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

At Kryolan, we make make-up. But not like anybody else. Because unlike everybody else, we actually make our make-up. We’ve done it our own way for three generations. We think of it. We manufacture it. Formulate it and love it into existence. We’ve been doing this for more than 60 years. And we’re still doing it today. As one of the oldest make-up brands in the world we use our own formulas and recipes, to make and manufacture our very own products.

There is only one real professional make-up maker. There is only one Kryolan.

ARNOLD LANGER WOLFRAM LANGER DOMINIK LANGER SEBASTIAN LANGER FOUNDER MANAGING DIRECTOR DIRECTOR DIRECTOR

Volume 9 Number 2 33 Spring 2013 What’s your dream? what’s inside

Features

18 Oz the Great and Powerful Creating magical characters 24 The man 30 The Voice The WOW factor 33 A Mermaid’s Tail ... Tale

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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. The misuse of interns and P.A.s 6 Local Perspective Taking care of our own 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 cosmetics industries at bi-coastal campuses in Los Angeles and or in MUD studios around the world. Daytime Emmy noms Our state-licensed instructors have years of professional expertise in their respective fields of film, television and 12 Calendar of Events fashion. They can train you in a variety of subjects and help you discover your own unique style. 14 Theater News MUD programs and courses are designed to teach a wide range of practical and specialized skills. We review and update our curricula on a regular basis, to make sure you’re learning the latest techniques. MUD students also 36 Extended Family News have access to ongoing career advising, networking opportunities, and continuous career placement assistance. 36 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.

Cover: Debbie Reynolds as Liberace’s mom

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

Time and again we get phone calls asking if our members can use “interns” or P.A.s to do OUR work. Official Magazine of Hollywood Make-up Artists & Hair Stylists. We are all aware that production costs—no matter how large or small the budget—put Published in the Interest of terrible pressures on our members. “Do me a favor” and “the producer needs you to” are noth- ALL the Members of Make-up Artists ing new. Often on productions, our members are being pressured into allowing “interns” and & Hair Stylists I.A.T.S.E. Local 706 “P.A.s”LOCAL do our work. Worse yet, some of our own members believe theyNEW have the rightS to use non-unionLO personnelCAL BUSINESS to do menials tasks. EXTENDED FAMILY NEWS GUILD Supervising Editor GUILD NEWS Production assistants and interns are not part of our union contracts. They are not allowed Jeff Angell BEST OF ‘EM to do any of our work. It does not matter if it’s first unit, second unit or inserts. Whether Contributing Writers cleaning brushes or setting up stations, it must always be done by either a make-up artist or hair stylist. Any procedure that requires a human being’s skin or hair to be touched, must be Michael Francis Blake done by someone from our crafts. It doesn’t matter if it’s mopping sweat or taking out rollers Susan Cabral-Ebert —that is work that belongs to our members. Tommy Cole REPORT LOOKS Randy Sayer One of theFR biggestOM THE wrongs SECRET in entertainmentARY- TREASU productionRER is the abuse and misuseLAST of LO internsOKS and production assistants. Many of these kids, with stars in their eyes, volunteer to work for Publisher little or no wages. Most of them have no idea that they are being taken advantage of, and that IngleDodd Media internships are regulated by federal law. By misclassifying these young people, production companies deny them benefits that the law affords to all employees, sometimes even workers’ Office Manager compensation if they are injured on the job. Kathy Sain

Mailing List Manager The U.S. Department of Labor has certain criteria for who can be an unpaid intern. The unpaidLETTER position mustS benefit the intern, the intern must not displace NEWregular employees,S the Diane Burns HEALTH AND WELFARE NEWS training receivedLETTERS must be TO similar THE toAR whatTISAN would be given in an educational institution and the employer should derive no immediate advantage from the intern’s activities. Two years ago, the production assistants on a film sued one of the major studios for misuse of production The Artisan is published quarterly by Make-up Artists & Hair Stylists, assistants doing work that should have been done by regular employees. I.A.T.S.E. Local 706, 828 No. Hollywood Way, Burbank, CA 91505 Production assistants and interns can do paperwork, or possibly run errands. But never, ever Phone (818) 295-3933. Fax 818-295-3930 may they do any of our work—even behind the scenes. One company tried to change the titles All editorial and photo submissions of theHIGHLIGHTS personnel removing make-up. Removing make-up can be just as delicateCRE a jobW as applying should be sent to e-mail address: it, so the company was grieved. Changing titles doesn’t change the type of workCREW being SHO done.TS [email protected] Allowing these peopleHIGHLIGHTS to believe they’re AND SHAD going toOW “getS a few days on production” will only end in great disappointment for them. The eligibility processes will ultimately discover the decep- tion and the company could be grieved. Advertising inquiries: Dan Dodd, Advertising Director (310) 207-4410 x 236 There are plenty of members who would be more than happy to block wigs so you can get [email protected] off the clock. There are many who would be happy to split a call, mop sweat and even the most BEST IN KIT menial tasks. If it involves human contact on the skin or hair, or preparation of our crafts—it This limited edition kit is made up of our best selling shades of needs to be a union member doing the job. Look at your wage scales in your book. If it doesn’t Officers of I.A.T.S.E. Local 706 the year. From light to bright, matte to shimmer, these eight sayEVENTS “make-up artist” or “hair stylist,” don’t give away our work and weakenCREDITS our position. We all President PHOTO CREDITS shades are the ultimate Pro essentials. wish there wereCA LENDa legitimateAR OF usage EVEN of TSthe apprenticeship programs within all of our contracts. Susan Cabral-Ebert There is no better way for the younger generations to learn the trades. We all understand the Vice President angst of production companies that want better quality than their budgets allow. They want Linda Arnold $50 per hour quality for less than $20 and expect us to bend over backward so far we break. Recording Secretary P.A.s and interns are assistants to the production, not our directors or producers. Treat these Kim M. Ferry underpaid, overworked kids with kindness and help them to learn … but never let them do Secretary-Treasurer your job. (I used to give my football pool winnings to my P.A.s … John E. Jackson best idea I ever had.) But let them mop sweat on the stunt people? Sergeant-at-Arms No. Laura Caponera Business Representative Susan Cabral-Ebert Tommy Cole President TEMPTUPRO.COM NEW YORK LOS ANGELES PH: 1.888.9.TEMPTU

