Issue link: https://digital.copcomm.com/i/1535749
46 • THE ARTISAN SUMMER 2025 The first words from director Peter Berg were, "THIS IS NOT A WESTERN!" and in that moment, Department Head Hear Johnny Villanueva and I knew this project would be unlike any show we'd previously done with Pete. Set in 1857 before the term "cowboy" had even come into use, the story follows people journeying across the nation in long wagon trains as they ventured into the frontier in search of land to build new lives. Johnny and I dove straight into the research. We hunted for as many historical photos as we could find of Native Americans from various tribes, focusing primarily on the Shoshone, Paiute, and Apache groups. Yet, with the story also involving the Mormons, the Mormon Militia, the cavalry, and everyday people from every background, the research was extensive. While shooting in Santa Fe, New Mexico, I still had the opportunity to bring Local 706 make-up artist Jamie Kelman, who served as my key, taking charge of Dane DeHaan's remarkable transformation, and Kristen "Rocky" Calderon handled the looks for Betty Gilpin, Kim Coates, and many others. I brought in my trusted team members from New Mexico, Bryan Perkal and Jerrod Gray, while welcoming a new make-up artist, Allie Swi, into our fold. Collette Tolen coordinated our background team, managing a group of talented artists who handled the vast number of supporting actors each day. Johnny's team was equally impressive, consisting of key hair stylist Stacey Sokol, 3rd Heidi Baca, and a dedicated group of 706 hair stylists—Kate Lois, Myo Lai, D'nelle Almanza, Norma Lee, Laine Trzinski, Mischa Fruge—as well as local talent, including Alison Smith, Nicole Miller, Johnny Martinez, Carmen Jones, Kristine Briseno, and Holly Tadych. Taylor Kitsch, who played our lead character Isaac, wanted to depict the wear and tear of life in harsh elements. We brainstormed ideas to incorporate scars, old wounds, accumulated dirt, and stained teeth, ensuring his character looked as gritty as possible. Filth became a huge element of the show's make-up and hair design. Johnny and I spent hours watching films to determine what would work on camera. Despite our efforts, Peter Berg was insistent: "MORE DIRT!" he'd shout across the prairie, signaling that there was never enough dirt. PHOTOS COURTESY OF NETFLIX B Y H O W A R D B E R G E R | D E P A R T M E N T H E A D M A K E - U P A N D J O H N N Y V I L L A N U E V A | D E P A R T M E N T H E A D H A I R CONFRONTS THE WEST AMERICAN PRIMEVAL One of Peter Berg's core directives was that no one should look polished. Every woman on the show was meant to appear coated in dirt, sweat, and blood, with hair styles that looked self-made—signifying a life worn down by the elements. It was more than just a matter of grime; it was about creating a complete, immersive world. Both departments worked closely with costume designer Virginia Johnson to ensure that the make-up and hair perfectly complemented the meticulously handcraed costumes produced by her team of skilled crasmen and artists. Every day, Betty Gilpin, who plays Sara, endured a complete transformation in Kristen's chair. Layers upon layers of delicately applied dirt glazes gave her that worn and stressed look needed for a hard day's work, aer which she moved on to Johnny's hair trailer to complete her look. Upon meeting Betty for the first time, Johnny realized her hair was above her shoulders and was not consistent with the women of 1857. Most women had very long hair. Johnny had to source the longest extensions he could find and then color them to match her natural hair color. Aer that, sewing the extensions onto a doughnut allowed Johnny to braid her natural hair into the extensions and give the appearance of her natural hair braided into a bun. Other cast members received extensive make-up and hair treatments as well. Saura Lightfoot-Leon, who portrays Abish, underwent several phases of breakdown and healing over the three-week storyline. Shawnee Pourier, playing Two Moons, had subtle scar transfers applied to her face to tell the story of her past abuse. Meanwhile, Preston Mota's character Devin experienced a straightforward breakdown in make-up, which evolved dramatically in one scene when he suffered a compound fracture in his leg. We depicted this injury in several stages— from the initial trauma, through infection, to a healed wound— with Preston's performance enhanced by Peter Berg's shout- outs that even startled his mother. Two characters proved especially fun to develop. Kim Coates, who played Brigham Young—the leader of the Mormon Church—worked closely with Johnny to perfect a hair look and color that underscored his role as a man of God, making him the only clean-shaven character on screen. In Johnny's first meeting with Kim Coates, he felt his hair was unruly with no shape as Kim had been growing it out for the