Issue link: https://digital.copcomm.com/i/759117
48 48 Someone put up a YouTube video on how to load into a make up trailer. In my opinion, this is the type of informa- tion we need to keep within our ranks as professionals in our industry so that we are not inadvertently teaching unquali- fi ed people to take over our jobs. Our proprietary knowledge should not be given away. Specifi cally which actors did you take care of? Evan Rachel Wood, Thandie Newton, Jimmi Simpson and Ed Harris What techniques did you use? On Evan, I alternated between two 30-inch, three-quarter falls that had to be washed every night blocked and rolled in huge pin curls in an alternating "S" pattern from left to right. It was held by "T" pins to avoid clip marks in order to achieve that beautiful '40s wave pattern that only a set will produce. On Thandie, I used a grooming cream and with a boar bristle brush, conked her hair into tiny waves, braided it and then incorporated textured switches for the up do. When the hair was down, I used a custom-made three-quarter fall marrying her front with a tiny iron. Talk about the general hair shapes created for the Host women? We had to be very careful to not make it look like the '60s saloon girls from Gunsmoke. I personally love asymmetry. The producers did not want the hair to be bigger than the hats or costumes, so we kept it tight on both sides high on the crown to support the hats and complement the bustle on the costumes. The curls were sculpted with sets, then brushed and pushed into shapes and anchored. The hairpieces were blended into the hair styles so they wouldn't look like they were plopped on top of their heads. We tried to match tex- tures of hair to the fabrics they 're wearing in order to tell a story with our hair styles. It is not easy to style hair for wind, rain and dust and make it last for 14 hours. Talk about the Ghost Nation tribal hair styles? We had to ask ourselves, "Who are they? Is it a tribe we know?" It is a fi ctional tribe, yet we had to be careful in designing them not to insult or offend any living people. We used rental Indian wigs. We got buckram (used to build hats), then wrapped synthetic hair around them to create a base for the feathered headdresses. We created the complete looks, then we deconstructed it for the scene to make it well-worn and lived-in. Could you imagine if we had major hair style changes on this show with the scheduling? One of the things that made the BG room move fast is that we were prepped and ready to go. We had all the hairpieces and wigs pre-styled and teched so that all we had to do was incorporate them into the actor's hair; other- wise, we would have had to do everyone's hair from scratch. Any last words? I want to give thanks to each and every hair stylist who came out to work for us even if it was for only one day. I want to thank my closest team, Pavy Olivarez, Bruce Samia, Norma Lee and Donna Anderson, for tirelessly bringing their best each and every day we fi lmed at locations with wind, dirt, rain and sweltering heat. I also want to thank Christien Tinsley and his make-up team for their support and amazing collabo- ration. Westworld was truly a collaborative effort between the hair, make-up, costumes and production design teams. A very special credit also needs to be given to the wig and hairpiece suppliers. Patti DeHaney rented hair goods from her fabu- lous collection approximately 125 switches, 100 wiglets, 100 cascades and three-quartert falls, 50-65 Indian wigs. We also purchased wigs from Ron at Cal East, William Wong, Bob Kretchmer and Renate Leuschner. Being in this business is a gift and I'm so grateful to have had this dream team! •