Issue link: https://digital.copcomm.com/i/1530961
18 • THE ARTISAN SPRING 2025 Staying true to the timeframe (1950-1977) and using products and techniques that were around during this time, it was important to me to uphold the integrity of the script and Maria's look on screen. We originally had three wigs made to start the testing and ended up with around 12, as well as several hairpieces to incorporate into the looks when needed. I had several different shades and colors built to show progression in her age, as well as her operas and concerts. e one product that I used throughout filming was a tube of V05 hairdressing that enabled me to enhance the beautiful wave and curl when her hair was down and so, as well as put shine and luster in the updo's. I set most of the wigs' wigs with my homemade "paper towel" rollers (my favorite roller sets), and last but not least, my favorite way to prep a head for wig application is my version of the "fracture wrap" that I do with cotton wraps. It is the most comfortable for actors and can withstand a lot of weight on the head. e fracture wrap was used before the invention of nylon wig caps. We had wigs that were shot during takes with rain machines i.e., Madame Butterfly. is was a true test for the wig application and the wigs (that's where Vaseline was helpful). I tried to stay true to the opera hair that I had references for but what was also very important for the look was to scale the hair down slightly to match the size of Angie's head and facial features. Angie and I have worked on several projects together and they are always interesting and creative, however,r in the words of Maria Callas: "Opera can be a very silly thing, but it can be the most gorgeous thing in the world." Angelina's portrayal of Maria Callas was not an easy one but what I think helped to elevate the story was her transformation into an iconic opera singer was her hair, which plays a role in capturing Maria's style and elegance.