4 LOCAL by Tommy Cole LOCAL PERSPECTIVE Business Representative, I.A.T.S.E. Local 706

In January, the MPTF (Motion Picture Television Fund) put Just in case some of you missed our May bulletin, here is on a fundraiser at the Santa Anita Park racetrack. It was aptly a short synopsis of what is in store for our journeymen and The World’s Best Selling Lashes called MPTF “Day at the Races.” This was the second year trainee members: “Safety Pass” has a new course, “P2”— running that this event had been presented, and what a great Hazard Communication and the GHS. This course is a success it was. All of the Hollywood locals were in atten- MANDATORY requirement for all classifications currently dance, and besides being a great social occasion, we raised taking the basic “P” class. The timeline for Local 706 is a good amount of money for the Fund. This event is again 7/01/13–10/31/13. If you wish to take this class earlier scheduled for next year, and I hope than 7/1, you may do so if there is many of you will be able to attend. room. Please visit www.csatf.org to In that I am on the IA Advisory view current course schedules. Safety Board for MPTF, I would like to Pass classes are located at CSATF, remind our members about this 2800 Winona Avenue, Burbank (near important charity and its relevance to the Burbank Airport). Local 706. I am not going to go into During my career as a make-up depth for this article, but I will give artist, I had the opportunity to work a little history for those who don’t not only with some very talented know or may have forgotten. artisans, but also some very smart The Television Fund was created in people; those who not only were 1921 and started out with a simple gifted crafts persons, but who were coin box where employees threw in pretty savvy in dealing with “life.” their spare change to help fellow Help to One old-timer in particular imparted workers who had fallen on hard times. some advice years ago that I have As years went by, this coin box trans- guarantee that never forgotten. He explained his formed into the “Payroll Deduction,” philosophy in communicating with a weekly donation that would be the Television others in just one word ... “Pause.” taken out of employees’ checks auto- He explained ... When in the heat of matically. Now, with studios and “ the moment or when he was asked independent productions using a Fund will be a question or when he had the urge half-dozen different payroll compa- to expound on something he really nies and so much of our work being there for you didn’t know much about, he would freelance, here and out of state, it is pause a few beats and collect his much more difficult to set up regular and all IA thoughts. He went on to say that payroll deductions. Consequently, the if people would just take a beat or Fund must find other avenues to raise members two before reacting verbally, many money, and they need your help. folks wouldn’t end up with their A pledge, be it for one time, each for years to foot in their mouth. This advice has week, or once a month, will help to stuck with me to this day, and has guarantee that the Television Fund come. helped me immensely throughout will be there for you and all IA mem- my career, not only as a department bers for years to come. If our mem- head on sets, but now as a Business bers each could forgo one “latte” a Representative for the Local. week, and put that same dollar amount into a donation, we If we all in our daily lives would just take a moment to could make a difference. Whenever one of our members has think before we act, we would save ourselves a lot of grief. had an issue, be it medical, psychological or financial, the Listen, then take a few beats ...“PAUSE”! Remember, once Fund has been there to help. MPTF has become a lifeline said, ”the spoken word cannot be taken back. and support for thousands of union members through the years, including our own. Last year, 12 of our members Please enjoy this issue of your Artisan. received a total of $17,000 in financial aid from the Fund. The New Double Up™ Lash innovation combines two styles in one. Please be generous and remember that MPTF is there for you. Tommy Cole The bottom lash adds fullness and the top lash adds flare for an When you contribute, no matter how small, you are “Taking Care of Our Own” for the future! To learn more, please go to incredibly astonishing lash look for twice the drama, twice the www.mptf.com. intensity, and twice the fun.

6 ArdellLashes.com EDUCAT ION PRESIDENT THEATER EDUCAT ION NEWS FROM THE PRESIDENT THEATER NEWS

LOCAL NEWS 40th Annual Daytime Emmy Award Nominations LOCAL BUSINESS EXTENDED FAMILY NEWS GUILD The award for grossest looking GUILD NEWS Make-Up Artists teeth goes to... and Hair Stylists Guild The Alex Theatre in Glendale hosts screenings of Congratulates the classic films from the past. The Society contacted Following Members Local 706, seeking to honor make-up artists and hair stylists who had worked on Sunset Boulevard Outstanding General Hospital (ABC) and Some Like It Hot. As it turned out, the only REPORT LOOKS Achievement in Melinda Osgood surviving crew member from Sunset Boulevard is FROM THE SECRETARY- TREASURER LAST LOOKS Hairstyling for a Bobbi Roberts Drama Series Local 706 retired make-up artist Karl Silvera. Makeup Artists Coincidentally, make-up artist Michael F. Blake’s The Bold and the Beautiful (CBS) The Young and the father, Larry Blake, was an actor in Some Like It Hot. Restless (CBS) Karl was a mentor to Michael early in his career, so Michele Arvizo Patti Denney honoring the 95-year-old make-up artist became a Head Hairstylist Head Makeup Artist ...(Insert your company name here) fun-filled evening and reunion at the Alex Theatre. Audrey Soto Marlene Mason LETTERS NEWS Both entertained the audience with wonderful Romaine Markus-Myers Ralph Wilcox LETTERS TO THE ARTISAN HEALTH AND WELFARE NEWS behind-the-scenes stories of the making of the Adriana Lucio Kathy Jones Hairstylists films. Not only was his name emblazoned on Robert Bolger the evening marquee at the theater, he received a Days of Our Lives (NBC) Laura Schaffer Holmes standing ovation from the audience who embraced Alex Film Society Margie Puga Makeup Artists him and treated him like a star. Because the event Key Hairstylist was put together so quickly, the word went out on Matthew Holman Outstanding Facebook, and a wonderful group of 706 members Honors Maria Elena Pantoja Achievement in HAIRSTYLING HIGHLIGHTS CREW attended and honored a clearly thrilled and emo- Leigh Anne Pitchon GEORGE TAUB PRODUCTS & FUSION CO. CREW SHOTS HIGHLIGHTS AND SHADOWS tional Silvera. Karl Silvera is also the only known Two Local 706 Members Lauren Upshaw the doctors Ph.201.798.5353 / Fx.201.659.7186 surviving crew member from the Alan Ladd film, Hairstylists Mimi Vodnoy-Love http://www.taubdental.com Shane. by Sue Cabral-Ebert The Young and the Anna Maria Orzano Restless (CBS) Annette Jones In April, the Alex Theatre screened the 1974 George Guzman Hairstylists neo-noir film Chinatown. This time they chose Shannon Bradberry The talk (CBS) to honor the remarkable talents of hair styl- Regina Rodriguez Soo Jin Yoon CREDITS ist Susan Germaine. Susie’s gorgeous work on Rachel Ross Bunch Cheryl Eckert EVENTS Rachel Bonner-Mason CALENDAR OF EVENTS PHOTO CREDITS Faye Dunaway and other actors on the film Vickie Mynes were a beautiful treat to watch in the movie set Romaine Markus Michael Ward in the beginning of the 20th century. Before Adriana Lucio Hairstylists the film began, a moderator and Susie enter- Hairstylists tained the matinee audience with questions and Outstanding Outstanding answers that only the real crew members would Achievement in Achievement in MAKEUP know. Susie Germaine has more than 90 cred- MAKEUP for a The talk (CBS) ited features and television productions to her Drama Series Ann-Marie Oliver name, and has been personal hair stylist to Faye Days of Our Lives (NBC) Dunaway, Jeff Bridges, Jennifer Lopez and many Stephanie Cozart Burton Gail J. Hopkins Dell McDonald other notable stars, as well as department head Head Makeup Artist on most productions. After the screening of the Jude Alcala Glen Alen Gutierrez Makeup Artists film, Susie signed autographs and chatted with Joleen Rizzo moviegoers, eager to hear more stories. Again, Nina Wells the word was sent out via Facebook and Local Make-up artist Karl Silvera and hair stylist Susan Germaine Deidre Decker 706 members attended to honor and applaud the are honored during a special reunion at the Alex Theatre with Makeup Artists incredibly talented hair stylist, Susan Germaine. fellow artisans.

