Local 706 - The Artisan

Fall 2016

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Page 45 of 67

ist/make-up artist for her fi lm, The Stronger, which led to my fi rst union movie, Airport 1977. Josephine Turner gave me a lace wig to use and I didn't know how to block it or what do with it. So, I threw it in the sink and watched it shrink before my eyes. That was my introduction to Van Horn lace wigs. I almost got fi red. That's how I got in the union and now I have been a member 38 years. What do you say to hair stylists that have never met you and have heard about your reputation as a "tough" department head? I honestly and truly don't expect anything from any- one that I wouldn't per- form for them myself. I want them to work as hard for me as I would for them. Some people might not have the same knowl- edge or experience, but it is important to communicate and be a facilitator and to spot when someone is hav- ing a problem so that, as a teacher, I can help them achieve what they are there to achieve. I knew when hiring all those Local 706ers that they would bring something special to this project that maybe I didn't think of and I pulled it out of them. Am I tough? Yes, I am but it is because I'm tougher on myself than anyone else. Sometimes we forget what is happening on the outside of our industry. We should have classes educating us in conduct and appearance as well. How do we dress? How do we speak to our producers and writers? How do we present ourselves to the world? How do you sell yourself out there in the big world? I don't pretend to be easy; I want it the way I want it. This show is the most diffi cult show I have ever done. We now have to bring our iPads and computers knowing how to use these in our crafts. Do you realize what we have to do to run a department? It isn't just bringing a bag of products and curling irons anymore. How did you feel about accepting the department head position when the producers approached you? I was frightened like anyone else would be because this show HAIR continued from page 44 46 is huge and I knew that with the support of Christien Tinsley (Department Head Make-up) and all the talented hair styl- ists and the other departments I collaborated with, I would be able to succeed without scratches! What advice do you have to share with the general membership based on your experience? I think the membership should know that when you take on such a large project, there should be no egos involved, includ- ing mine. We should have our vision but should all be able to step back and become storytellers with our skills by creating characters. I have to fi nd out from the actors who their char- acters are and relay that to the hair stylists working for me and let them come up with some ideas as well. We know what we want when we see it, and we reach down into our bag of tricks to come up with a few ideas to present to the directors and/or producers. I honestly could not have done it without the talent from the Local 706 hair stylists and make-up art- ists. I can't take the credit myself. Take time to think about the show you're working on. The business has gone to simple hair styles. Let's get back to making hairdressing a creative and collaborative process. I know hair stylists who would say to a costume designer or a production designer not to tell them how to do their job. The costume designer has fi ttings with the actors. We need to understand what happens in that room. We have to facilitate the actors to become the character. Our hair styles can't be bigger than the costume and they can't overpower the actors. You have to make friends with every department (especially make-up) and collaborate with them to be on "the team." Learn to ask for supply references. I know where to buy Bumble and Bumble. I never thought I would have to buy a 25-inch horse's tail dyed bright red to make an Indian head- dress, go down to Moskatel's to get the buckram and then go to a milliner to help sew it together. These are the people we should get into our craft seminars so that we can start think- ing outside the box. I went to Western Costume and asked the guy who made Cher's headdresses for Vegas, how to get the horns on an Indian headdress to stay up. This way you can go to special effects or construction or props to have a specialized item created or adjusted for your use. Your vision is out there among the production designers and costume designers. We need to know everything so we can remain the best. Let's get back to craftsmanship. Name a few signifi cant changes you have personally experienced in the industry? The lack of fi lmmaking experience newcomers have is trou- bling. People are not interested in watching and studying contemporary or classic fi lms, costumes or actors as much. New people set themselves up to fail by ignoring honored traditions. Technical changes may have made the fi lming process quicker and easier, however, on a show this size there is nothing quick about doing wigs and hairpieces and that has to be explained in an understandable manner to the timekeepers. From top: Joy Zapata; Evan Rachel Wood as Dolores Abernathy.

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