Prsrt Std U.S. Postage Paid Santa Ana, CA Make-up Artists and Hair Stylists Guild Permit No. 450 Local 706–I.A.T.S.E. 828 N. Hollywood Way Burbank, California 91505

Volume 9 Number 3 Summer 2013 What’s your dream? what’s inside

Features

10 Primetime Emmy Nominees Celebrating Local 706 artisans 18 Reinventing Hansel & Gretel From innocent children to witch hunters 22 The Lone Ranger An extravagant Western make-up party 30 Lee Daniels’ The Butler 30 Serving eight U.S. Presidents

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Unlock your creativity and embrace your dreams by Departments allowing Make-Up Designory to prepare you for your 4 From the President journey as a make-up artist. 6 Local Perspective A gathering of union members

Make-Up Designory (MUD) was founded over a decade ago by accomplished professional make-up artisans. 8 Guild News Today we immerse students in the fundamentals of make-up artistry for the entertainment, fashion, and retail IATSE Convention and AMPAS Governors cosmetics industries at bi-coastal campuses in Los Angeles and New York or in MUD studios around the world. 14 Our state-licensed instructors have years of professional expertise in their respective fields of film, television and Theater News/Calendar of Events fashion. They can train you in a variety of subjects and help you discover your own unique style. 16 Highlights & Shadows MUD programs and courses are designed to teach a wide range of practical and specialized skills. We review and Summer craft and make-up update our curricula on a regular basis, to make sure you’re learning the latest techniques. MUD students also 35 Extended Family News have access to ongoing career advising, networking opportunities, and continuous career placement assistance. We’ve created an environment where you can gain the skills, the vision and the discipline to work alongside the 38 Last Looks very best in your industry of choice. What’s your dream? Our programs are designed to help you achieve it. 38

Cover: Kyle Jacobson as Dog Boy. Make-Up Designory Los Angeles Make-Up Designory New York MUD studio www.facebook.com/mudschools 129 S. San Fernando Blvd. Burbank, 375 W Broadway # 202, New York, international locations at www.mud.edu CA 91502, phone: 818-729-9420 NY 10012, phone: 212-925-9250 www.mudeurope.com 3 EDUCAT ION PRESIDENT THEATER EDUCAT ION NEWS FROM THE PRESIDENT THEATER NEWS

In this edition of The Artisan, you’re going to read plenty about the work we did dur- ing the 67th Quadrennial Convention in Boston. The Convention is the gathering of IA delegates from the United States and Canada working together to review our past and advance our union Official Magazine of Hollywood into the future. Most of us, as working make-up artists and hair stylists, live in such a sequestered Make-up Artists & Hair Stylists. environment—beating our brains out just to find a job or working such long hours that we can’t see Published in the Interest of straight—that we never realize just how large and successful the IATSE has become. This gather- ALL the Members of Make-up Artists ingLOCAL of artisans and craftspeople in film, television, theater, trade shows andNEW exhibitions,S concerts, & Hair Stylists I.A.T.S.E. Local 706 networks, travelingLOCAL roadshows, BUSINESS theme parks and other entertainment are there forEXTENDED the purpose of F AMILY NEWS GUILD guiding the International. We were not there to discuss “local” issues on the convention floor—we Supervising Editor GUILD NEWS were there to make changes to the International Constitution and Bylaws, to be involved in separate Jeff Angell committees that made resolutions that will guide our entire union, fine-tune the Convention Rules, attend caucuses and meetings and even honor our departed brothers and sisters at a beautiful memo- Contributing Writers rial service. Finally, we were there to elect the Officers and stand together as one body representing Susan Cabral-Ebert more than 113,000 workers in the entertainment industry. Our union brothers and sisters in Boston Tommy Cole welcomed us with open arms and great hospitality. We celebrated and had a tremendously positive Randy Sayer affirmation that the IA is one of the very few that is actually gaining in strength when other unions are REPOlosing membership.RT We have linked arm-in-arm with Teamsters, the DGA,LOOKS Actors Equity, and FROM THE SECRETARY- TREASURER LAST LOOKS Publisher BECTU to support each other and protect each other. We are all still separate unions, but mutually IngleDodd Media assisting one another. Office Manager The Pillars of Success was the theme of the Convention. Communication, Leadership, Skills & Kathy Sain Safety, and Activism were the four columns and all of our delegates interpreted those goals in their

own personal experiences. The Pillar of Communication was in constant play, even on Twitter. Mailing List Manager Everyone shared stories, experiences and ideas of how their own Locals deal with daily situations from legal issues to structuring. We learn from each other and discuss our strengths and weak- Diane Burns nesses;LETTER we discuss remediesS and enlighten each other with knowledge we haveNEW gained—toS help one another and preventLETTERS each other TO THE from AR pitfallsTISAN within the labor movement. We share tipsHE onAL education,TH AND WELFARE NEWS outreach to engage members, the effects of social media, diversity, organizing productions, jurisdic- The Artisan is published quarterly tional problems and how to resolve them, and even suggestions on “greening” production. Breakfast by Make-up Artists & Hair Stylists, and strong coffee is a great way to start the day and talk with other Locals about our successes and I.A.T.S.E. Local 706, 828 No. Hollywood tribulations, everyone faces the same challenges. Way, Burbank, CA 91505 Phone (818) 295-3933. Fax 818-295-3930 The second Pillar revolved around Leadership. While everyone frets about “the new people,” they for- All editorial and photo submissions get that these new members are going to be the leaders of the future. It is so important to outreach to should be sent to e-mail address: the HIGHLIGHTSnew generation, whatever their craft, and impart to them the importance CREof our unionsW and what [email protected] they have achieved. HEventually,IGHLIGHTS the “old AN guys”D SHAD retire,OW andS it would be irresponsible to CREWleave the SHOfollowTS- ing generation without the motivation to lead, to enable and encourage others. International President Advertising inquiries: Loeb and all other Officers of the International were reelected unanimously, recognizing their accom- Dan Dodd, Advertising Director plishments and commitment to IA members in both countries. (310) 207-4410 x 236 [email protected] The third Pillar pertained to Skills & Safety (Note: Don’t forget to take the A-2 Environmental Safety Course!). Tremendous strides have been made within our industry to develop and make safety training mandatory, and the results have been worth it. On-the-job injuries have been reduced Officers of I.A.T.S.E. Local 706 and people are acting more responsibly. Safety, of course, also was reflected in the Resolutions President CommitteesEVENTS recommendations to focus on shorter work days, turnarounds andCREDITS penalties to employ- Susan Cabral-Ebert PHOTO CREDITS ers who abuseCA theLEND rules.AR OF EVENTS Vice President Julie Socash The final Pillar was Activism. In the last few years, California has suffered horribly from the runaway Recording Secretary production to other states and countries. Activism takes on many forms and is not always political. Karen Westerfield Our Local has many facets to its activism, from advocacy in Sacramento and Washington, D.C., to Secretary-Treasurer organizing productions so that craftspeople have the opportunity to join the union; to the wonder- John E. Jackson ful members who participate in various charities. Their activism touches Sergeant-at-Arms people on a daily basis and shows the kindness and giving nature of Barbara Dally most make-up artists and hair stylists. We rally to support the difficult Business Representative conditions many of us face, but we also rally to “take care of our own.” Tommy Cole Across the country, everyone agreed it was the best Convention ever. Boston Strong!

Susan Cabral-Ebert President

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DA_695_AD_V4.indd 1 05/08/2013 15:37 LOCAL by Tommy Cole LOCAL PERSPECTIVE Business Representative, I.A.T.S.E. Local 706

Dear Fellow Members,

I am writing this article just a few days after the finish of the During the week of open sessions at the Convention, both Sue Midsummer International Executive Board, followed by our and I rose to the microphone on the floor to address the 900- District 2 Convention, and culminating with the weeklong 67th plus delegates and guests several times. Our delegates were also IATSE Quadrennial Convention, all at the Boston Sheraton and able to stand and second motions from the floor, and vote as the Prudential Hynes Convention Center in Boston, Mass. an integral part of active union members from both the United States and Canada. The first week of our journey, Randy Sayer and I sat as observ- ers at the Executive Board, taking notes Except for one International Trustee, on reports relevant to the Hollywood the entire official family of the IA, Locals and listening to the organizing the President, Secretary-Treasurer, Vice campaigns and negotiations that had Presidents, International Trustees, been going on throughout the United and CLC delegate (Canada) were States and Canada pertaining to IA all reelected and sworn in for a new contracts and different venues in both four-year term. IA Representative and countries. I was there as usual in my Educational Director Patricia White capacity as Business Representative and was the only new Officer elected. She an Officer of our Local, and Randy as took the place of George Palazzo, our Theater Representative. As many of Business Representative of Local 729’s you may know, Randy, in the last several Motion Picture Set Painters and Sign years, has become very involved with the Writers (Burbank), who resigned his International and their role with the These position as an International Trustee Pink Contract and roadshows across the to become the Senior Director of country. He has been quite instrumental the MPIPHP, Motion Picture Industry in policing our make-up and hair juris- meetings Pension and Health Plans, Participant diction at these venues across the coun- Services at the Pension and Health try on behalf of our members. have one Plans office in Studio City, Calif.

