Issue link: https://digital.copcomm.com/i/1529095
40 • THE ARTISAN WINTER 2025 emphasized his skin imperfections to increase the overall creepy vibe. Noma Dumezweni, we aged with paint make-up and gave Gabby Beans a bolder make-up to go along with her wig with bangs to create a contemporary sassy look. Elizabeth Marvel, a stronger defined make- up with added gel nail extensions. For all the Chicago characters, along with the DA's, prosecutors, and jury, I wanted to give special attention to the authenticity, adding subtle character details where I could. Again, it was my team and Local 706 dailies who deserve a lot of credit. I was fortunate to be back working in LA with a group around me that refreshed my love for the work. With the impending strikes, it was important to me and Karen to hire as many 706 members as possible, especially for heavy background days in the courtroom. We were delighted to play a small part in supporting our members in need and their professionalism was key. Molly Tissavary and I often reflect that we were able to in fact get some of our members their insurance by working on our set. We often hired members we have never met, based on need, reaching out for work, hearing that we hired based on the principles of union values and of the old school hiring hall days of available, professional and in good standing. On a heartwarming note, the IATSE and our Local 706, along with the Warner Bros. Television President, allowed a special waiver to bring on a special permit for a Ukrainian refugee make-up artist living here in LA come along with our members to work for a few days on Presumed Innocent. Having been seen on a local LA news report, the IATSE West Coast and Warner Bros. had lobbied with Washington and the President's office to allow the sisters who had worked in their war-torn homeland as script supervisor and make-up artist/hair stylist respectively. The entire 706 team was honored to meet Alona Ksenofontova. I continue to stay in touch with her and follow her progress here in Los Angeles. She has gone on to hairdressing school where she recently graduated. Alona is working in bridal make-up and hair and some editorial work and reunited with her mother and father. For me, this production marked a turning point. After recovering from a health crisis, PTSD treatment, and becoming the target of personal and criminal hate-based texting during the 2022 awards season. My trust in others was lost. That changed when I received a call from longtime friend and collaborator (Oscar and Tony nominee) Jake Gyllenhaal, whom I owe enormous gratitude to for an offer to work on this series. He was instrumental in bringing this production to Los Angeles, instead of siding with a friendlier tax incentive state. I would also like to thank, on behalf of all our team, David E. Kelley and JJ Abrams. I also want to give special recognition to my team, who stepped up, truly supported me, had my back and renewed my love for working in this business. Their loyalty and hard work made this project what it is: reinforcing that the success of a project depends on a strong collaboration between professionals i.e., the balance of give and take. The HOD takes on more than their crew often knows. It can be a huge pressure that typically goes unrecognized. That said, the focus must always be on the work and serving the story, the director and the cast. •