Issue link: https://digital.copcomm.com/i/1530961
24 • THE ARTISAN SPRING 2025 on the final choices you see in the film. Dave Presto was Stacey's Co-department Head and helped oversee the special character make-up. Vincent Van Dyke Effects supplied the beautifully craed appliances and pieces for the project and Art Sakamoto supplied the dental appliances for the character Joan Baez. Mangold wanted authenticity to be our throughline. He encouraged us to do whatever would feel as true to the period as possible. is meant giving them the "vibe" of the person they were portraying, keeping changes subtle and leaning into realism and grit rather than covering them up with unnecessary make-up and wigs that may match the historical figure but doesn't really help Mangold tell the story of his film. e hair department kept true to hair colours and textures of the period, working to make sure the hair looked real and not overly styled or manipulated and avoiding glamourising the styles. We thoroughly researched the locations and people of the time to truly represent what people looked like then. Stacey approached the make-up with a "less is more" method. She wanted to let both natural beauty and imperfections come through with these characters. Whether it was Bob having a blemish or missed hairs when shaving, to the women wearing only what was reflected in the time and by the images of the person they portrayed. When it came to Edward Norton's hair, his longtime hair stylist Fríða Aradóttir was asked by Edward to implement his style and colour in Los Angeles before he travelled to shoot with us on the East Coast. Frida adjusted Edward's hairline by shaving it back and had his hair coloured closer to Pete Seeger's shade and tone. Once shooting began, I continued to upkeep the work Frida had put in place and would make any adjustments Edward wanted from day- to-day. Joan Baez was masterfully portrayed by Monica Barbaro. Monica's hair needed to be coloured to match her own natural colouring by her colourist Eddie Cook. We also needed to add length. I wanted to avoid using we or extensions that could possibly be seen if the wind blew the wrong way. I also didn't want bulk added to her hair, the different looks on Bob Dylan, following his evolution in a way that worked best for the shooting schedule. In the nick of time, the day before we started shooting, it was actually decided that we would use Timothée's own hair through the earlier stages, changing his texture to create more frizz and adjusting the shape oen in true Bob Dylan fashion (you never see any two images of Bob Dylan's hair looking the same). For the later style, a wig would be used and styled to help create the famed hair silhouette. For the different historical figures we recreated in this film, we took the "Let's throw everything at the wall and see what sticks" approach. James Mangold was very supportive of letting the actors explore all the different possibilities. is was especially true for Stacey and her make-up team. She knew they didn't necessarily want to recreate a spitting image of the person being portrayed but a likeness, or better, Stacey wanted to mask a little bit of the actors' features and find the parts of the historical figures that could be merged into their own look. e make-up team tested four noses for Bob, three noses for Johnny Cash, and tested different noses and earlobes and other character traits on Pete Seeger, before landing Edward Norton as Pete Seeger Elle Fanning as Sylvie Russo