On Saturday, the day after the week- “ All in all, the Convention’s weeklong common theme: long Executive Board, our delegates … festivities were a successful and inter- Sue, our President, Judy Crown, Brian the advancement esting gathering of union members Kinney, and Karen Westerfield, arrived from every geographic arena of the in time to join us in the District United States and Canada. For our del- 2 Convention, which was an all-day of labor.... egates, I believe being there was quite adventure on Sunday. an eye-opener for them into the inner workings of the IA and what their mis- For those of you who don’t know about “District” meetings, sion is and how hard they work supporting all unions across the IA is made up of groups of states and provinces (Canada) the country. For Sue, Randy and I, as Officers of our Local, encompassing 13 Districts internationally with “District 2” it again was an opportune venue for us to improve social and consisting of California, Hawaii, Arizona and Nevada, with working relationships” with fellow representatives and working approximately 37,000 IA union members being represented. partners in the IA, along with having the opportunity to learn These “District” meetings have one common theme … “The something new and bring back something informative and advancement of labor and the labor movement.” They are very relevant to our members. Heritage Redefined. spirited gatherings that are inspiring along with being educa- tional, and I find that delegates leave these District Conventions I know each time we go to these presentations, we learn some- with a more positive meaning of solidarity and unionism. thing positive and interesting about the International and Intoducing the TEMPTU Body Art Kit how they are deeply involved in the labor movement in North On Monday, July 22, the 67th Quadrennial Convention was America. I know that our delegates learned quite a lot also. A new Dura formulation and exclusive new colors bring tattoo called to order. For five days, the proceedings were filled with transfer art to the next generation of body artists. special guest speakers from Europe, Canada and the States … Thanks to our elected delegates for representing our Local. I’m all with the same theme … “Labor” and how we all have to sure they will all agree that the trip was well worth the effort. stay vigilant and diligent in getting our “labor” message out to the everyday working people, along with our members, and Sincerely and fraternally, to keep our issues relevant and pertinent for our peers and to Tommy Cole our youth for the future of the labor movement.

6 TEMPTUPRO.COM NEW YORK LOS ANGELES PH: 1.888.9.TEMPTU EDUCAT ION PRESIDENT THEATER EDUCAT ION NEWS FROM THE PRESIDENT THEATER NEWS

LOCAL NEWS LOCAL BUSINESS EXTENDED FAMILY NEWS GUILD GUILD NEWS (President of the Directors Guild), former U.S. Secretary of Labor Hilda Solis, Nick Wyman (President of Actors’ Equity), and many more … There were some 900+ dele- Matthew D. Loeb The IATSE 67th Quadrennial gates in all, representing 350+ Locals in the United States Convention in Boston and Canada, so it was an amazing opportunity to meet our Unanimously fellow brothers & sisters from across the continent, and Reelected REPORT LOOKS my great pleasure to hear about all the assistance (contract FROM THE SECRETARY- TREASURER LAST LOOKS negotiations, organizing, communication, leadership train- IATSE President ing, safety and skills training, member resources, etc.) that 1 the IATSE has brought us in the past four years. International President Matthew D. International President Mat- Loeb was reelected by acclamation thew Loeb, and all 13 of the recently to serve another four-year 3 International Vice Presidents term in the position he has held LETTERS NEWS (including our own Mike since 2008. The vote came during LETTERS TO THE ARTISAN HEALTH AND WELFARE NEWS 4 Miller, who runs the West the last session of the IATSE’s 67th Coast office and the Motion Quadrennial Convention held at the Picture Department, and IATSE President Thom Davis) were reelected Matthew Loeb and Boston Sheraton Hotel. U.S. Senator 2 to another four-year term unanimously! This is great Elizabeth Warren More than 800 delegates from nearly CREW news for us, as the current IATSE leadership (on both 400 Locals in the United States and HIGHLIGHTS coasts) has earned our respect—and Local 706 has some HIGHLIGHTS AND SHADOWS CREW SHOTS Canada contributed to the unanimous 5 strong allies among them! In July, I traveled to Boston, where I and vocal support for President Loeb was honored to represent Local 706 and the General Executive Board, as a delegate to the IATSE 67th I must say that our Local 706 delegates did an awesome Quadrennial Convention, along with job. Everyone took their responsibility very seriously, were which was also reelected. Loeb and fellow delegates Judy Crown, Brian present during every moment of the proposals, discussions his slate, known popularly as “Matt’s Kinney, Karen Westerfield, Business and voting, and I know that we all made a favorable impres- Team,” ran unopposed. In addi- sion on our fellow delegations. EVENTS CREDITS Representative Tommy Cole, and 6 tion to General Secretary-Treasurer PHOTO CREDITS —Randy Sayer CALENDAR OF EVENTS President Sue Cabral-Ebert. In addi- James Wood, the slate includes 13 tion to the Convention itself, I was International Vice Presidents, three also present for the meetings of the National General Executive Board, Trustees, and the delegate to the District 2 (this is the “political arm” Canadian Labor Congress. of the IATSE), the Stagecraft & Theatre Caucus, Wardrobe Caucus, During the last four years, Loeb and numerous other classes, lectures, has engineered successful organizing and symposiums. I also served on the Convention Rules Committee! drives across the seven departments of It was an action-packed, informa- the IA, increased training and empha- tion-filled two weeks in a beautiful, sized the importance of safer work- historic city. In all my years of tour- ing conditions, led the membership ing with Broadway shows, I never 7 in supporting labor-friendly political played Boston, so I am glad that I candidates, and opened lines of com- finally had a ‘stop’ there! 1. Delegate Karen Westerfield with International President Matthew D. Loeb. 2. Loeb accepts nomination. 3. Convention souvenirs. 4. International Officers being munication through social media. Speakers included U.S. Senator sworn in. 5. Randy Sayer speaks. 6. DGA President Paris Barclay addresses the Local 706 delegates Tommy Cole, Sue Cabral-Ebert, Judy Elizabeth Warren, Paris Barclay Convention. 7. International Vice President Michael F. Miller accepts nomination. Crown, Brian Kinney, Randy Sayer, and Karen Westerfield

8 9 EDUCAT ION PRESIDENT THEATER EDUCAT ION NEWS FROM THE PRESIDENT THEATER NEWS

LOCAL NEWS The award for grossest looking LOCAL BUSINESS EXTENDED FAMILY NEWS GUILD GUILD NEWS teeth goes to... Box-Office Revenue