8 9 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 IATSE International and The Broadway League/ Disney Theatrical Productions Reach Tentative Agreement for New Pink Contract LETTERS NEWS LETTERS TO THE ARTISAN HEALTH AND WELFARE NEWS (Effective January 1, 2013 – December 31, 2015) After a lengthy process spread over five months, culminating in a 15-hour marathon session that ended in the early morning on May 2, 2013, the IATSE International and The Broadway League/ Disney Theatrical Productions have reached a tentative agreement for a new three (3) year contract.

In addition to wage increases, a primary goal for President Loeb and the Union negotiators was to HIGHLIGHTS CREW address challenging travel conditions faced by workers on these tours. Thus, the agreement includes CREW SHOTS HIGHLIGHTS AND SHADOWS premium pay for load-outs on multiple show days and for travel after a short-rest period, first-time additional pay for make-up artists and hair stylists traveling on a seventh day, as well as first-time overage participation (i.e. bonus) for workers on successful tiered tours. The Agreement includes significant employer contributions to the health and pension plans for workers on tiered tours and wage increases for workers in all categories. It also includes employer contributions to the IATSE Training Trust. EVENTS CREDITS PHOTO CREDITS CALENDAR OF EVENTS President Loeb extended his appreciation to the workers on the road who provided comments to the bargaining committee and especially to the rank-and-file workers who served as members of the committee. The observations from these members informed the Union’s positions and decisions and helped the Union secure a good contract on behalf of all traveling workers under the Agreement.

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2013

June 2 Board of Trustees Meeting June 10 Executive Board Meeting

July 4 Independence Day THE BACKSTAGE Offices Closed July 7 Board of Trustees Meeting July 8 Executive Board Meeting CARD PROGRAM July 15-18 General Executive Board (Boston) Join to receive make up artist & industry pro discounts. July 20-21 District 2 (Boston) Get special VIP access to industry events, product previews & July 22-28 IATSE Quadrennial Convention (Boston) master classes. Complimentary and automatic membership for LOCAL 706 Members, simply send us a copy of your valid August 4 Board of Trustees Meeting union card along with application for priority processing. August 5 SF General Membership Meeting 7 PM SHOP USING YOUR BACKSTAGE CARD AT THE FOLLOWING LOCATIONS: August 12 Executive Board Meeting MAKE UP FOR EVER NYC Studio August 18 General Membership 8 East 12th Street, New York, NY Meeting Local 80 2-4 PM Receive your Backstage Card member discount benefit August 19 Theatrical Membership via phone order by calling 212.941.9337 Meeting Local 7 PM MAKE UP FOR EVER Pro Loft 1115 Sherbrooke West, Ste. 2901, Montreal, QC September 2 Labor Day Offices Closed MAKE UP FOR EVER LA Boutique September 8 Board of Trustees Meeting 132 South Robertson Boulevard, Los Angeles, CA September 15 Creative Arts Emmys MAKE UP FOR EVER Dallas Boutique September 16 Executive Board Meeting NorthPark Center, 8687 N. Central Expressway, Dallas, TX Questions about Alzheimer’s Disease? September 22 Emmys & Governors Ball MAKE UP FOR EVER Boutiques at Sephora: Contact the Alzheimer’s Association. SoHo, New York, NY The Venetian, Las Vegas, NV October 6 Board of Trustees Meeting South Coast Plaza, Costa Mesa, CA As the world leader in Alzheimer research and support, October 14 Executive Board Meeting Complexe Les Ailes, Montreal, QC we provide reliable guidance to all those who need it, October 31 Halloween Toronto Eaton Center, Toronto, ON 24 hours a day, seven days a week. Nigel’s Beauty Emporium November 3 Board of Trustees Naimie’s Beauty Center 800.272.3900 Meeting: Official Make-up Our knowledgeable staff can help you with: Artists & Hair Day! • Understanding memory loss November 11 SF General Membership • Medications and other treatment options Meeting 7 PM • Strategies to reduce stress BACKSTAGE CARD • Legal and financial decisions Executive Board Meeting November 17 General Membership Meeting Local 80 2-4 PM BACKSTAGE CARD November 28-29 Thanksgiving Offices Closed alz.org/californiasouthland

/makeupforeverusa 12 /makeupforeverus makeupforeverpro.com EDUCAT ION PRESIDENT THEATER EDUCAT ION NEWS by Randy Sayer FROM THE PRESIDENT THEATER NEWS Assistant to the Business Representative I.A.T.S.E. Local 706 The 67th American Theatre Wing’s ‘Tony’ Awards nominations were announced April 30: nominees for Best Musical include Bring It On, which toured in 2011/2012 prior to its Broadway engagement “This & (PatriceNEW MirandaS & Butch Belo worked the show at the LOCAL Ahmanson; Robin Church & Butch Belo worked the show LOCAL BUSINESS EXTENDED FAMILY NEWS GUILD at the Orpheum); other nominees include A Christmas Story, GUILD NEWS That…” Matilda, and Kinky Boots—which leads the pack with 13 nominations. For Best Play, the nominees are Vanya and which currently presents short productions of Beauty & the Sonia and Masha and Spike, The Testament of Mary, Lucky Guy, Beast and the Rapunzel/Tangled tales) which are huge hits and The Assembled Parties. The Tonys return to Radio City with guests. Mickey & the Magical Map opened May 25 in Music Hall Sunday, June 9, on CBS of course. We will wait the newly renovated Fantasyland Theatre. This new show REPORT toLOOKS see if Neil Patrick Harris hosts for a fourth (not so) focuses on Mickey Mouse as our tour guide on a musi- FROM THE SECRETARY- TREASURER straight yearLAST in LOa rowOK …S (*crosses fingers*) cal journey through our favorite Disney animated films. Mickey’s Soundsational Parade and the Jedi Training Disneyland Resort: Academy continue daily at Disneyland, while next door the Castle Fantasy Faire Pixar Play Parade, Minnie’s Fly Girls, Red Car News Boys, is a triumph; the new Five & Dime, DJ’s Dine ’n’ Drive, and the Aladdin musical name was coined to spectacular (at the Hyperion Theatre) perform at Disney distinguish the newly California Adventure. These entertainment offerings pro- LETTERS NEWS created venue (which LETTERS TO THE ARTISAN HEALTH AND WELFARE NEWS vide a lot of work for our talented members: one dozen new opened March 12 hires have been added since the beginning of 2013 alone, adjacent to Sleeping bringing our current active Theme Park hair stylists up to Beauty’s Castle) from 80+. Remember: less than 30 cosmetologists joined Local the former Princess 706 in July 2005 when the unit voted to join the IATSE, Fantasy Faire. Both the so our Theme Park classification has nearly tripled in less Royal Hall (the ‘Meet than eight years! HIGHLIGHTS CREW & Greet’ area, designed HIGHLIGHTS AND SHADOWS CREW SHOTS to allow ‘us commoners’ After years of trying to organize the non-union to rub elbows with the Pantages Theatre/Broadway LA, Local 706 has Disney princesses) and been granted recognition by the employer, so talks should the Royal Theatre (the soon commence to negotiate this theatre’s first hair & Castle Fantasy Faire ‘Storyteller/show’ area, make-up contract—if not, we may be rallying the troops! We did enjoy two years of union jurisdiction during the run of Wicked (my first day as Tommy’s assistant was the EVENTS CREDITS Concept art for Mickey & the Magical Map CALENDAR OF EVENTS PHOTO CREDITS

