Issue link: https://digital.copcomm.com/i/1529095
Wealthy Clarence Thomas Clarence's third look is the most disturbing without a doubt. From his point of arrest, everything changes once he walks on water—is he the Messiah aer all? Guilty! Crucify Him. We see Clarence carrying the cross up Passion Street on his way to Calgary, his face beaten and distorted—the crowds wailing and the Roman soldiers flailing him as he staggers. I made a load of transfer prosthetics for LaKeith and once my key personal to LaKeith, Federico Carretti had laid his beard, I started on the damage. Every day was a ballet around LaKeith. I would start with skin care and Fede would prep beard hair; then he would lay the beard whilst I would check the wig and make any final adjustments because humid Matera played havoc with the texture no matter how many de humidifiers we had. Once the beard was laid, I would usually start make-up. is Passion Street make-up was the same but we had no time to do it and so to speed things up, once I applied the first transfer and started make-up on it, I had Federico apply the next one—there were three in total—and once those were done, he moved on to cover the tattoos on LaKeith's hands whilst I did the damage on his face. I got broken teeth made by Tinsley and distorted lenses made for his eyes. I wanted the effect that his iris had got competely ruptured at one point vertically so his pupil shape would be amorphous instead of round. is look then gets revealed at its final destination when he goes up on the cross and Federico and I had full body make-up to do with all of the above, wounds on his body, signs of beatings, blood and of course. stigmata. His moneyed up wig contracted and shrivelled up and those now clean twists looked like a crown of thorns, spikey and tragic. I got Tinsley to do me a bunch of transfer prosthetics for whip marks and cuts and general damage and they came in extremely handy. e day that Clarence went up on the cross was pulled up on us out of the blue and we had no make-up test time. Federico and I did his body make-up which started with applying all the lacerations and wounds to his back, then covering all his tattoos on both arms, chest belly and his sides, and applying further wounds to his front, as well as aged beating marks, fresh beating marks, grime and paint on blood which could be dressed later on set in 50 minutes! It was a really tough day on set that day actually, because it is impossible whether you have faith or not, to watch a man go through such agony. I saw people weeping—and they were not acting. Others came up to me and said they could not look at him, that it was overwhelming for them. Everyone commented on his eyes—that they could not look at him because they were so disturbing—and this is the power of make-up, especially when it adorns an actor like LaKeith Stanfield who made it all come to life. He was incredible.