I think that it’s time to make a comment about the support or lack of, for the commercial success or failure of the films that REPORT LOOKS we are employed on. It appears to me that as of late, people Outstanding Makeup for a FRLizOM & D icTHEk SECRETARY- TREASURER Dancing With theLAST Star LOs OKS seem to be indifferent to the financial success or failure once Single-Camera Series (Non-Prosthetic) Eryn Krueger Mekash Mary Guerrero Kim Ayers Kimi Messina production wraps. I would like to point out that failure of a Glee show to turn a profit, whether you worked on it or not, can Kelley Mitchell Myriam Arougheti Jennifer Mazursky have direct consequences on your future employment. Jennifer Greenberg Phil Spector Sean Smith Melissa Buell John Caglione, Jr. Cyndra Dunn The film industry has always been a gamble. Some shows ...(Insert your company name here) Gail Ryan Tanya Cookingham Ring Of Fire make millions and some lose millions and whether you like The Oscars Mad Men Jay Wejebe the movie or not, when they lose—you do too. Lana Horochowski LETTERS Anthony WilsonNEWS The past few summers have seen some big-budget films Barbara Cantu HEALTH AND WELFARE NEWS Ron Pipes OutstandingLETTERS ProstheticTO THE AR MakeupTISAN for a lose … a lot. Big-budget blockbusters like John Carter, The Lone Ken Neiderbaumer Series, Miniseries, Movie or a Special Maria Valdivia Cynthia Romo Ranger, Abraham Lincoln: Vampire Slayer, Pacific Rim, Green Lantern, Maurine Burke American Horror Story: Asylum etc., have fallen short on box-office revenue. Some of these Cyndilee Rice Luke O’Connor Eryn Krueger Mekash films if they had been successful, would have become fran- Mike Mekash The Voice Outstanding Makeup for a Multi-Camera Shawn Finch chises with subsequent sequels. Obviously, that would have Series or Special (Non-Prosthetic) Hiroshi Yada Christopher Nelson Jerilynn Stephens been more work, but now any possibility for future work on Dancing With the Stars Renee DiPinto Ferruggia Kim Ayers projects like these are over. So what happens then? Do the GEORGE TAUB PRODUCTS & FUSION CO. Zena Shteysel Silvina Knight Cheryl MarksCREW HIGHLIGHTS studios just move on to the next project, funneling dollars Ph.201.798.5353 / Fx.201.659.7186 Angela Moos HIGHLIGHTS AND SHADOWS Cory Hill CREW SHOTS Christien Tinsley into the next big-budget film hoping it would make up for http://www.taubdental.com Patti Ramsey Bortoli Jason Hamer Kathleen Leonard Barbara Fonte the loss of the last one? Not always—maybe not even usually! Sarah Woolf Behind The Candelabra Outstanding Hairstyling for a John Carter is a good example. It was reported that Disney’s Kate Biscoe Julie Socash Miniseries or a Movie loss on this film was so high that other projects in the plan- Hiroshi Yada American Horror Story: How I Met Your Mother Jamie Kelman ning were cut. When a movie like this fails, what future Jennifer L. Turchi Asylum Stephen Kelley Monte C. Haught projects will be axed as Disney tries to curb its losses? Big- Megan Moore Christien Tinsley budget films may be shelved in favor of lower budget proj- Brian Sipe Natalie Driscoll EVENTSGame Of Thrones Janis Clark CREDITS ects with less make-up or hair styling work needed. Films Cheryl Calo PHOTO CREDITS Renee Caruso-Napolitano ConorCALEND O’SullivanAR OF EVENTS Michelle Ceglia with more computer effects may be favored over practical Stacey K. Black Key & Peele The Walking Dead make-up work. Scott Wheeler Jake Garber Behind The Candelabra The failure of The Lone Ranger could have another effect Suzy Diaz Andy Schoneberg Marie Larkin on our industry; runaway production. The Lone Ranger was Garrett Immel Yvette Stone The Oscars Kerrie Smith a Western made entirely in the United States. If the movie Bruce Grayson Kay Georgiou succeeds, it could spark up a new cycle of Westerns as the Barbara Fonte Outstanding Hairstyling for a Single-Camera Series Liz & Dick Western genre was once the bread and butter of the film Patty Bunch industry. Westerns would most likely be shot here as it Farah Bunch Mad Men Beatrice De Alba Ken Schoenfeld Theresa Rivers Lee Ann Brittenham would not be simple to shoot the Monument Valley in Hyde Richard De Alba Park (London)! Eryn Krueger Mekash Arturo Rojas Phil Spector Outstanding Makeup for a David Blair It’s obvious that healthy box-office profits benefit us all. Jules Holdren Cydney Cornell Support for the success of a show is in our best interests. Miniseries or a Movie (Non-Prosthetic) Michael Kriston American Horror Story: Asylum Outstanding Hairstyling for a WE can constructively criticize our work. It’s what we do Political Animals Eryn Krueger Mekash Multi-Camera Series or Special to develop as artists and technicians, but we should still Mary Ann Valdes support and encourage the success of our industry. It seems Kim Ayers The Big Bang Theory Nancy Stimac Silvina Knight Faye R. Woods like it is in fashion for incompetent critics (and some people John Elliot Ring Of Fire Sylvia Surdu Susan Lipson employed in the make-up craft) to pan big-budget films. I Behind The Candelabra Louise Dowling Deena Adair hope we don’t do the same to our own industry whether we Kate Biscoe like the films or not. Deborah Rutherford —Steve Buscaino, make-up artist Deborah Lamia Denaver

10 11 EDUCAT ION PRESIDENT THEATER EDUCAT ION NEWS FROM THE PRESIDENT THEATER NEWS

LOCAL NEWS LOCAL BUSINESS EXTENDED FAMILY NEWS GUILD GUILD NEWS opqNew

REPORT LOOKS Academy Officers Elected AMPAS FROM THE SECRETARY- TREASURER LAST LOOKS Cheryl Boone Isaacs has been elected President of the Academy of Motion Picture Arts and Sciences by Governors the organization’s Board of Governors. The Academy On July 15, 2013, the Academy of Motion Picture Arts and announced her election via Twitter. In addition at the Sciences announced the names of the two new Governors July 30 Board of Governors meeting, John Lasseter representing the Makeup Artists and Hairstylists Branch. was elected First Vice President; Jeffrey Kurland and Bill Corso, make-up artist, and Kathy Blondell, hair stylist, LETTERS NEWS Leonard Engelman were elected to Vice President posts; will join present Governor Leonard Engelman, make-up art- LETTERS TO THE ARTISAN HEALTH AND WELFARE NEWS Dick Cook was elected Treasurer; and Phil Robinson ist, on the Academy Board of Governors. was elected Secretary. Engelman (from the Makeup Early in the year, the Academy Board of Governors elected Artists and Hairstylists Branch), Kurland (Costume to have the Makeup Artists and Hairstylists Branch represented Designers Branch) and Cook (the former Disney by three Governors, giving parity to all branches. A nominating Studios chairman who reps the Executives Branch) are committee was elected by the full branch and that committee all first-time officers. nominated the four make-up artists and four hair stylists for Governor nominees. Each Governor represents all of the mem- Editor’s note: Reprinted from The Hollywood Reporter HIGHLIGHTS CREW bers of their specific branch. HIGHLIGHTS AND SHADOWS CREW SHOTS Governors are elected for a three-year term, which means every year there is a Governor election. To create a yearly rotating sequence, Leonard Engelman will have two more years to complete his term which will end in 2015. Bill Corso will San Francisco Regional serve a three-year term which will be completed in 2016. Kathy Membership Meeting Blondell will serve a one-year term which will be completed in 2014, followed by an election for the Hairstylist Governor for a EVENTS CREDITS three-year term which will be completed in 2017. This will then CALENDAR OF EVENTS PHOTO CREDITS have set the yearly elections in 2015, 2016, and 2017. The responsibilities of the Governors are to oversee and help direct the business of the Academy which naturally also includes the Oscars event. In August, the Academy President will appoint a Governor as the Chairperson of the Makeup Artists and Hairstylists Branch Executive Committee. Governors’ meetings are normally held in January, March, June, July, September, November and December, and additional meetings may be called. Each Governor is also assigned to at least one Academy committee and Governors may volunteer for other committees. Local 706 members from left: Tim Santry, Vicky Martinez, Toby Mayer, Marcelo Donari, Jeanna Other events to be attended are the Student Academy Award Parham, Susan Stone, Andrea Pino, Richard Battle, Dinner; Student Academy Awards; Nicholl Fellowship in Robin Church, Judy Disbrow, Connie Strayer, Screenwriting Awards; Governors Awards; Sci-Tech Awards; Christina Martin, Melanie Birch, Vanessa Taub-Flores, Oscar Celebrates the Year in Makeup and Hairstyling; Academy Belinda Bryant, IA West Coast Rep Peter Marley, and Awards and the Governor’s Ball. Tommy Cole The election of Bill Corso and Kathy Blondell brings the total number of the Academy Board of Governors to 48.

12 EDUCAT ION PRESIDENT THEATER EDUCAT ION NEWS FROM THE PRESIDENT THEATER NEWS

LOCAL NEWS LOCAL BUSINESS EXTENDED FAMILY NEWS GUILD GUILD NEWS

REPORT LOOKS FROM THE SECRETARY- TREASURER LAST LOOKS

LETTERS NEWS LETTERS TO THE ARTISAN HEALTH AND WELFARE NEWS

HIGHLIGHTS CREW HIGHLIGHTS AND SHADOWS CREW SHOTS

THEATER EDUCAT ION EVENTS CREDITS PRESIDENT EDUCAT ION NEWS PHOTO CREDITS FROM THE PRESIDENT THEATER NEWS CALENDAR OF EVENTS

by Randy Sayer Assistant to the Business Representative I.A.T.S.E. Local 706 2013

LOCAL NEWS September 2 Labor Day Offices Closed National September 8 Board of Trustees Meeting LOCAL BUSINESS EXTENDED FAMILY NEWS GUILD GUILD NEWS September 15 Creative Arts Emmys September 16 Executive Board Meeting Negotiations September 22 Emmys & Governors Ball

October 6 Board of Trustees Meeting & Charities October 14 Executive Board Meeting REPORT LOOKS October 31 Halloween FROM THE SECRETARY- TREASURER LAST LOOKS I have been asked by International Vice Presidents Tony November 3 Board of Trustees DePaulo and Dan DiTolla—both are Co-directors of Meeting: Official Make-up the Stagecraft Department—to assist with the upcoming Artists & Hair Day! “Light” Pink negotiations in New York City. Talks should November 11 SF General Membership continue through August and September between the Meeting 7 PM Executive Board Meeting NEWIATSE andS NETworks, Troika, Work Light, Big League LETTERS & Phoenix. These were longtime nonunion producers of November 17 General Membership Meeting LETTERS TO THE ARTISAN HEALTH AND WELFARE NEWS Local 80 2-4 PM touring attractions, so the fact that they are now union November 28-29 Thanksgiving is remarkable. It is a great honor for someone from Local Offices Closed 706 to be asked to participate in these national negotia- tions, and I am proud to be able to bring our members’ December 8 Board of Trustees Meeting issues forward in this way! December 16 Executive Board Meeting December 24 Office Closes at 2 PM HIGHLIGHTS CREJust for Wthe record: I donate $5 to the IATSE Political for holiday HIGHLIGHTS AND SHADOWS ActionCREW Committee SHO TS(PAC) each week. This way, I know December 25 Christmas holiday that pro-Labor issues and efforts to keep film & television December 31 Office Closes at 2 PM here in California are being supported. Likewise, I con- for holiday tribute $5 to the Motion Picture Television Fund, $5 to The Actors Fund, and $5 to a new organization—“Behind the Scenes”—each week. This is my way of repaying three wonderful charities for all of the support and aid they EVENTS CREDITShave given our members and “paying it forward” for my PHOTO CREDITS CALENDAR OF EVENTS own future care. These are worthwhile causes that we ALL 2014 should be supporting. Every member in every classification can afford to give $1 to one of these—and NONE of us can afford to miss supporting these charitable founda- January 1 New Year’s holiday tions!