Beauty & the Beast

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An Artist’s Dream Come True! EDUCAT ION PRESIDENT THEATER EDUCAT ION NEWS FROM THE PRESIDENT THEATER NEWS The Artist’s Makeup Innovative Palettes with Function & Style

day we signed the contract), but this venue has resisted all Pink Contract negotiations have just concluded We’ve launched two new MediaPRO Palettes: Fair Sheer Foundation and 12-Color Contour Palette. We attempts to organize—up to now. This is HUGE! between the IATSE, The Broadway League and Disney designed the industry’s first ultra-functional 18-color case. Deeper chambers hold over 50% more makeup Theatricals. We currently have four dozen IATSE Yellow and eliminate cross contamination between colors. The lid opens flat to reveal a white mixing palette. Pasadena Playhouse has announced its first full Card productions crisscrossing the ; this is season under an IATSE contract and negotiations a 25% increase over this same time last year! Concerns NEW! LOCAL willNEW soon beS under way to solidify this existing contract regarding jurisdiction, staffing, and policing the work on LOCAL BUSINESS with LocalEXTENDED 33 (Stagehands), FAMILY TWU NEWS Local 768 (TheatricalGUILD these shows have been brought forward by our members, GUILD NEWS Concept art for Mickey & the Magical Map and Tommy and I have taken these concerns directly to the Directors of Stagecraft, our IATSE Vice Presidents— and we are already seeing progress and changes occurring! Producers will no longer be allowed to roll hair & make-up into the Wardrobe Department, and the IATSE vows to make greater strides in this area as new shows get orga- REPORT LOOKS nized/signed. Negotiations are also under way between the FROM THE SECRETARY- TREASURER LAST LOOKS IATSE and Vee Corporation (Sesame Street Live) and Feld Fair MediaPRO Foundation Palette MediaPRO Foundation Palette Our new Fair Palette offers a stunning ensemble of cool Global Palette with 18 superb shades for fair, olive Entertainment (Disney on Ice and other live shows), and we and warm tones to compliment ultra light to medium and brown complexions. Blend and layer as desired expect to see positive changes on these contracts as well. Makeup design (L) by Thomas Surprenant and complexions. Silky, light-weight texture offers beautiful, for a perfect, natural matte finish. Set with HD Powder The IATSE is partnering with us, hearing our concerns, (R) Debbie Müller at IMATS Sydney 2012. natural coverage! or Luxury Powders. Wardrobe), Local 800 (Art Directors), and of course, and acting on them. This is great news indeed. Local 706. We are already establishing good relationships LETTERS withNEW both theS artists and staff, and everyone seems to have See you in the wings! LETTERS TO THE ARTISAN HEALTH AND WELFARE NEWS simmeredAHA Car Donationdown—after Half DGA_Layout the initial 1 scare 1/31/13 of 4:25 “going PM Pageunion.” 1 Randy Sayer

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Ben Nye Makeup 3655 Lenawee Avenue 16 Los Angeles, CA 90016 Download both Catalogs at 310. 839. 1984 • 310. 839. 2640 Fax www.bennye.com by , Vivian Baker noses of different shapes, boxes of pointed Tinker ears, all brow shape that would make them feel more sympathetic and and Yolanda Toussieng painted and the rims of the ears lined with a soft fuzz to inquisitive. I took a cue from the Frank Morgan wizard make- add realism, pre-painted Winkie faces ready to be applied up from the original Wizard of Oz, where his own features were The Magical The Wizard of Oz has influenced every make-up artist and hair to our seven-foot-tall actors playing the witches’ guards. rounded out with cheeks and a nose. I liked this approach and stylist in the world and we were given the most unbelievable Hundreds of finely manicured mustaches, beards, sideburns it influenced me with the munchkin design. opportunity to be able to step into the merry old land of Oz line the walls of the make-up rooms, each pinned to a photo and help create this world’s most colorful characters. It was of the corresponding actor they belong to. Rows of wigs and Peter and I handled the daily application of the Wicked Adventure truly a dream come true! hairpieces line the shelves of the hair room waiting for actors Witch of the West, played by the absolutely gorgeous Mila to plop into chairs to get their final touches. Kunis. Her make-up consisted of a full chin and sides of Cut to—3 a.m.—Raleigh Studios in Pontiac, Michigan, face wrap around piece and then a forehead, brow with where we have been the past six months. The mornings are Howard Berger, Department Head pointed nose sculpted by Norman Cabrera at KNB. We first early and the days are long. The entire make-up, hair and for Special Make-Up approached the make-up in silicone, but after time, we real- Through the prosthetic team of top gun artists are standing by with For the run of the shoot, my key team of artists consisted ized that because Sam Raimi, our director, liked to shoot brushes, pallets, wig caps in their hands and no matter what of Peter Montagna, Gino Crognale, Garrett Immel, Michael Mila all day long in wide shots and shoot flying stunts, and time it is or what is asked of them, they perform their magic Mills, Greg Nelson, Robert Kurtzman, and Kenny Diaz. One then at 14 hours do her close-ups, that foam rubber was far every day like a well-oiled tin man. We hit the power on of our many tasks on the film was handling the Munchkin more durable than the silicone appliances. So we switched Art of our make-up stations; the lights illuminate the tools of our Knuck’s make-up, played by Tony Cox. Peter applied small materials midstream and had to rethink our entire theory, trade. Make-up brushes, tattoo color pallets, sponges, scis- silicone cheek pieces to give Tony a more rounded, apple which at the end of the day worked fine and hopefully won’t sors, adhesives, powder puffs, you name it. On the tables cheek look, a nose tip, ears and a small brow piece, as that was be too noticeable in the final film. Mark Boley punched every behind each station are stacks of silicone and foam rubber a common thread in the designs of the munchkins that we set of brows into the forehead pieces (about 40 sets), due Make-Up prosthetics for our cast of Oz’ian characters. Munchkin wanted to carry through, which was to have this very specific to the HD/3D, everything showed, so we feared that lace 18 19 would be an issue and this was the best avenue to take. Once Oz because of her special skills as head ventilator. Although applied, I painted Mila with a combination of Blue Bird inks I had purchased a number of John Blake’s facial hairpieces, that were color-matched to the MAC airbrush HD bases I we needed a great ventilator to adjust and make facial hair. was using on her to blend it all together. I found that by Ursula Hawks would come in the weeks the workload was using the MAC bases the make-up stayed fresh and did not heavy and Steve also helped in making pieces. Georgia’s work have that dried-out look, as this is something I have found and personality created sort of a ventilating craze resulting with a lot of tattoo inks. Peter would go in for finals using in a few on our team to apprentice with her and become very the Urban Decay primers and MAC eye shadows we picked good ventilators. to compliment her contact lenses, which were painted by Cristina Patterson. It was a bear of a make-up. I never left There are different looks between the Quadlings and EC her side in fear of her eating a hamburger and Subway sand- Residents. I was fortunate enough to be able to design each wich, but in the end, the combination of what we brought to BG herself and the team executed the desired looks with the table and what Mila was able to deliver made a heck of a finesse. We had 350 combined Kansas, Quadlings and EC scary wicked witch.

