Issue link: https://digital.copcomm.com/i/1542690
LOCAL706.ORG • 25 B R E A K I N G D O W N T H E L O O K S O F B Y Y U N E A C R U Z D E P A R T M E N T H E A D H A I R STONE COLD FOX W hen I was first approached about this project, I was in a moment of deep uncertainty. Life had shied quickly, I had just moved to Bakersfield aer losing my home due to the lack of work during the strike, and for the first time in my career, I questioned whether I could continue in the industry I've devoted my life to. I even considered returning to my former career in contract administration. Then Alexia Molinari-Giorgi reached out. And something in me steadied. For the first time in a long time, I felt safe to create again supported, seen, and surrounded by a team that stood behind me and beside me in every moment. That sense of trust made all the difference. Every look in Stone Cold Fox was crafted with intention, honoring the textured world of the late '70s and early '80s. Collaborating closely with our director and writer exchanging ideas, shaping characters from the inside out, and finding emotional truth through make-up reminded me why I love this industry, even in its most uncertain seasons. Under the direction and guidance of director Sophie Tabet, writer/producer Julia Roth, and producer Jonathan Craven, our mission was clear: an action-thriller period piece set in suburban America, early to mid- 1980s, with flashbacks to the late '70s. This story meant something to me. And the cast brought their characters to life with everything they had. B Y R E B E C C A L E E C A S T R O D E P A R T M E N T H E A D M A K E - U P I was so thrilled to hear from Local 706 make-up artists Rebecca Lee Castro and Alexia Molinari-Giorgi, who graciously asked me to join the upcoming film Stone Cold Fox—especially at a time when work was scarce. I didn't even ask about the rate; all I heard was "union film," and that was enough. I needed the hours for my insurance, for my family, for my sanity, and honestly, just to feel normal again—to feel a sense of production returning to Los Angeles. Stone Cold Fox turned out to be an amazing project to work on—a true project of love. Love from the heart, and love from the era I was raised in. I grew up in Sherman Oaks, California, in the early '80s, when big hair reigned supreme. On this film I made sure we used hard-hold hairsprays, mousses, and gels that helped capture every look from that time. The film was directed and written by Sophie Tabet; written, acted and produced by Julia Roth; and produced by Jonathan Craven, who gave us direction and trusted us to be creative. Their direction to me was: "action-thriller period movie—early to mid-'80s, with some flashbacks to the late '70s—set in suburban USA." With that guidance, I researched suburban lifestyle and the retro, lived-in, weathered shapes and textures of early '80s hair. But, big iconic '80s hair wasn't present in every suburban town, so authenticity was key. For Kiernan Shipka, I created soft waves M A K E - U P H A I R Continued on page 26 Continued on page 28