See you in the wings! Randy Sayer

14 EDUCAT ION PRESIDENT THEATER EDUCAT ION NEWS FROM THE PRESIDENT THEATER NEWS

LOCAL NEWS LOCAL BUSINESS EXTENDED FAMILY NEWS GUILD GUILD NEWS

REPORT LOOKS FROM THE SECRETARY- TREASURER LAST LOOKS

LETTERS NEWS LETTERS TO THE ARTISAN HEALTH AND WELFARE NEWS

HIGHLIGHTS CREW by Brian Kinney HIGHLIGHTS AND SHADOWS CREW SHOTS MAKE-UP & HAIR CLASS Summer Craft Meeting

EVENTS CREDITS CALENDAR OF EVENTS PHOTO CREDITS

Clockwise from top left: Brad Look and Barry Koper teaching charac- ter, wounds and injuries; Barbara Augustus and model; finished work On June 16, it was once again time for a long overdue and eagerly awaited Local 706 in Local 706 hair class; Barry Koper coaching at make-up class. Make-up Craft Meeting that actually kicked off with a hair craft election, making it a joint make-up and hair craft meeting. Despite it being Father’s Day, the Daytime Emmy Awards, and perfect weather, Local 80 hosted a packed house of more than 100 artists, who experienced a truly stellar lineup of innovative products, artisan teachings, and inspirational introspection. We kicked off with the hair craft elections, electing our new Hair Craft President, Natalie Driscoll, and our new Hair Craft secretary, Julia Papworth. Our first pre- sentation followed, featuring Viviana Martin, the Pro Artist relations manager for Kevyn Aucoin Beauty, who demonstrated a look featuring this season’s products in this popular line, and the legacy of Kevyn that continues to inspire their innovations. Next up, a short film segment told the story of Clarisonic, and the line was introduced by Tracie Smith, Los Angeles territory sales manager. The room was then divided in half and artists were given a hands-on interactive tutorial on the Clarisonic Pro and Clarisonic Opal at multiple workstations, featuring some of our very own 706 artists that use Clarisonic tools in their kit and at home. Once the room regrouped, it was time for 706 make-up artist Glen Alen to teach the “Art of Drag.” Glen opened with a digital presentation of some colorful drag personas, featuring before-and-after photos, including some of his own beautiful characters. Glen then introduced his model, Aron Ross, who had been dramatically made up on one side of his face backstage. The transformation was stunning, as Glen completed the elaborate look and explained every step along the way, from glue stick eyebrow blocking, to razor precise shimmer. For the final presentation, Deverill Weekes introduced his documentary Dream Out Loud, a film about the life and work of gifted artist Kazuhiro Tsuji. This mov- ing film was the perfect end to the day. Not a dry eye in the house! The afternoon concluded with a raffle and everyone leaving with not only a cosmetic sample from Kevyn Aucoin, but a brand-new Clarisonic Opal AND a Clarisonic Pro! Hair stylists got a great bag full of KMS goodies too! A fun day, worth the wait!

16 17 Mike Elizalde putting finishing touches on Muriel. The Red Haired Witch (Joanna Kulig)

Our first assignment on the film was to create the five ics included a foam latex cowl with punched hair, a face appli- witches in the story: Muriel; the sinister matriarch of all the ance, a lower lip appliance and separate ear appliances. witches, the Tall Witch; a witch of the woods, the Candy Witch; the original witch in the candy house from the fairy Muriel (Famke Janssen), the most powerful witch of the tale, and Muriel’s sinister agents: the Red Haired Witch film, was perhaps the most important make-up design in and the Horned Witch. Although Tommy had some ideas that we witness her transformation into her true witch self. regarding the look of the witch characters, this was a rare Tommy and I designed Muriel to have a pale, ashen appear- occasion where the director’s vision was entrusted to me and ance as if she were a statue come to life. Her cracked plaster Muriel (Famke Janssen) is the my Spectral Motion team to realize. We had a few studio appearance was achieved through sculpted foam appliances. film’s most powerful witch. notes principally for the Red Haired Witch and some notes Famke initially had some trepidations about the witch make- on Muriel but by and large, I was given exclusive artistic liberty to come up with their distinct looks. Our team of artists sculpted, molded, cast, and painted the foam latex appliances of each witch character. I art-directed the team in the creation of these prosthetic make-ups and Reinventing the executed their application both in the initial tests and on set with the assistance of pros- thetic make-up artists Lufeng Qu and Anthony HANSEL GRETEL Parker. Sculptors Chet Zar and Mitch & Devane translated the designs I created into clay maquettes before moving on to sculpting on the by Mike Elizalde actors’ life casts. Foam runner Cass McClure make-up ARTIST integrated multiple density elements into each Tale of the foam latex witch appliances to ensure In a time when computer-generated (CG) effects films dominate the box office, it was truly rigidity in certain areas and suppleness in oth- refreshing to receive the call from Norwegian director Tommy Wirkola to create the practical ers. The lenses for these foul denizens were make-up effects for his horror-action-fantasy Hansel & Gretel: Witch Hunters. From our initial custom-made by Cristina Patterson. conversations, I was delighted to learn that Tommy and his producing partner Kevin Messick were great supporters of practical effects and intended on making this ambitious film with as The first witch of the film, the Candy Witch few CG effects as necessary. They were both drawn to Spectral Motion, based on our exten- (Monique Ganderton), was rendered by concept sive make-up and animatronic work on Guillermo del Toro’s films Hellboy and Hellboy II: The artist Alex Palma using my design notes. This Golden Army. We were thrilled to accept the assignment of creating the five principal witches terrifying hag was the most traditional in appear- and the hulking troll character, Edward. ance to the classic folk tale witch. The prosthet- The Horned Witch (Ingrid Berdal) is a Renfield-like minion to Muriel. 18 19 The menacing and brutish character of Edward the Troll The on-set team behind Edward consisted of one person was conceived by director Tommy Wirkola, producer Kevin operating his eyes and brows, one operating his mouth Messick, and myself. Our approach was to create a very movement (multi-axial jaw opening and closing and lip original take on the troll idea based on Norwegian mythol- movement including a mechanical tongue) and one on each ogy. We did not want to make him appear like a troll you of his animatronic hands. The entire Hansel & Gretel pro- would see in a typical fantasy illustration. Our intention was duction team was thoroughly impressed with final look of to give him a more grounded and human-like appearance to Edward and by having him on set as a non-digital, physical make him emotionally accessible. We achieved this by dress- presence. He elevated the performances of all of the other ing him in a tattered and distressed leather costume and giv- actors around him and brought a level of tactile realism and ing him a buzz cut and tattoos. In the original draft of the believability to the fantasy world created in the film. script, there were two troll characters, one good and one evil. Due to budgetary restraints, one was cut from the script. This was our first collaboration with Tommy Wirkola (we After the final concept art of Edward was completed by Alex are currently working with him on the sequel to his direc- Palma at Spectral Motion, we approached veteran suit actor torial debut, the gory Nazi zombie comedy, Dead Snow, and Derek Mears to play the imposing character. Derek is an it was a truly wonderful experience. From the initial design extraordinary actor and was able to not only engage in very stages to the final realized onscreen characters, Tommy and brutal action scenes but also convey the most subtle emo- Kevin championed the use of practical effects in the film tions, despite being virtually blind in the massively cumber- and I am very proud to say that we had no digital correc- Lufeng Qu and Anthony Parker apply make-up to the Tall Witch. Zoe Bell plays sinister matriarch, the Tall Witch. some suit. The creation of the fully realized Edward charac- tions on our applications. In looking back on the film, we ter was the result of the amazing work of sculptor Chet Zar, had the rare freedom of designing the characters from the up that would hide her beautiful features but ultimately resembled old tree bark and included a twisted tree knot for fabricator Claire Flewin, painter Tim Gore, and animatronic artists’ perspective and this yielded prosthetic make-up found the make-up to be empowering as the ring leader of a nose. The Horned Witch (Ingrid Berdal), the Renfield- designer Mark Setrakian, and many other essential Spectral designs that my team and I are extremely proud to have the witches. like minion to Muriel, was also an unconventional approach Motion team members. created and executed. • in traditional witch designs. Her “hair” consisted of short The Tall Witch, played by the gifted stuntwoman actress sharp-black barbs that protruded from the top of her head. Zoe Bell, was a unique design for a witch in that her skin These protrusions were incorporated into the foam latex cowl and were cast using slip cast latex. Both the Horned Witch and the final secondary minion, the Red Haired Below: The Candy Witch (Joanna Kulig), shared the pale, cracked, stone-like Witch portrayed by color complexion with subtle translucent veining established Monique Ganderton, left inset. by painter Tim Gore.