Judy Chin was Rachel Weisz’ make-up artist, and Tracey Levy did a great job making up Mila Kunis as the beautiful Theodora. Nana Fischer handled James Franco’s day-to-day make-up and hair through the course of the production.

Vivian Baker, Department Head for Straight Make-Up My responsibilities as Department Head for Straight Make- up would be the three segments of background and cast in the film known as Kansas, Quadlings and Emerald City (EC) Residents. I would also be the make-up artist to Michelle Williams, Glinda the Good Witch. Filming in Kansas began as the gritty late 1800s carnival. Leonard Engelman came on board as background supervisor for the Kansas portion. His teaching and facial hair skills would prove invaluable to educate the team. We hired six Michigan locals who would become a part of our main team.

Steve Anderson was key make-up. I worked with Steve on a few films and could not imagine anyone else for the posi- tion. Georgia Allen would gain her union membership on

20 21 Residents and 40 cast members not including the numerous Rachel Weisz portrayed Evanora. A regal queen inspired her, stunts, wranglers, and political BG that would appear daily. as she needed to look strong but still be beautiful. Rachel All the women’s make-up was designed using MAC cosmet- wore hairpieces and individual hair knots that were added to ics and the Quadling Women wore a little strip of eyelashes her own hair. that we built onsite ourselves. Steve LaPorte (background Key make-up artist supervisor for the Oz portion) came up with a silicone pad Jules Holdren handled the day-to-day styling for Theodora, Steve Anderson to attach string, then we coated the string and laid individual portrayed by Mila Kunis. What inspired me for Theodora lashes on the string to create the specific look designed. was a young, more innocent girl—a classic look using More than 500 pairs of lashes were made, some even having Audrey Hepburn as a point of reference. Theo needed to ball tips on them. MAC Cosmetics even made a specific color look seductive, so with only removing one pin, Jules made of lip-gloss for the EC Women. this look flawless.

Super Baldiez was used to attach all the facial hair. All the Early on we all sat down and made a wish list of the BG loved their particular look and not one complained best of the best and figured why not? Let’s shoot for the about wearing facial hair. We found the Super Baldiez was moon and see whom we could get. Well, we got them all: flexible and more comfortable to wear. The team designed Leonard Engelman, Craig Reardon, , Mark From left: Peter Montagna, some ingenious ways to organize and clean the pieces so Landon, , Margaret Prentice, Greg Funk, Vivian Baker, Steve they would stay with the imagines of each actor so it was Ozzy Alvarez, Lee Grimes, Jamie Kelman, David Dupuis, Anderson & Howard Berger. easy for continuity. Since all the facial hair were precise in Joe Podnar, Richie Alonzo, Toni G, Jonah Levy, James their placement and many wore multiple pieces that locked Lacey, Dan Phillips, Danny Wagner, Connor McCullagh, together, the maintaining of all the pieces were handled with Steve Prouty, Richard Redlefsen, Robin Beauchesne, David great care. Atherton, Kymber Blake, Jennifer Zide-Essex, Antonia Verna, Nedra Hainey, Elaine Offers, Gabe Decunto, Robin Yolanda Toussieng, Department Mathews, Jane Galli, , Bree Shea, Amber Crowe, Head for Hair Debbie Darakdjian, Robbin Hawthorne, Stephanie Arble, As department head, I was responsible for designing the Erika Broderdorf, Danielle Hein, Lumas Hamilton, Kristen hair for all non-prosthetic characters. Oz begins at a carnival Berge, Shimmy Osman, Tijen Osman, Catherine Childers, in Kansas during the late 1800s. Dancing showgirls with Missy Forney, Josee Normand, Jeannette Moriarty, Denise finger-waved hair, clowns with wigs, showgirls made up to Baker, Linda Rizzuto, Tanya Walker, Kathe Swanson, Emilie the nines and the dirt-poor farmers and their families all had Cockels, Jack McQuisten, Clifton Chippewa, John Tarro, to be created within the period. John Lieckfelt, Elizabeth Cortez and Kevin Edwards.

Once we arrive in Oz, we meet the Quadlings, which are We had a great team, and that is what it was, a team that the townfolks from Glinda’s city. The inspiration for the worked together to make the adventure into Oz a magical one. Quadlings were simple, kind people and they needed to be For us, we always feel it is so important to enjoy what you do fun and whimsical, I wanted to see their hair shapes from and have a great time while you are doing it, and in Oz the Great across the stage, so we created hairpieces using foam and and Powerful, we could not have asked for a greater journey and wire as the base. We matched their hair colors from the adventure as it was a once-in-a-lifetime opportunity. We thank roots and ends, then we dyed hair to correspond with their everyone involved and unlike Dorothy, for us, there is no place wardrobe to tie everything together. like Oz!•

The inspiration for the Emerald City Residents was a more formal and coordinated design. My team built wire cages cov- ered with foam so we could sew hair that matched the natural hair colors and wardrobe of each actor. The Emerald City styles were larger and a little more intricate then the prior.

Regarding our main cast, Glinda, The Good Witch, por- trayed by Michelle Williams, was inspired by the classic, beautiful blonde “girl next door.” Her wigs were styled down and loose, and when she went to battle at the end of the film, we pulled her hair to the side and made one large curl to sug- gest a stronger presence. 22 23 Isn’t it strange that as flamboyant as Liberace was, our parents and grandparents The Make-up and HAIR Artistry never questioned his sexuality? During the ’50s, ’60s, ’70s and ’80s, the famed pianist, also known as “Mr. Showmanship,” was on our TVs and in our living rooms, entertaining us with infinite amounts of glitz and glitter. He loved Behind the to be surrounded by luxury. The candelabrum on his piano became his signature prop. Off stage, Liberace’s personal life was just as decadent— he had a fetish for houses, cars, jewels, costumes, and wigs. Liberace also had an insatiable appetite for young men. Candelabra Liberace tried to cover up anything that associated him with by Kate biscoe being gay for fear of losing his audience. He vehemently JOURNEYMAN denied being a homosexual and would sue anyone who MAKE-UP ARTIST implied that he was. Our movie tells the story of the tumultuous relationship between Liberace () and his lover, Scott Thorson (). Behind the Candelabra is based on the memoir of the same title, written by Thorson. The –directed movie airs on HBO at the end of May. As you know (because you’re reading The Artisan), make- up and hair were integral to re-creating the world of the legendary pianist while evoking the time period, gay-and- straight culture and the distinct Americana of ’70s & ’80s Las Vegas. Marie Larkin and I were Department Heads Hair Styling and Make-up Artists and Yvette Stone and Deborah Rutherford were the Assistant Department Heads. Local 798 hair stylist Kerrie Smith and Local 798’s Todd Matt Damon (left) with Michael Douglas Kleitsch (who have worked with Michael Douglas over the years in New York) designed the fantastic hair and make-up middle age, weight gain, plastic surgery, “show looks” and needed to transform Mr. Douglas into the iconic Liberace. illness all while standing up to 12-hour stage performances, The make-up and hair had to also show various stages of hot tubs, swimming pools and the 110-degree heat of Los Angeles, Palm Springs and Las Vegas. To research Liberace’s iconic hairpieces, Smith had the good fortune of speaking with Piny, Liberace’s real-life hair stylist! He even sent her two of Liberace’s actual toupées. She jokes that they became like talismans that everyone was touching and sniffing, knowing that they’d actually been on Liberace’s head while he was performing! From these hairpieces, Smith was able to match color as well as take measurements and pattern. She was told that Liberace would do all sorts of things with his hair on any given day. Sometimes he would just brush his own grey hair up onto the sides of the toupée, sometimes he would paint his own hair black, sometimes he would spray glitter all over, nothing was consistent. Smith went (toupées in hand) to Carol Moralis of Hudson Wigs in New York to make exact replicas. Moralis Opposite page: Michael Douglas as Liberace is known for supplying wigs to the theatre and Broadway and Above: Make-up reflective of ’70s and ’80s Las Vegas has much experience making “performance” wigs. Douglas’

