Issue link: https://digital.copcomm.com/i/1545191
LOCAL706.ORG • 49 PHOTOS COURTESY OF NETFLIX FILM HISTORY LEGENDS OF MONSTER: When you first heard about this project, what was it about it that made you want to jump in? When I found out how the writers were planning to incorporate all these iconic horror films into our hero story, I knew it was a match for me. As a hair designer, it's truly a dream project and something you don't have the opportunity to design often. Not only were we building the world of Ed Gein in small-town Wisconsin during the 1940s, but we were also going to recreate legendary films in three different time periods. It was a unique challenge that allowed me to contribute to the storytelling in such an important way AND it was my first venture into the horror genre. Monster: The Ed Gein Story jumps across decades. How did you approach all the different period styles throughout the season? We covered a lot of ground this season with work spanning more than five decades, from the early 1900s to the 1990s. We were constantly in research mode preparing reference boards not only for our principal cast but also for our background actors. The entire season was cross boarded, so there were many days where it was necessary to move between eras quickly, sometimes changing day players and background actors 2-3 times in one day. It was crucial to have a strong team of period hair stylists on board who understood the nuanced silhouettes of every era and were able to transition each look at the drop of a hat. It was an incredible feat, but our amazing team handled it with ease. I've been so lucky to have George Guzman and Michele Arvizo on my team, holding down the main trailer with their phenomenal hair work for many projects now. They are two of the best artists I've had the pleasure of working with in my career. The day players and background actors on period shows are often the key element in selling the era and I'm so proud of ALL the stylists who contributed to this season. Their beautiful work elevated our story, and you could see their passion for the art in the final cut. What was your research process like for all these looks? On a project of this magnitude, that spans such a large period of time and space, it took an entire village to research everything thoroughly. We used paintings for color reference and tone, while diving into yearbooks and local newspapers to accurately depict the energy of a small town like Plainfield. Cinematic references and movie stills fueled our depiction of old Hollywood and the imagery we were recreating from famous movies like The Texas Chain Saw Massacre, Psycho, and The Silence of the Lambs. We also had to explore the cruelties of the Holocaust and the monsters who were responsible for it. It was crucial to get every detail right and without thorough research, we never would have been successful. I even got my mother, Peggy Lea Moe, involved in the process. She was born and A N I N T E R V I E W W I T H B A R R Y L E E M O E D E P A R T M E N T H E A D H A I R THE ED GEIN STORY