Once the design work was complete, we shipped everything over to the set in Germany and I was joined by an international team of effects artists to assist in the daunting task of transforming actresses (and their stuntperson counterparts) into witches for the months to follow. Lufeng and I were responsible for Muriel, the Candy Witch and the Tall Witch. Anthony Parker was assigned to do Muriel’s hands, with assistance from Emilia Seifert on busy shooting days. The Red Haired Witch and the Horned Witch tests were applied by myself with Birger Laube and Dave Bonneywell, respectively. The daily application of the Red Haired Witch was done by Birger Laube and Lisa Edelmann and the daily application of the Horned Witch was done by Dave Bonneywell and Dolores Sanchez. While the secondary witches and Edward the Troll filmed for roughly 20 days, the lead character of Muriel worked for more than 40 days in make-up.

20 MAKE-UP Tonto’s old-age prosthetics involved Joel, Steve, and three assistants. Joel started sculpting the head and shoulders—“I by Joel Harlow had read the script and had numerous discussions with Gore and Johnny about the look. We wanted to convey something DEPARTMENT HEAD MAKE-UP AND Steve Buscaino endearing—frail and forgetful, yet noble and proud. I drew pictorial inspiration from old Native American people and LAB FOREMAN AND MAKE-UP ARTIST some of the great age make-ups that our community had accomplished.” In the Wild West exhibit, Tonto stands This latest Disney version of The Lone Ranger is one of the shirtless. “What makes this make-up unique is the fact that biggest and most extravagant Westerns ever made. A high it is full upper-body aging, something that has rarely been degree of attention to detail and craftsmanship was required attempted.” A problem arose however, in that there wasn’t of every craft and the make-up department was no exception. a full body life cast of Johnny available due to a scheduling Big departments were needed to handle the multitudes of conflict, which meant that the sculpting would have to be cast and background with these diverse types of in 1800s done on someone else’s body cast and hope it would fit. Not and 1930s period make-up and hair. In addition to the main an ideal situation. cast and their riding and stunt doubles, there was a huge