2422 25 Real and made by Cristina Patterson) to make his light blue eyes appear brown. The prosthetic pieces alternated between gelatin and silicone depending on heat, humidity and perfor- Above from left: Dan Aykroyd, Rob Lowe and a lift head mance. Meanwhile, back in New York, Stephen Kelley (who made the positives/molds), was running the daily pieces for the production. sure he thought she had a crush on him, since she kept ask- approached Christien Tinsley (Tinsley Studios) to help For the scenes when Liberace gains weight (he loved ing him for his photo, and a lock of his hair! design and facilitate the fabrication of the needed prosthet- to cook for his younger man), Kelley came out to assist The second wig was that same base color highlighted, and ics. He, in turn, brought in Hiroshi Yada to do the sculpt Kleitsch with the application of the “fat” large wrap piece—a the third even more highlights. Then the final wig was dyed and mold making. Tinsley agreed that the big challenge two-person job. The silicone “fat pieces” (Mike McCracken brown and plain. The styles were picked from actual photo- was going to be finding the balance between the ridiculous did rough sculpt, Kleitsch finished) were molded and run by graphs of Scott, so she just based the progression on what reality of what the surgery augmentations did to Scott and Matthew Mungle (W.M. Creations) as well as the fabrica- actually happened. what they could get away with visually on-screen and make it tion of custom silicone bald cap appliances. Scott went through many physical changes during the believable. On set, Ms. Beveridge “double teamed” the pros- Above: Debbie Reynolds In the story, Liberace then decides to rectify the weight 10-year relationship with Liberace. Chrissie Beveridge was thetic application with Hiroshi Yada and then would take Top right: Jamie Kelman at work and age-difference situation by getting plastic surgery! For brilliant at helping Damon transform into the many looks; over the coloration. It was always a two-person application the pre-surgery scene, the bald look/cap and the large wrap a naive, sexually confused teenager, a Vegas stage performer, job and they worked brilliantly in tandem. wigs needed to look “hard-front” and to be varied enough in piece was applied. an overweight, indulged boy-toy, plastic surgery “victim,” Douglas and Damon were not the only ones who went look so it seemed like Liberace was swapping them out day- Later on when Liberace becomes ill, everything was used: and drug addict. through major transformations. Other notable actor-meta- to-day. Smith had six toupées made, which she then permed, lifts, appliances on his nose and chin, smoothing appliance Beveridge did an incredible job of making Matt Damon morphoses were Debbie Reynolds into Frances, Liberace’s cut and colored. work on his forehead, partial bald cap with lace and punched look fresh-faced and 18 years old (Damon is 42). She mother; Scott Bakula into Bob Black, the man who intro- Todd Kleitsch, who designed, sculpted and applied the hair to show the side effects of living with AIDS in the decided on using plumpers (dental appliances made by Art duces Scott to Liberace; Dan Aykroyd into Seymour Heller, gelatin and silicone prosthetics to Mr. Douglas, got his mid-’80s. Sakamoto), which attached to the upper teeth, changing the Liberace’s manager, and Rob Lowe into Liberace’s plastic research from all sorts of sources—live footage, books, To create the Scott Thorson character, Matt Damon face shape, adding a roundness. She also used larger size surgeon. Internet, etc. As far as Steven Soderbergh’s direction, it was brought along his longtime hair and make-up collaborators, plumpers for the point in the film where Scott Thorson has Marie Larkin, Jamie Kelman and I teamed up for the honor to not cover up Michael Douglas in make-up. They both Kay Georgiou and Chrissie Beveridge. gained weight and become visibly more rotund. The costume of doing a “make-under” on Debbie Reynolds. When I say wanted to use as little as possible to suggest a similarity Georgiou designed four different wigs, the last one, department also added stomach padding. “make-under,” I really mean it—Reynolds does not look her between Mr. Douglas and Liberace without creating any- being a three-quarter, which incorporated some of Damon’s Beveridge needed to then contrast Damon’s youthful look age. She still is absolutely gorgeous and sings and performs thing that would interfere with the audiences’ connection own hair. All of Matt Damon’s wigs were made by Martial with his “crazy, post-plastic surgery look” which would be regularly. She was incredibly enthusiastic about playing to Douglas. Corneville. quite a shock to the audience. In real-life, the plastic surgery Liberace’s mother since she was a dear friend of his. She Kleitsch did as much as possible to counter the thinnessRock The research was taken from old photos of Scott, mainly that Scott Thorson had was so extreme that it would have even had an act with Liberace in the ’80s, so needless to say, of Mr. Douglas’s face compared to Liberace’s. He used all from his book and Getty Images. Our costume designer, looked unbelievable to try to duplicate it in the movie. Not she was a wealthy source of information. As soon as she was the out-of-kit tricks; widening the space between his brows, Ellen Mirojnick, also had some incredible research. Since wanting to cross the line into caricature, Chrissie Beveridge cast in the role, she told the costume designer she needed diminishing the vertical lines in his forehead (with tinted Georgiou was only able to judge what color blond Scott was and Steven Soderbergh agreed that the look should not a wig and a prosthetic nose. How many 81-year-old women and textured 3rd Degree), grooming the sideburns to sug- when he was young from the photographs, it was a ques- be distracting. Damon should wear prosthetics mimicking insist on that?!? gest “width,” also opening up Michael’s eyes by plucking tion of looking through hair samples, and choosing what cheek implants, a chin implant, and a change to his nose. Marie Larkin went to Renata Leuschner to make the wig underneath the arch of his brow & highlighting. looked most suitable on Damon. For his first wig, Georgiou Beveridge consulted with an actual plastic surgeon who for Ms. Reynolds. Ms. Reynolds wanted it to be exactly Every day, Mr. Douglas wore at least a nose, a chin, side- managed to find the perfect hair color on a crew member of practiced in the 1970s in Los Angeles. The plastic sur- like Frances Liberace’s extremely soft, fine, pure-white burns and color-adjusting lenses (applied by Jara Fernandez Promised Land. Georgiou jokes that he was about 26 and she’s gery procedures had to be reenacted on camera. She then hair. Because of the beautiful pale color and the very fine 26 27 lace, Larkin chose not to use a wig cap underneath, fear- skin tones recorded from her life cast session. Rob Lowe also wore dentures (made by Chris Gallaher) Because Marie Larkin and I really wanted to evoke the ing it would show through. She very carefully flattened and The rest of her beauty make-up involved some of my that made his teeth look way-too-white and way-too-big. We distinctly excessive culture of ’70s and ’80s Las Vegas, we concealed Ms. Reynolds’s own hair underneath, then applied make-up tricks and a few of hers from her day—the grey- kept his skin as bronzed and as shiny as possible. did a huge amount of research coming from the archives of the wig directly. She then styled it into the “Gibson” that sharpened pencil to draw individual brows, lining the eyes Marie Larkin designed his wig, keeping in mind (lucky for Liberace Museum (unfortunately now closed), actual per- Frances often wore. Since the hair was always worn in an with white pencil, Ben Nye Mellow-Yellow concealer, etc. me) that it would need to hide the many tapes of the lifts formance footage, personal interviews, books and of course, up-swept do, Larkin used Baldeez plastic cap material to The character of Bob Black (Scott Bakula) was ficti- that were surrounding his hairline. The hair inspiration was the Internet. We made up two dozen “inspiration boards” of glue the lace to the nape of the neck, adding comfort and tious, so director Steven Soderbergh used artistic license. the highlighted disco hair of Barry Gibb. photos to have around us and the background at all times. flexibility. The back-story was that Bob was a choreographer by trade, Lowe needed to learn how to perform “period’ plastic The hair work was immense. Along with cutting, coloring, I asked Jamie Kelman to design and make the requested which is how he is able to introduce Scott to Liberace. The surgery for a scene where he operates on Michael Douglas and perming the actors, all types of wigs were utilized; cus- nose. We were invited to come into Ms. Reynolds’ home to do reference photos Soderbergh gave us were of the character and Matt Damon. While Douglas and Damon were really