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THE ARTISAN WINTER 2025 • 37 the bar, her hair is more flirtatious, and an obvious effort has been made to impress the handsome bartender. One of the most unique creative processes I have to date. Together, Donald and I worked on Ruth simultaneously, which contributed to a great sense of unity. For the male cast, we used basic haircuts and styling. We paid close attention to courtroom backgrounds for accurate haircuts on police, prosecutors, and contemporary Chicago jurors. Donald and I worked closely to meticulously recreate the flashback and grizzly crime scene with Renate Reinsve and her stunt/photo double. For the rest of the cast, we used basic contemporary make-up, hair styling and continuity. Overall, it was a fantastic experience, collaborative in every way. Donald Mowat: As with most projects these days, especially television, pre-production time can be unrealistically limited. We were given just a few days to test basic looks and shoot stills. I was excited reading the scripts and as I am a huge fan of this genre. I got to work immediately by pulling photographs, film references, coroner office research, mood boards. I knew I had very little time to design and research the (Carolyn) recreation and flashback murder scenes of the character over multiple episodes shared by two very different directors (Greg Yaitanes and Anne Sewitsky) and cinematographers' visions, styles and lighting. As you all know, prep these days tends to be a few casts meet and greets, a production meeting via Zoom, loading the trailer, getting supplies, and of course, cramming in those pre-shoot days and the obligatory art department prop family photo (while establishing character looks, LOL). I was thrilled to have Karen Dick on board as head of the hair department, when producers Caroline James and Stacy Murphy Gold asked me to assemble what I believed to be a great hair and make-up team. The choice was easy, having met her on another Jake Gyllenhaal project, The Guilty. I knew that her partnership would be key to a successful creative collaboration. On Presumed Innocent, we worked side by side, under one unified department (hair & make-up). Working in tandem like this was creatively complementary, and was crucial in forming a cohesive contemporary look of modern-day Chicago. Early on, we knew one of the defining visuals would be recreating the macabre crime scene death make-up on Norwegian film star Renate Reinsve (Worst Person in the World). An invaluable source came from the LAPD Sheriff's Coroner's office, whom I invited on the trailer and worked closely with. In these meetings, a level of authenticity was found, bringing essential details to the prosthetics y-incision, trauma wounds and overall paint, blood and death pallor make-up. I felt a heightened, almost obsessive feeling of responsibility in getting that look authentic. It was my goal to assemble a team to meet those demands and reflect the diversity present in the cast. Keeping the continuity of that final camera- ready look was something to be proud of. It was the support of my team; key make-up Molly Tissavary, make-up artist Ching Tseng, make-up artist Tonyia Verna, and all our seasoned day players and talented make- up artists, including specialty effects artists Abby Lyle Clawson, Chloe Senz, Ally McGillicuddy, along with Karen and all the hair team; key hair stylist Liz Ferguson, hair stylist Dez Wooden and daily crew that would make it possible. I was incredibly fortunate to have such a strong group of Local 706 members, who were talented and professional with us. We paid close