reminders of the styles. is was my first Western, and I wanted to thoroughly know the history and way of life of the people in the mid-1800s coming West and each of the native nations we depicted. is included watching old Westerns with some of my hair team, listening to books on Native American and pioneer history, and even talking with the Cultural Resource Director at White Mountain Apache Tribe, Ramon Riley, to learn firsthand of period Apache hair styles and grooming customs. Native custom accuracies for hair and make-up were learned from talking with the many natives working on and off the screen and from our Native Historical Director, David Bearshield. Knowledge and collaboration were vital to our success. AMERICAN NATIVES Horizon featured several Native American people, bands, and tribes, including the White Mountain Apache, Cherokee, Mimbreno, Papago, Pima, Salish, and Pawnee. Many background natives didn't have period-appropriate hair length or color, so we dyed around 40 Level 4 human hair wigs with 3N or 3A, choosing different brands, lengths, and textures to keep a realistic variety. e lace fronts were cut off, and a "v" was cut in the front center so we could blend an actor's natural hairline into the wig or have it hidden by head wraps. When the natives were riding, battling, or returning from action, I wanted their hair to look rugged, not messy, but more "lived-in." Barbicide Shaving Cream, affectionately renamed "Prairie Mousse," was worked into the hair to give a so matte appearance. e make-up team used Francisco's tried-and-true combo for mimicking sun-darkened skin: Ben Nye Bronzer, a liquid formula with a ruddy undertone that warms the skin up without looking like make-up, and Ben Nye Sunburn Cl9 or 10. Dirt was sometimes used on hair, body, and face if the scene required. Hair stylist Molly Sanders successfully wrangled the large inventory of the background native wigs by numbering each and tracking to whom they were fitted and assigned each day. It was a team effort to get all the BG and specialty rider natives through hair works and wigs on. Molly was trusted to maintain the wigs and ensure the wraps stayed tied correctly during filming. Oen, she traveled solo with a condensed splinter unit for riding scenes far from the main unit. She was dependable and did a great job, and I'm so pleased with how all our natives look on screen; everyone's hard work paid off. e White Mountain Apache were our most featured native people in Horizon 1. Pionsenay (Owen Crow Shoe) and Taklishim (Tatanka Means) led the war party of the young Indian warriors who aimed to push back the settlers from building the town of Horizon in their native lands. Men wore their hair down and oen with head wraps. e hair on the returning warriors was meant to have a slightly disheveled look from battling and riding fast on their horses. Within the Apache Mountain settlement, the elders, women, men, and children were clean and groomed. ey were content and at peace, so their look reflected it. On some young women, a nah-leen was used to fasten over an hourglass-shaped roll in a double loop at the back of the head. A nah-leen is a figure eight-shaped piece of leather ornamented with brass buttons. Each was custom-made for the film by the skilled craspeople in designer Lisa Lovaas' costume department. e face paint on the war party was hand-painted using white Illustrator or Jordane pallets to withstand the heat and sweat. Traditionally, the paint was made from animal fat and crushed minerals, charcoal, talc, or rocks. Native American make-up artist Cheyenne brought heart and pride to the indigenous face and body paint. "I loved its authenticity, working on all the natives and learning about other cultures." Key make-up Shalyse enhanced Liluye's (Wasé Chief) no-make-up natural beauty look with sun-blushed cheeks, bronzer, and tightlining to give her eyes more drama. Since Wasé's character was married, her hair flowed loose and down; key hair Anna used tape-in extensions for added length and fullness. Director Costner envisioned the Mimbreno brave (Leroy "Buster" Silva) to be a nod to the painting Ridden Down by Frederic Remington—the lone native on horseback killed by opposing natives Wasé Chief (Liluye) (L-R) Tom Payne (Hugh Proctor) and Ella Hunt (Juliette Chesney)