tom lace-fronts, hard-fronts, toupées, falls, wefts, and wiglets. the life cast. Before walking in, both Kelman and I were both George in Shampoo. He wanted him to look like a cross on the table for the scene, inserts of cutting were done Pieces were permed, colored, cut, wet-set, roller-set, and blow- gulping with pressure of doing a face cast & prosthetic make- between Bob Fosse and a gay . Add wig, mus- on amazingly eerie dummy replicas provided by Quantum dried. Wigs were often incorporated into the actor’s own hair up on Hollywood royalty. However, all of that anxiety was left tache, suntan, dyed-black chest hair and voila! Creation FX. We had a surgery consultant on set as well as to achieve both natural and stylistic demands of the script. on the front stoop. Ms. Reynolds welcomed us in with open Seymour Heller (played by Dan Aykroyd) was Liberace’s the Taschen Book called Aesthetic Surgery. It became our bible. Make-up was equally as intense. We used every technique arms and fresh-baked cookies (no kidding!). She explained manager for more than 30 years. Through research, Marie Considering this was considered a relatively low-budget we knew to illustrate the time period and Las Vegas per- that her brother had been a well-known 706 make-up artist, Larkin found out that Heller wore the same old toupée for project, there was a huge amount of work to be done in the formers: stage make-up, spray tan, lace, painted and hand- William (Billy) Reynolds (The Waltons, Knot’s Landing), and decades; smelly, dirty—just threw it on his head every day. make-up and hair departments. Marie Larkin and I were laid sideburns, mustaches, chest wigs, tattoo/piercing cover- that he’d told her that she HAD to wear a nose. Larkin wanted to make his toupée look bad/obvious. Larkin so fortunate to have such wonderful make-up artists and age, eyebrow, lip and nail shape and period cosmetics, etc. We took the life cast impression of her face and another and make-up artist Deborah Rutherford would paint his hair stylists come to work on the movie. Yvette Stone and The important thing we wanted make-up and hair designs of just her nose to capture the inner nostril detail all while hair and sideburns either darker for flashbacks to the ’50s Deborah Rutherford looked after more than 100 principals to show was not the obvious spectacle of Liberace. While she told us anecdotes about the business and showed us her or more silver for the present day scenes. with help from talents such as Medusah, Frances Mathias, Behind the Candelabra enables the audience to revisit the huge collection of Hollywood memorabilia. We even got to Rob Lowe’s character, Dr. Startz, plays the super-pulled David DeLeon, Deborah La Mia Denaver, Don Rutherford, famous performances, we hope each viewer comes away with hold Dorothy’s ruby slippers! plastic surgeon who performs the plastic surgeries on Valli O’Reilly, and many others. We had awesome crews in a timely message—behind the candelabra was a man who Kelman returned home to sculpt two noses: one that Liberace and Scott. Steven Soderbergh wanted him to look Los Angeles, Palm Springs and Las Vegas who helped get sadly stopped at nothing to maintain his image and keep his exactly matched Frances Liberace, and another that looked like he’d had a lot of work done himself and I was happy to more than 2,500 background actors through the works. lifestyle a secret. • more correct with the balance of Ms. Reynold’s face, which go to town if Lowe was willing. When we met to do a first became the nose we all agreed worked better to ultimately test, he said, “My wife (Local 706 make-up artist Sheryl create the character. The nose was cast in silicone to match Berkoff) suggested that I try these things called ‘lifts.’” I immediately showed him my inspiration photos of come- dian Carrot Top, Italian Prime Minister Berlusconi and Katherine Helmond in Brazil, who all have extreme face-lifts. He started laughing and said that he wanted to be pulled as tight as he could. And we did. We agreed that Dr. Startz should look like he’d had every rejuvenating treatment available in the ’70s—face and brow lift, capped teeth, sun tanning, etc. I fabricated this kind of bondage-like contraption that would sit on his head under the wig. This harness was made of a central plastic anchor with all of the elastics splaying out in all directions like an octopus. Marie Larkin would fasten the anchor on the crown of Lowe’s head in several pin curls. While Larkin would stabilize the anchor, Deborah Rutherford and I would each, at exactly the same time, pull and adhere the opposing ends of two lifts. For example, if I pulled a left brow, Rutherford would pull the right nape of the neck. For every tape adhered, there was always one pull- ing from the opposite side of Lowe’s head. We did this in order to alleviate and kind of discomfort by disbursing/dis- tributing the resistance all over his head. By the time we were done, we were using 10 sets of lifts! He never complained once about pain. However, I suspect that, at the time, he had a broken ankle and was thinking more about that. Scott Bakula 28 HAIR by shawn finch transformation and to be part of helping a person feel con- Department Head Hair Stylist fident, sexy, nurtured, understood. There are so many facets Hello artisans!!! My name is Shawn Finch and I am the of helping these remarkably talented people find their exterior The voice Department Head Hair Stylist for the television show The “Voice.” The hair and make-up teams are really there for con- Voice. I have been on the show since the start, and it is now testants and they feel the love and care and are so very appre- in its fourth season on NBC. When I was first approached ciative that it makes for a great working environment. Even about the show by the fabulous Darcy Gilmore (Department though I am saying goodbye to some of the artists at the end Head Make-up), I never thought it would end up being the of the day, I leave the show with a smile on my face knowing number one–rated show on NBC, let alone the show that that these incredibly talented people are going onward with would garnish me my first Emmy nomination. I thought to their careers and we have helped them out on their journey. myself, “Shawn, you have been doing episodic and sitcoms The final phase of the show is “The Live Shows.” for 15 years, maybe it’s time to check out ‘Reality TV,’ it’s got to be easier ... only 10 to 12 weeks a year ... I’ll be rested It’s crazy, exciting and challenging as The Voice progresses to finally ... no 80-hour weeks for 10 months ... I won’t have to the live shows and for me, to be able to design weekly new and get plastic surgery to not look run over by a truck!!! Think of innovative looks for the 16 remaining artists that are in the the money that it will save me!!!” Did I mention that because competition. They are all excited to be transformed weekly of the success of the show we are now doing back-to-back sea- and always interested in what their next look will be. My sons of The Voice and we are only getting two weeks off from designs for their hair looks revolve around the actual song now to the end of the year? Back to the plastic surgeon for me. that is going to be sung and most often the wardrobe that has been chosen. I work closely with the costume designer I think the thing that would surprise most of our union for inspiration and find it key to making a cohesive look brothers and sisters is that we don’t have a permanent loca- for the contestant. I have a meeting each week with my hair tion or setup on The Voice. We film at Warner Bros., Universal, styling team before the live shows to share my inspiration Sony and locations throughout Los Angeles. So most every for each contestant, give instructions and answer any of day, my team is bringing their supplies. I am bringing all my their questions. Also added to the equation each week are “tricks of the trade” and we are setting up and most often designs for the background dancers, styling the band, the breaking down at the end of the day. We set up in office background vocalist, accommodating the needs of the guest- rooms, conference rooms, tents, people’s houses and on the starring vocalist/bands and styling “coach” Adam Levine’s filming stage itself for “last look” stations. We have no trailer, hair. Yes, Adam is amazing. I have an incredible team that no washing sink, no storage and no permanence, so every week usually consists of 5–7 hair stylists, all whom could easily do I design the show and travel around town to buy my supplies my job as they are veterans and fantastic artists. My hair team for that week’s show (extensions, wigs, hair ornaments, color). I have a salon space in my home and have the contestants come to get their hair color needs done before the actual day of “live” shows. It’s crazy to basi- cally carry the whole hair department needs of the show in my car at all times but between me and my key, Jerilynn Stephens, we make it work.

