Local 706 - The Artisan

Fall 2016

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26 B Y Y O L A N D A T O U S S I E N G J O U R N E Y M A N H A I R S T Y L I S T WORKING WITH TOM FORD A s make-up artists and hair stylists in this business, we all want our work to be part of telling the story. Very seldom does this come so easily. My experience on the Tom Ford movie Noctural Animals is something I hope we all get to experience in our career. Tom came to our trailer every day in preproduction and during shooting. On a daily basis, he gave us direction on what he thought their look should be for the emo- tions they were trying to convey that day. He always made us feel like our job was really important to him, that our thoughts were as important as his. Tom came and worked with us on Amy Adams. He came into the trailer and he himself played with her hair. He drew his hands through it and we looked at updos, down-dos and various looks so we could all visualize and collaborate together on what we all wanted. He wanted a very dramatic look for her at her gallery and a softer look as the movie progressed to show that her character was getting softer in feelings. It was important for him to see the softness as well as for her to act it. We progressively made her hair look softer as the movie went on, by making the hair look less done. Jake Gyllenhaal played two characters and it was important for his look to depict two distinct characters. Tom would come into the trailer often to discuss how Jake should look. Jake had two looks; one was unshaven with long hair and the other, his hair was short and he was clean-shaven. The two looks were so important to Tom that he changed the shooting schedule so he could go from one character to the next. So we could cut and shave Jake's hair once the other character's shooting was done. Michael Shannon's character was another strong character in the story line. Tom came into the trailer because wanted his hair cut. As I was cutting his hair, Tom asked for the clippers. I handed him the clippers and he shaved up both sides of his head! It couldn't get more hands-on then that. Laura Linney's character was fashioned after Tom's mother, a Texas socialite. It was really important that she had really big hair and looked heavily styled. We wigged her and I couldn't get the hair big enough for Tom—the bigger the better. He continued this specifi c hands-on approach with all the actors, including Armie Hammer, who we added grey pieces to his sides to add age, and Aaron Taylor-Johnson's hair was straightened to give him a stronger image as a bad guy. The list goes on and on as he made all characters equally important. I have been lucky enough to work with two of the most visionary directors, Tim Burton and Tom Ford. On this movie, I was also blessed with a great team that includ- ed Donald Mowat, Malanie Romero and Jules Holdren. • low Local 706 members out on a job in Los Angeles and at regular feature fi lm rates. Malanie Romero was my key—I had such a great work experience on Nightcrawler with Malanie that I was deter- mined to re-team for this. We were fortunate to get a number of excellent additional make-up artists on large case and BG days. Our team members, who worked the most days, were Ruth Haney, Keith Sayer, Sian Richards, Molly Tissavary and Peter Olivera. Jason Collins came in for a few days and built and applied a very good eye appliance with. I incorporated into a very bloody, sweaty, dirty beat- up Jake Gyllenhaal. Tom felt a personal make-up artist for Amy Adams was the way to go, especially for her open- ing look at the gallery. Amy had approximately 10 shooting days of this 35-day shoot. Elaine Offers was a most welcome addition. She set Amy up for the fi rst week, and Deb Farullo covered the last week. Elaine also did some nice work on Laura Linney and Andrea Riseborough, each had memorable one-day on-set cameos. On that note, one of the most enjoyable make-ups for me was on Kristin Jake Gyllenhaal in Nocturnal Animals.

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