variety of make-up to handle including but not limited to Working very closely with Joel for continuity, Mike Native American Indians, Chinese rail workers, townspeople, Smithson began sculpting the chest on a body double of cavalry, saloon girls, ranchers, train crews, band members, Johnny. “Since we could only get a close size to Johnny, we Clockwise from top left: Cavendish, Fuller, Ray, Skinny, Collins and Jesus. business tycoons, miners, old age, beauty, numerous spe- opted for a prosthetic glue-in instead of a suit. This assured cial character make-ups for the “Hell on Wheels” show, the silicone wouldn’t buckle or bunch. Silicone appliances and elaborate make-up effects. Prep began in November 2011 and filming began in February THE 2012, in Albuquerque. Department Head Make- up Joel Harlow brought in Mike Smithson as key LONE and began research and design work. Director Gore Verbinski wanted an authentic look to everything, almost documentary, so references were pulled from the Internet and the Gene Autry Museum. Disney also hired technical advisors and historians. Department Head Hair Styling Gloria Casny added her research, and make-up artist Robin Beauchesne prepped hundreds of facial hairpieces. Frends, Nigels, John Blake, and Jane Galli supplied beards and moustaches. We had approximately 200 stock pieces to start. Fittings for teeth, wig fittings and stunt fittings all began. Lenny MacDonald started construction Joel Harlow sculpting the Tonto prosthetic. of the Lone Ranger’s masks and the prop birds Ranger for Tonto. Joel developed Tonto’s look with prosthetic appli- ances sculpted to look like caked, cracked mud. The prosthetics involved nine pieces including shoulders and arms run in silicone. Lab foreman Steve Buscaino said, “We initially considered pros-aid transfers, but I felt that silicone would have more advantages for this make-up. It would be much faster and easier to make and be easier to remove. I prefer silicone to pros-aid for most applications.” After testing, body make-up was sprayed on and the war paint was dry brushed with tattoo colors. Johnny Depp as Old Tonto 22 2323 were created and pre-painted.” Khanh Trance appliance covered the assembly and was quite effec- punched all the hair work. It was time for a test, tive. The look creates a sinister and disturbing but a hurdle had to be jumped. If the prosthetic appearance which fits in with rest of the gang. make-up succeeded, the old-age Tonto would be New Mexico artist Svetlana Britt was hired to a practical make-up, but if it failed, Old Tonto coordinate the background department employing would be a CG character. Joel explains: “Our 20 full-time artists throughout the shoot, often first test was done on a double as well. Not ideal, creating a mix of more than 100 rail workers, but it was enough to convince Gore to go practi- townspeople, cavalry, saloon girls characters each cal instead of digital aging. The first test we did day, not including stunts and doubles. Robin on Johnny was the full make-up (17 prosthetic Beauchesne taught facial hair classes and period pieces), including face, chest and arms. After 6½ make-up for the dancing and saloon girls. A “sweat hours of application time, we marched out to the and dirt” class was required as all dirt application temporary set. We were met with applause from was to be treated just as artfully as every other the film crew, but Mike and I knew that there were make-up in the film. Robin explains: “Dirt is an some elements that we wanted to improve.” The art of its own and finding the right textures and first hurdle had been jumped—now Old Tonto colors in the type of product being used is very Mike Smithson applying make-up to the Clown. Armie Hammer (left) as John Reid (aka The Lone Ranger) would be a make-up. important. We used a mix of Rottenstone and glycerin to make a paste. When water is applied, it runs into tion which fit over Reid’s chest at an angle. This false chest Joel and Mike were joined by Gil Liberto and all the fine lines and wrinkles that everyone has. This was was hollowed out which included a silicone heart and organs. Pedro Valdez joined the lab at ABQ, to help done in layers with various concentrations and colors to give As Cavendish cuts into the false chest, blood off-camera is mold the new arm sculptures. Seven sets of appli- different levels of weathering. Rubber dust was also used to pumped into the chest while he removes the heart. The sili- ances were run and pre-painted while Khanh and define high and low points. At the end of the day, my hands cone heart was made to beat as Cavendish bites into it. A hole Lynn Watson started the hair work. Contact lens looked just as weathered!” Running from trailer to trailer, was dug in the ground under the set where Pedro Valdez pup- specialist Christina Patterson made several “aged every make-up artist did multiple duties, including background peteered Reid’s legs and body through rods in the ground. A eye” lenses. Two lenses were stacked in Johnny’s or lab work. Mark Nieman and Kevin Kirkpatrick worked in photo-realistic dummy body of Armie Hammer (The Lone eyes to force the lids out giving him the look of the tent in-between taking care of the Cavendish gang. Ranger) was also made for the sequence where Silver dusts drooped lower lids. The old-age Tonto was one of the dirt from John Reid’s badge, as it was far too dangerous the first scenes filmed beginning in March. Most of the shooting in the (Disney created) town of Colby to allow the horse to interact in that way with Armie. involved the worst weather possible—sand storms, heat, Ann-Maree Hurley started ventilating pieces, Ken dust devils, snow, mud, you name it, to assist with hundreds Creed, CO, was the next destination, a mining scene filmed Niederbaumer assisted Joel with Johnny Depp’s of extras —railroad workers, townspeople, band members, in a real-life mining town. The Chinese extras needed to make-up and lab work, Lenny MacDonald started cavalry. Background make-up was housed in tents and keep- look like they were digging silver in endless mines. Deeper making teeth. New Mexico artists Corey Welk ing everything clean was a constant environmental battle. Harlow and Kenny Niederbaumer making up Geek Boy levels of dirt and sweat were used. Cavalry scenes were also and Brian Perkal joined the lab and life casts were Make-up and hair stations were covered in dirt every morn- shot here, and after shooting in Creed, the next move was a taken for upcoming designs. ing as the wind drove sand through the tent. Everything had hot spell in Moab and then on to Santa Fe where Joel’s team to be securely covered, hairpieces cleaned and re-styled daily had their biggest make-up FX scene. Country singer Dwight Yoakam was originally and make-ups needed a lot of attention. When turnaround scheduled to play the main bad guy, but a last- issues began affecting facial hair maintenance, Joel brought Hell on Wheels was a traveling circus of freaks and human minute change brought actor Bill Fichtner to play in David Atherton, a veteran of Western films, who was oddities. Joel designed dozens of fantasy characters for the one of the great all-time Western villains—Butch amazing with his skills and experience. Under Joel’s supervi- Cavendish. Joel designed the mysterious sinister sion, David helped design the look of the Native Americans look with a scarred upper lip that leaves audiences and also of their false counterparts: the Cavendish gang wondering how the Cavendish character originally masquerading as Native Americans. David headed up this got it. Both Joel and Mike sculpted this character section when the production unit moved to Creed, CO, and make-up—a highlight of the film, maintained by Santa Fe, NM. Smithson and carried off brilliantly by Fichtner. Each of the Cavendish gang had distinct physical Production traveled to Monument Valley and Canyon traits that complemented Butch’s look. Ray had a de Chelly, some of the most scenic locations of the film. scar running down his face with a pulled lower lid. These locations included some of the movie’s most involved Attaching silk organza on a string to Ray’s lower make-up effects. Joel’s FX crew had to create the Dan Reid lid through a plastic sleeve that ran down the side “heart eating” effect. Verbinski wanted a realistic effect, even of his face and neck, the free end could be secured though it was known to be too graphic for a PG–13 rating. In Geek Boy Ventriloquist Man at some point and adjusted for tension. A silicone the lab, Pedro, Lenny and Gil created a false chest and leg sec- Lummox and rider 24 25 scene and most of Joel’s crew also wore the make-ups. Ken HAIR STYLING braided (cornrows) starting at the edge of the helmet. It was Niederbaumer helped Joel apply the Lummox make-up: “The by Gloria Casny a secure base to pin to. The braids worked really well and Lummox is homage to the Elephant Man who carried a jockey he could leave them in for about three days. That helped Department Head Hair Styling on his back. We cast a 7-ft-tall guy who wore eight pounds of some with time management, as I was running between trail- appliances on his face.” The jockey sat in a saddle with a bridle ers that were sometime in twos, weaving thread through 29 attachment. Khanh Trance ventilated hair appliances to create A couple of years ago, I was working with Joel Harlow and inches of hair trying to keep it and the feathers from com- a Dog Boy make-up. Mike Smithson created the Ventriloquist he showed me a photo of a Native American with very cool pletely obscuring the face. Joel and JD had a beaded feather Man with a sutured-shut mouth who talks through a dummy; make-up, long hair and feathers … it was Johnny Depp from the original photo we liked and copied. This show was Robin Beauchesne was the Bearded Lady, Ann-Maree was a (JD). All I could think about was how exciting it would be an arts and crafts marathon with a long macramé, beaded Saloon Girl, Brian Perkal was Geek Boy who wore more than to be involved with something like that! hair dangle that housed and hid the sound wires (Tonto 25 silicone appliances. Joel was the Marionette Zombie. Bill was topless). Bob Kretschmer made the original Tonto wig. Corso and Brian Penikas flew in to help with the fantasy Background fittings began in New Mexico with our great Khanh Trance and Lynn Watson were our onset wig makers characters: Dog Boy, Bearded Lady, Lummox, Half Man/ team, Jules Holdren, Mary Lampert, our BG supervisor, and ventilator. For the old Tonto we used Bob’s wig and Half Woman, Ventriloquist Man, Marionette Zombie, Doll Natasha Allegro, and Miki Caporusso, our hair PA. This was added gray. People, Scorpion Man, Devils, Geek Boy, Wooden Indian a huge show and all were thrown right into the fire and they People, Snake Lady, and Fire Breather. rallied without hesitation! Red’s Traveling Show (1860s) The Lone Ranger/Armie Hammer: Jules Holdren watched included working girls, butterfly dancers, swing girls, quirky and maintained his look. She used Bumble and Bumble wax Joel, David and Robin teamed to design the War Dance at stage acts, cowboys, Chinamen, rail workers, a band and a and Moroccan oil most days, except for the days she had the teepee village in Alamos, NM. “A lot of research went guy wearing a buffalo head. John Blake wigs played a big to add horse manure. That was made of ground alfalfa and into the Native American culture, and to ensure that we were part in our fittings, and we used several for our stunts, day gel, the result of dragging his head along the ground and correct with the war paint since everything portrayed has its players and background artists, and rented wigs from Alex through horse poop. Rouse in London. The demands of the day required exten- own meaning,” Robin explained. “Red powder from specific Dog Boy, finished, above, and rocks was applied to the top of the head and cheeks to the men sive curling iron work. We aged and distressed the curls of Cavendish/William Fichtner: Director Gore Verbinski want- his wig in progress, inset. going off to war. Chiefs didn’t wear much but some would the dancers and working girls; greased and dusted cowboy ed him to have jet-black hair, which I thought might be too wear certain markings in order to show support of his tribe.” hair, although “dust” wasn’t always necessary as the winds crisp next to his scarred, worn character make-up. So we Saginaw Grant who played Chief Big Bear said, “The make-up were clocked at 70 mph in the parking lot! Most days we made it a dustier, dull, off-black color with some gray. Short people were great, this is the best crew I ever worked with.” were wiping and shaking excess dust out of hair. While we on time, we colored a John Blake wig that Khanh fronted to the time he was messy and were doing fittings, we also shot a scene set in the 1930s start. Then she had a minute to match the color and make dusty. Natasha maintained Scenes involving stunts on top of the trains including train where we again did iron work on natural hair and wet sets his custom wig. Joel added his Harlow twist with a snake tail and watched him for most of passengers and crew were mostly filmed at Angels Camp, on wigs along with period-correct men’s haircuts; then very hair accessory. Natasha Allegro did a great job maintaining the film, then Clare Corsick NM, and Pasadena, CA. The very last location was near distinguished railroad gentlemen and an entire cavalry. and watching him, considering she hates snakes and had to took over the latter part of Lone Pine, CA, where the young Tonto village was shot. Ken avoid touching that tail every day. the film. Niederbaumer added these statistics: The Lone Ranger was shot We hand-made hundreds of Chinese railroad workers ques, in five states, required 25 location moves and filmed 153 days accomplished by steaming buckram forms on canvas blocks Rebecca/Ruth Wilson: Ruth’s hair had a nice natural wave Jesus/Joaquin Cosio: He lives in Mexico so I called a friend (eight months). Special thanks to all the make-up artists who and sewing or gluing extensions using natural and synthetic that really works for period work. Using her own hairline, and he arranged the wig wrap, measurements for us. His own worked on The Lone Ranger, a film of epic proportions. hair. A large percentage of wigs and extensions were used her hair was finger-waved, pin-curled, then blended into the hair color worked, so Khanh made a long wig to match. Clare on our Native Americans. Along with all the hair styling, we wig. Gore wanted it a bit warmer so I added some fine red Corsick handled his day to day. made the feather, leather and bead pieces worn in the hair, lowlights with Redken Shades EQ in Chile. Ruth had three and fur wraps for the braids. Most were turkey feathers dou- main looks: A side braid which had stages of distress; a very Red/Helena Bonham Carter: It was all about the “reds” in bling as eagle. Some real eagle feathers were used by Native contrived look with a high braided bun, long curls and a vin- Red’s wig. Originally, Gore wanted a believable red color, Americans, the only people legally able to own eagle feathers. tage comb, and a flashback that was much longer and done he didn’t want “The Red Queen.” Alex Rouse quickly made in a soft, half-up younger look. something for a fitting she was to have in London. I couldn’t Tonto/Johnny Depp: Since Joel and Johnny had already communicate with Helena directly, because her deal wasn’t established the look, my part consisted of fine-tuning and Fuller/Barry Pepper: Originally, we fit and made the wig for done, so I had to wing it. It was a month before the fitting putting the practical hair and wear spin on it. The biggest a different actor. Gore wanted that “Gen. Custer look” and actually happened. HBC, of course, wanted it redder. Carol challenge was to help secure the bird helmet, in high winds he really liked “those things that go back and forth” (trans- Hemming, Helena’s normal hair consort, sent samples of and comfortably. We didn’t start shooting until the train hit lation: finger waves). Barry’s own hair color was right, so I red colors and a video of Helena demonstrating a variety of 40 mph. Lenny MacDonald and I brainstormed and tried a cut the top off the other actor’s wig, colored the bottom styles she liked. I established her the first day, then Natasha couple of different things. We ended up with some binding to match Barry’s and wrapped it under his hair to lengthen. took over. lace I found in a fabric store that wouldn’t rip. I actually Ultimately, I knew we could do better so Khanh made a full stuck my finger through tons of fabric before I found one wig that worked beautifully. The prep was wet set finger Chief Big Bear/Saginaw Grant: He had dark-colored hair strong enough to hold and shear enough to pin through. waves, then curling the ends to blend with an iron. He had with salt-and-pepper roots about four inches long. I had Dog Boy make-up in progress. We used this to line the edge of the helmet. His wrap was one very formal set look for a dinner party, but the rest of Khanh ventilate long gray hair onto fishing wire that we 26 27 Bearded Lady Horsehair wig Helena Bonham Carter as Red

