Issue link: https://digital.copcomm.com/i/1541402
LOCAL706.ORG • 33 The idea that aliens communicate through their hair became an unexpected but striking visual thread. This also became the reason Emma's character gets her head shaved immediately after being abducted—one of the most challenging scenes to plan, as we had to make the head shave real. Teddy's paranoia builds throughout the film, and by the time he kidnaps Michelle, he believes he's uncovered something critical about the aliens: that they not only communicate through their hair, but that their powers can be weakened by covering them in a medical-grade cream. For Michelle, that meant her entire face and body had to appear coated in product. Finding the right consistency was surprisingly difficult—we needed something that read visually on camera, didn't dry or crack under lights, and wouldn't irritate Emma's skin. We experimented with countless blends of lotions, serums, highlighters, creams, and make-up bases. The texture and effect also had to evolve with Michelle's deteriorating condition. We used everything from Kryolan watercolors in one scene to La Roche-Posay lotion in another, always adjusting for tone, wear, and performance. An additional layer of depth in our experience came through working with Aidan, who plays Don in the film. Aidan is autistic, although Yorgos made it clear from the beginning that this should never become the focal point of his character. What mattered was who Don was as a person—and Aidan brought him to life with charm, charisma, and humor that won over the entire crew from the first day of filming. Elaine Hall, Aidan's access and creative coach, was instrumental in helping the cast and crew understand how to create a comfortable and respectful working environment. Her guidance on how to work with someone on the spectrum was incredibly insightful, and it made the project even more meaningful for many of us. My key make-up & hair artist, Albert Elizondo, was a natural fit to work closely with Aidan. Albert has a brother with autism, and his sensitivity, patience, and understanding made him the perfect person to be assigned to Aidan. The synergy between Aidan, his mom Katy Delbis, Elaine, and Albert was something truly special—and having that strong support system in place made a huge difference for everyone. It was one of those behind-the-scenes dynamics that really shaped the heart of this project. In the UK and EU, it's a requirement to have a hair and make-up supervisor on any production—and we had the honor and privilege of working with Liz Phillips. Her experience working in England was invaluable. She knew all the ins and outs: local production protocols, crew contracts, holiday pay logistics (which still make me laugh), where to source the best materials, and how to navigate the industry with ease. We truly couldn't imagine our make-up and hair world without her. She brought clarity and calm to what could have been chaos, and we're so grateful she was part of the team. Meanwhile, we began developing the alien look with Yorgos. James Price's production design really set the tone. It's always a unique challenge to find wigs and extensions more than 36 inches long, but seeing the look slowly come together in fittings was such a rewarding process. I loved the idea that the aliens appeared in a natural, unpretentious human form—one that reminds us to accept and love ourselves just as we are. Since the aliens in the Bugonia universe communicate through their hair, we knew the hair and hair styles had to be really special. Yorgos and I decided that their hair should be long, unisex, and unified—but still show individuality among the aliens. It was quite the challenge to source human hair at that length, in all shapes, colors, and textures. Matching each look to each individual alien and bringing them to life with this majestic hair was incredibly satisfying—as challenging as it was. And I love a good challenge. As any hair stylist would understand, sometimes you need to see and feel hair in person—online purchases can be such a gamble. So, it became a bit of a ritual: every weekend leading up to our big alien shoot, my key, Albert, and I would visit various hair shops around London and beyond. It was a treat to be on that mission together, hunting for the perfect textures and tones that would help make Yorgos's vision real. During the development process of how the aliens would look, we briefly explored more traditional "alien" aesthetics—colored contact lenses, purple or translucent skin, even iridescent effects. But Yorgos and I ultimately agreed that having the aliens look just like us would serve the story more powerfully. It reinforced the idea that they could be among us, that they are us in many ways. One of the final scenes in the film takes place aboard Michelle's mothership, and the design was breathtaking. James Price and his team created something that felt organic and otherworldly—like the inside of a living, breathing body. The ship was surreal and anatomical and somehow deeply familiar. That moment was emotional because we finally meet Michelle's people. And they look