![]() ![]() There’s nothing that’s really realistic about it, yet you want to create something that looks real without looking just terribly fake. So many people had beards and all that, because during that period, Quo Vadis and movies like that- Ben-Hur, etcetera, etcetera-those were all movies that the makeup is really quite heightened. How did you navigate that process?īlack: That actually wasn’t that easy because when you have all the Romans and the Israelites, it really adds to the stress. There was a tremendous amount of background actors involved with this project, and you worked with all of them. “We had the diversity of going between the ‘40s and the ‘50s and creating something, so it could be a little more stylistically ours,” the makeup artist continues. ![]() ![]() It was a very interesting project to delve into in that way. You had the fun of being able to do that and finding makeup that wouldn’t be affected by water. I think Mary Zophres and Roger Deakins’ really masterfully captured the looks and the fact that you could really see different colors coming in from that period in terms of eye makeup, eye shadows, lipstick. Then the fact that there were five movies in a movie really gave us a large range to choose from. We had the diversity of going between the ‘40s and the ‘50s and creating something, so it could be a little more stylistically ours. Then I actually had one of my assistants try the different makeups in the swimming pool I actually had the swimmers that we were going to use do the same. With the fact that we had to deal with a lot of swimmers, I went back to the old Esther Williams movies to find out how they kept the makeup on the swimmers all day. The technical aspect of it comes closer to when you’re shooting and when you start doing the tests. ![]() When you’re looking to re-create, through hair or makeup, the look of a specific period, where does the process begin?īlack: The first thing I do is I watch movies and I do research with books and videos, and anything I can reach out to, to really help me expand. It’s just such a great thing because you really do have the ability to be able to go all around and meet with everyone and get everyone’s sense of a vision that comes from Joel and Ethan. So they gave us a broad spectrum to delve into, and then Cydney and I met, of course, with costume designer Mary Zophres and cinematographer. You already can’t go wrong with looking for research into those things. How did the Coens express their vision for the hair and makeup in the film?īlack: The Coens, even though they may have a period, there’s a timelessness in their movies, and so creatively, the look they gave us was the ’40s and ’50s, leaning heavier on the ’40s-basically, a sense of the movie, like Quo Vadis, Esther Williams, Roy Rogers. “When you work with Joel and Ethan, they’re so open to letting everyone have a sense of where they’re going, and they give us so much creativity to work with,” Black shares. It’s just such a joy to be part of such a project. When you work with Joel and Ethan, just stylistically and creatively, they’re so open to letting everyone have a sense of where they’re going, and they give us so much creativity to work with. Jean Ann Black: I have been with the Coens for a very long time, so for me this is a collaboration that I couldn’t pass up, of course. It was very exciting to me I wouldn’t have turned it down for anything. I haven’t had a chance to work on a film like this in a really long time and it was just reuniting with some really amazing people. Ethan Coen's Margaret Qualley & Geraldine Viswanathan 'Drive-Away Dolls' To Park At Cinemas This Fallīearing in mind your long histories with the Coen brothers, what was it that resonated with you about this particular project?Ĭydney Cornell: I would say it was the opportunity to reunite with some really creative people. ![]()
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