Issue link: https://digital.copcomm.com/i/636504
30 up and hair situation. Tami and I did the test make-up on Albert in Los Angeles. Once approved, Tami headed off to Pittsburgh where the film was shot. At one point, we had two autopsy make-ups working for two separate scenes, so Tami and Chris teamed up to put everything together and give the director what he requested, which was an all-in-one shot of an autopsy. This was easier said then done. Carey Jones, our shop supervi- sor at KNB EFX, handled the build. We needed male and female double-layered autopsy appliances designed and created in record speed. For both make-ups, there was first an underlayer prosthetic that included all the interior anatomy. Then, a second cosmetic prosthetic was created to blend over and on top of the interior piece. The actors were required to be in autopsy position for the application, which is never any fun, but they were both amenable and respectful of the work we needed to accomplish. Although we only end up seeing the beginning of one of the autop- sies in the finished film, we know we delivered exactly what was requested within a very compressed time frame with extreme financial limitations. What's new? The experience was a great pleasure. It was the perfect storm. The director was always approachable and answered questions and sent comments back quickly. Production, though strapped for money, gave us the time we needed to design and prep David and Albert's make-ups. Our Department Head Make-up, Jacenda Burkett, was nothing but helpful and supportive. Judy Murdock handled Will Smith's excellent and subtle transformations, and Kathrine Gordon was our Department Head Hair. We all worked under one umbrella, which is the only way to create a har- monious and suc- cessful make-up and hair depart- ment. I hope we all get to do it again in the near future as it was a challenge, but also a lot of fun with a great film we can all be proud of. • MAKE-UP EFFECTS continued From top: Tami Lane and Chris Gallaher apply the autopsy make-up on David Morse; Kathrine Gordon does final hair touches on Morse; Albert Brooks observing Morse as the deceased Mike Webster. Inset: Silicone interior prosthetic first applied to actor before the second cosmetic layer is applied for the full effect.