Issue link: https://digital.copcomm.com/i/1541402
LOCAL706.ORG • 43 of the character's compassion. It was 1:30 a.m., and there was talk of pushing the scene to another day. Since we couldn't revert the make-up, we all—DJ, Benny, cinematographer Maceo Bishop, and I—stood there discussing options. DJ looked at us and said, "We are here in the game. Let's swing the bat and see if we get a hit. Glen, are you game to try another version?" With that kind of commitment, how could I say no? We stripped everything back, adjusted the look to something subtler, and got it in the can—we made the day. DJ's coloration presented unique challenges, with distinct tonal zones ranging from olive undertones to brownish-purple and tan overtones. After the first week or two, the coloring process became second nature—a series of custom blends and precise steps. Still, some days required adjustments, like when he returned from Hawaii with a deeper tan. Being part of this project was a true honor. From Kazu's brilliant designs and guidance to Benny's infectious enthusiasm and the incredible talents across the team—it was a special collaboration. I truly hope the film and story are well received, because it felt extraordinary to be part of it. A genuine career highlight. And the icing on the cake was having my two daughters appear in a scene with Emily Blunt and DJ. •