glued in with Telesis to blend and make him grayer. It’s a the scars on his head, applied by Melissa Yonkey. For our great trick and works well when adding gray to anyone’s hair. human oddity make-up team, Theraesa Rivers took care of We braided his hair and wrapped them in fur hair wraps. the Bearded Lady’s wig (Robin Beauchesne), Sabrina Wilson Mary Lampert did his daily application and maintenance. (Joel’s assistant) was a working girl, wig by Clare Corsick; Natasha Allegro did Ann-Maree Hurley’s working girl hair The Cavendish Gang: Skinny/Matt O’Leary had his long, and Jules Holdren did Mike Smithson’s ventriloquist style. stringy wig made by Khanh and maintained by Jules Joel Harlow was a skeletal character that I created using a Holdren. Barret/James Frain and Ray/Damon Herriman had JB wig. Swetlana was a half man/half woman who had half their own hair waxed, oiled and dusted. Joel had this genius of a man’s wig and extensions on the woman’s side, by idea to put a braided extension with a ribbon in Frank’s/ Mary Lampert. There were fire eaters, snake charmers, little Harry Treadaway hair (our manic cross dresser), which he people, angels, devils, living dolls, men who put scorpions in used as his own “worry braid” and chewed on all the time. their mouths, a crazy teacup lady, fortune teller, mad dentist They would come in the trailer en masse, including their and many more along with cowboys, ladies of the night and stunt guys, so it was a first open chair marathon with the religious protestors. Lampert and her team styled that mass, guys. Actor wigs were assigned. Stunts were an open chair with lots of wigs, wax and dirt. Special thanks to Melissa policy along with non-wigged guys. There was a scene where Yonkey and Theraesa Rivers who never missed a beat help- the gang disguised themselves as natives. I had to figure out ing with the characters. They did an amazing job and were a where this gang got the wigs? Horse’s tails! (Our back story blast to work with. was that Frank, a now “artsy” manic cross dresser, made the wigs.) Then how to make them and how to keep them I want to thank the prolific talent Joel Harlow for asking me on (leather chin straps) after burning many brain cells, the to join this epic journey and those hair stylists who came ladies went to work. Carmen Jones brought in her sewing and ate dust with us. Never surrendering to wind, heat, machine, Mary Lampert her glue gun and Miki exercised snow, hail, hours of hiking through sandy canyons, up steep her leather-weaving skills. The wigs were raw and wonderful. hills, oh yeah, and dealing with altitude, sometimes more than 8,000 feet. Hell on Wheels: We had so many crazy circus freaks and human oddities! This was a huge collaborative effort—Joel Local 706ers: Jules Holdren (my die-hard second), Natasha had tons of ideas and sketches and Penny Rose, our costume Allegro, Clare Corsick, Mary Lampert, Yolanda Toussieng, designer, had crazy costumes. On top of that, we dressed Anthony Wilson, Barbara Cantu, Marie Larkin, Theraesa some of our make-up artists as characters. The standout in Rivers, Melissa Yonkey, Ai Nakata and also those that came hair world was Dog Boy. Using Joel’s reference shot, Khanh in for a few days when we worked in Los Angeles. Pierce and I figured out a color that would show the detail. I found Austin, Josee Normand and Joy Zapata, every hand helps. two John Blake light brown wigs that worked for color. And of course, Miki Caporusso. Khanh used those on the back of his head, fronted one down to his eyebrows and ventilated several pieces for his face. I New Mexico locals: Carmen Jones, Aleen Martinez, Jolynn waved and set up the hair on both the head and the entire Nieto, Vanessa Sharp, Yvette Meely, Marcy Morgan, Megan face, for the first time in my life. Jules did the application Daum, Deborah Clare, Gunnar Swanson, Laura Sill and any along with Khanh and David Atherton. Chicken Boy used a names I may have missed that came in and out of our tent very fine wig I had in stock. We cut the sides off to show in that cloud of dust. • 28 LEE DANIELS’

THE BUTLER by MATTHEW W. Mungle MAKE-UP ARTIST

LEE DANIELS’ The Butler is a historical film chronicling the life of Cecil Gaines. The story follows him from a small boy in the south, working in the cotton fields, to serving as a butler in the White House for eight Presidents. From this unique vantage point, this film traces the dramatic changes that swept American soci- ety, from the Civil Rights Movement to Vietnam and beyond, and how those changes affected this man’s life and family. When I took on this project, I heard that director Lee Daniels did not like to see make-up on actors and I knew it was going to be one of the most difficult projects of my career. We talked before I was hired and came to the conclusion that we would work together, understanding that the characters need prosthetics but to keep the appliances and make-up as minimal as possible to achieve our goal. I was also told early into the project we would only have our look-alike Presidents and First Ladies for a face casting day and one test day before they were to shoot, thus putting even more pressure on all of us. Having a fast prep (four weeks’ prep which ended up only being two weeks in the end), taken up by face castings and a couple of test days on our three primary actors. Clinton Wayne and I share prosthetic design credits. I was lead prosthetic artist on set. Douglas Noe joined us as key prosthetic make-up artist. Courtney Lether was our prosthetic assistant as well as Greg Nelson, Lee Grimes and Jonah Levy joining us for a few days of application. Candy Neal, Department Head Hair Stylist, along with Robert Stevenson and Paul Anthony Morris, did an incred- ible job pulling all the hairpieces together, custom-made by Victoria Wood and Natascha Ladek. Debra Denson and Beverly Jo Pryor were co-Department Head Make-up Artists on the film. Our talented crew at W.M. Creations, Mike McCracken, Koji Ohmura, Miyo Yamamoto, Jamie Hess and Aurelio Guzman, were faced with sculpting and molding all of the aging and look-alike pros- thetics needed for the project in the short prep time and during prin- cipal photography. I made some of the prosthetics and dental veneers in our prosthetic trailer on location. Clinton and I decided early during prep we would use silicone encapsulated appliances for all the aging needed. Using silicone appliances would allow for greater mobil- ity and life-like skin movement but the appliances would be painted with washes of PAX paints and airbrushed with W.M. Stacolors for a slightly more opaque coverage. This all created a better skin tone and Opposite page: Alan Rickman as President Reagan This page: Forest Whitaker as the butler.

30 Left: Douglas Noe applying Forest Whitaker’s make-up. Above: Oprah Winfrey as Gloria Gaines, age 73 and 95. Above: Whitaker as Cecil Gaines, age 68 and 91. Right: Matthew Mungle applying Winfrey’s make-up.

contacts and a wig made by Natascha, applied by Candy. prosthetic for all our African-American skins. We also knew prosthetic which did not fill out the sides of her face. James Marsden played President John F. Kennedy wearing This film was a great experience for all of us utilizing we were in for a very hot and humid summer having to shoot Louis Gaines, played by David Oyelowo, aged from 36 to a wig made by Natascha applied by Candy and a gelatin nose. every bit of our talents as make-up, prosthetic make-up and the entire film in New Orleans, La., from mid-July to the 68 years old. At 68, he wore a partial foam latex bald pate, I made dental plumpers the day before we tested him to fill hair stylists. Lee Daniels was the perfect director for this first of October. silicone nasalabial fold/jowl, eye bag appliances and gela- out his cheeks as he had lost weight for the role he was play- film, bringing the drive and rich directorial push making us Forest Whitaker as Cecil Gaines, aged from 36 to 91 years tin earlobes. Robert hand-laid hair over the bald pate and ing on another project. want to do our best work on a very tight schedule. • old. Debra Denson took care of his make-up looks from blended the grey into David’s own hair. Minka Kelly played the role of Jackie Kennedy with make- 36 to 59. At age 68, he wore silicone nasalabial fold/jowl Cuba Gooding Jr., aged to 69 years old with the applica- up by Beverly Jo and a wig created by Natascha applied by appliances as well as silicone eye bags. At age 91, we applied tion of silicone nasalabial fold/jowl and eye bag appliances Candy. a full facial wrap around cheek/nasalabial folds/jowls/neck as well as gelatin earlobes. LBJ, played by Liev Schreiber, wore a foam latex bald pate, appliance with added silicone eye bags and gelatin earlobes. Lenny Kravitz aged to 68 with silicone nasalabial fold/ silicone nose, face—nasalabial folds/chin & neck appliances Arcus senilis contact lenses, made by Professional Vision jowl and eye bag appliances as well as gelatin earlobes. When as well as full gelatin ears & brown contacts. Natascha cre- Care, were also added to make the outside of the eyes look we first met Lenny, he expressed concern about his ear pierc- ated a wig for him which Candy applied. older and weaker. He also wore a thin mustache for both ing holes. I suggested we use the gelatin earlobes we used for John Cusack played Richard Nixon from 1969 to 1974. old ages. Care was taken when the oldest age prosthetic was David Oyelowo’s aging to cover the holes and he was pleased He sat for a face and teeth cast in Los Angeles two days sculpted not to fill out the side of his face which would have that we could use them. Douglas and I continued to apply before he worked. I sculpted a nose, molded it and made the made it much wider and bulkier. Douglas and I applied the them whenever he would work. gelatin appliances along with dental plumpers in our trailer test make-ups and would occasionally apply the prosthetics Jim Gleason as R.D. Warner had to be aged from his cur- the day before Douglas and I were able to do a test. We together but Forest’s prosthetics and make-up were Douglas’ rent young age to 72. We didn’t meet him until we were in created a younger look as well as an older haggard look for main focus when he worked. Paul and Robert applied wigs, the first week of shooting in New Orleans. Douglas and I when he resigned. He also wore brown contact lenses and a made by Victoria, to all of his young and old looks. took a face cast of him and sent it to Los Angeles to have wig for his oldest age. Aml Ameen plays Cecil from ages 15 to 18. Along nasalabial fold/jowl silicone appliances made. We used stock President Ronald Reagan was played by Alan Rickman. with covering his earring holes with Pros-Aide Bondo; an eye bags as well as Candy using fill-in hairpieces to create a Originally, a lower face silicone appliance was created for extremely subtle application of 3rd Degree Silicone was youthful look when he was young then losing them for his the actor to wear but the day before he started shooting, we applied to his left eyelid in order to create a heavier eyelid. older age. did a test and he thought the prosthetic was too restricting. This helped tie his character to the older Cecil looks. We also had all the look-alike Presidents starting with I quickly sculpted a small neck waddle on his neck cast with Oprah Winfrey as Gloria Gaines aged from 38 to 95 Robin Williams as President Dwight D. Eisenhower. Robin Silicone Sculpt Gel, removed it and applied it to his neck. It years old. At age 73, she wore silicone nasalabial fold/jowl wore a three-quarter bald cap with a hairpiece made by worked great and made him very happy. Stretch and stipple prosthetics which I applied and painted, then her beauty Natascha. His make-up, a paint and powder character look, was used on his nasalabial folds and chin along with a char- make-up was completed by Derrick Rutledge and a wig and prosthetics were applied by Douglas and me. acter paint and powder make-up applied by Greg Nelson and applied by Debra Brown. For age 95, she wore a foam Melissa Leo as Dwight’s wife, Mamie Eisenhower, wore a myself. A wig, made by Peter Owen and adjusted by Victoria, latex bald pate, a silicone full wrap around cheek/nasala- gelatin nose and dental veneers which I made for her in our was dressed and applied by Candy. bial folds/jowls/neck prosthetic along with arcus senilis trailer on location three days before our test. Natascha made Jane Fonda as Nancy Reagan wore a gelatin nose Counterclockwise from above, top: Melissa Leo as Mamie contact lenses and a thinning, grey wig made by Victoria a wig which Candy styled and applied. She also wore contact applied by Lee Grimes with face-lifts and a beauty make- Eisenhower and Robin Williams as President Eisenhower; Jane and applied by Debra. Again, care was taken to create a lenses to change her brown eyes to blue. up applied by Courtney Lether. She also wore brown Fonda as Nancy Reagan; John Cusack as President Nixon. 32 33 EDUCAT ION PRESIDENT THEATER EDUCAT ION NEWS FROM THE PRESIDENT THEATER NEWS

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In Memoriam

Geraldine Leetch stylist on their production, and was given first consideration for LOOKS (1930–2013) a position as hair stylist on the next Fox feature film project. Her REPORT strength and determination broke new ground. FROM THE SECRETARY- TREASURER LAST LOOKS Journeyman hair stylist Geraldine Elizabeth “Gerry” Leetch of Las Vegas passed away May 30. Gerry Gerry and Doug moved to Las Vegas, where she began a leg- was born January 16, 1930, to Simon endary career in Republican politics. A 20-year member and and Ernestine Becker in Barling, Ark. supporter of the National Federation of Republican (NFR) The eldest of nine children, Gerry Women, Gerry served as an NFR Regent Chair, a member of the helped raise her youngest siblings Clark County Republican Central Committee and the Nevada NEWS when her mother became ill. A State Republican Party. She also worked on numerous political LETTERS spirited young woman, Gerry was interested in exploring everything campaigns including George Bush’s presidential campaign and LETTERS TO THE ARTISAN HEALTH AND WELFARE NEWS life had to offer her, so after graduating from high school, she met Kenny Guinn’s campaign for governor. In her spare time, Gerry and married the love of her life, William Douglas Leetch. They wed in loved sharing a good laugh and rousing discussions with friends 1953 and moved to Hollywood. from all walks of life. Her philosophy was that it mattered not what station you held in life, it only mattered what was in your Local 706 member Gerry Leetch had a body of work that covered heart. A devoted and life-long member of the Catholic Church, some of the most iconic films and television productions of the she embraced life to the fullest. 1960s, ’70s, and ’80s. At CBS she worked on Password, The Red SkeltonCRE Show,W Gilligan’s Island, McHale’s Navy and the Kraft Mystery She was preceded in death by her parents; husband, Doug; HIGHLIGHTS brother, Joe Becker; and sister, Leane Wells. Gerry is survived by HIGHLIGHTS AND SHADOWS Theatre. SheCREW transitioned SHOTS into feature films at all the major stu- dios—Warner Bros., Universal, MGM—during the time when her daughter, Geri Fried; grandson, Rick; brother, Paul Becker; the production companies turned the studio back lots and other sisters, Irene Owens, Marie King, Betsy Montgomery, Kathy Southern California locations into every part of the world imag- Hogan and Jane Sanderlin; and many nieces, nephews, cousins inable. Sydney Guilaroff made the design decision to make Elvis and friends. Memorial services were held in June in Las Vegas and Presley the “strawberry blond” wig he had to wear as the hillbilly Gerry will be buried with her husband in Boulder City. cousin in Kissin’ Cousins, but Gerry Leetch had to maintain the daily work on the set. Luckily, she was a strong woman because EVENTS sheCREDITS was the one who had to endure Presley’s loathing of the look Diane Cummings PHOTO CREDITS CALENDAR OF EVENTS in part because it made him look as he had before deciding to dye (1931–2013) his hair black in the mid-’50s. Velvety, flawless skin, glowing tans and sculpted bodies were the domain The Unsinkable Molly Brown, The Americanization of Emily, and Looking of body make-up artists from the for Love were again designed by Guilaroff, but the daily work was 1930s until the late 1990s. They trusted to the beautiful stylings of Gerry Leetch. In a letter she alone were responsible for the perfec- described working on American Graffiti, the first hit film for George tion of the actress’ skin beyond the Lucas. “Lucasfilm called. I go over for five hours and they are so face and décolletage, making sure the mixed up, they don’t even know when payday is … When I got public never knew an actress might home, they had called and said it was being delayed 10 days … have freckles, bruises or the occasional tattoo. Most productions One glance around and you see this is a cheap operation … Lucas employed the body make-up artists on a regular basis, it was a said he had never worked with a hairdresser before.” I said, “I’m separate, well-respected craft with specialized training. sure you will find us easy to work with and know our job.” Gerry Leetch’s work has been seen on both the big screen and small, from Journeyman make-up artist Diane Cummings began her career One Flew Over the Cuckoo’s Nest to Terms of Endearment and The Buddy in the film industry as a stand-in for Kim Novak and through Holly Story to Starsky and Hutch, M*A*S*H* and The Colbys. When a the years watched the body make-up artists apply their artistry dispute arose because she did not receive credit on a film called and skill, not only to Kim, but to Diane as well. She received her Breaking Away (1979), Gerry fought the studio and won—Variety training from another body make-up artist, Dorothy Parkinson, and The Hollywood Reporter both published one-half page acknowl- and began her new career working on Perry Mason and The F.B.I. In edgments from 20th Century Fox that she was, indeed, the hair 1977, she was placed on the Producers Roster and quickly became

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In Memoriam Make-up Examinations. She served on both the Board of Trustees one of the most in-demand artists of that select group. She worked and Executive Board. In the mid-1990s when the body make-up constantly, going from show to show on a daily basis, making bod- classification was being phased out of the contract, she enrolled in ies beautiful on television productions at Universal Studios, TBS, the courses that extended her education. Diane became a journey- Lorimar, Paramount and Fox on Las Vegas, Fantasy Island, Falcon Crest, man make-up artist, but soon found that although she had been T.J. Hooker, L.A. Law and Dallas among many, many others. She was one of a select few who worked constantly in her specific craft, she often requested on feature films including Heaven’s Gate, Waterworld, was now part of a growing body of make-up artists. She honor- Showgirls, The Getaway and Clue. ably withdrew from Local 706 and moved with her husband Blaine California Sunset Lip Palette to Snohomish, Wash., where she spent her retirement. Diane These vibrant shades look just like a California Sunset! Superb individually or even better when our creamy colors Diane generously shared her extensive knowledge of her craft, both Cummings passed away from natural causes. She is survived by her are blended together. All colors are available as refills or through Local 706 craft seminars and as a judge during the Body daughter Kim Puzio and son Kraig Kimball. individual pots.

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