One of my favorite aspects of the show is taking the artists/contes- tants and helping find their “look” or “image.” We start off with 130 vocalists; style and groom each of them for the “Blind Auditions,” and then week by week we help the remaining artists evolve into super- stars. It is so amazing to watch the Nicholas David – unstyled Nicholas David – styled

30 31 members all work on other shows and each week Jerilynn and The actual make-up application has really evolved into a I are constantly rearranging schedules with who can work for flawless red carpet look. Every inch of exposed skin is made us on certain days and who can’t. We are also under the gun of up. We make a true attempt to have each of The Voice artists A last-minute changes producers of the show need to make. The feel confident and flawless. After four seasons, the artists volume of texts, emails, instant changes and other intricacies really almost know what to except from us. Some quite Mermaid’s Tail of working on this kind of show is mind-blowing. I am on my frankly tell us our department is something they were look- phone and email and texts all day, every day, from 8 a.m. until ing forward to experiencing. The make-up looks actually 10 p.m. and it is a constant beast that needs feeding. Nothing begin with the cleanup of the complexions for TV–friendly at all similar to any episodic or sitcom I have ever been on. So faces during Blind Auditions and move incrementally to a remember when I thought this was going to be easier doing full-glam effect look by the time they reach The Live Shows. THE IDEA… ... “reality?!” Well, I got a “Reality Check!” There is more pruning than you can imagine happening with TaleHOW DOES ONE PUT ON A TAIL? brow grooming and facial hair from the start. And then we I had done a peacock make-up for last year’s IMATS and I was We did a test fitting and the best thing to wear underneath MAKE-UP have negotiated an actual detailed hour per artist on most of trying to think of something new and unique to do for the fol- for Tatiana was low-cut panty hose. We used a lot of Baby the beauty looks during The Live Shows. Believe me, those lowing January show. You know how those light bulbs go on in Powder to coat the inside of the tail and also coated her legs by dArcy gilMorE your head? Well, that’s what happened! A mermaid on a big rock Department Head Make-Up Artist HD cameras have no secrets. Also, I love the collaboration and thighs. We then took baby wipes, cleaned off the excess of working with the artists and trying new looks that maybe with seaweed a palm tree, well, now that’s different!!! Now, how powder around the blend area of the waist on the inside of Here I am, loading-in NBC’s The Voice to our temporary they never considered or were more married to an image to make it happen… the tail and glued it down with Telesis #5. We got very lucky make-up digs we call the “Glam Room” at Universal. I can from their past lives with record companies. It’s also fun ’cause it was a perfect fit! The tail had lost a lot of its luster only describe it as a WOW factor. This is now the fourth when we have all of the eliminated artists return for group FIRST THINGS FIRST… so asked Teri if I could repaint it. She said as long as I use season of The Voice and it is like we just began a few months performances. It’s like seeing old friends. And if my math is After I had asked my model, Tatiana Dekhtyar, if she was up the same colors, it would be ago. Music is playing, artists are filtering through a very correct, last season we put up to 50 or more make-ups on to the challenge and cleared it with Michael Key for the floor worked over excel schedule that we share with Hair and one episode and done well—I truly believe in my team. On space, I knew what was next. Where does one find a mermaid Wardrobe. There are hundreds of eyelashes, body make- any given day, we put ALL of the artists, dancers, musicians, tail? I didn’t have the space or time to make one so what to up and all of our secrets that make the The Voice signature voice band, special guests appearances and any additional do? I placed a post on Michael Smithson’s MUM look. The show is enormous and takes a lot of moving parts requests through our department. We even do full-body tat- (Facebook) site “Does anyone have a mermaid tail in order for it to run smoothly. It is unlike any show out too cover on dancers’ bodies, which need to be factored in I can borrow or rent?” I had checked with Robert there, kind of a controlled chaos combination of backstage- the schedule. All have to be choreographed while also meet- Short, who did the tail for Splash, he had noth- at-a-runway show and a variety show. As department head, ing the needs of Adam Levine. I have been lucky enough to ing useable but he mentioned Teri Hardin who I am in constant communication with the producers about be his personal make-up artist since season one. had made her own tails in the past, and that she logistics, manpower and the upcoming schedule. During might have one. It’s funny how things gel, ’cause the “Blind Auditions,” we have to keep continuity on In the end, I am proud of all of the hard work from my team as soon as Bob mentioned that, Teri answered my approximately 150 make-ups to be shot over four or five and the payoff that we all receive individually feeling a job post on MUM and that she might be able to help days, and re-created by sometimes a new artist every day! well done. I am well aware that the “money shot” is a close- me out. Teri’s tail had been in storage for more than We don’t “live” anywhere specifically like most shows and up of the artist’s face expressing being saved another week 20 years! But she thought it was still flexible and in have to load-in-and-out nearly every day for a new location. to perform or winning the title of The Voice. We’re proud to good condition. Teri was an imagineer for Disney for Meaning, EVERYTHING including supplies, back stock, take credit for that shot!• many years so we had a lot in common. Big question was remote office and our personal make-up kits. We have small would Teri’s tail fit my model’s waist, hip, thigh, and leg reprieves when shooting the “Blind Auditions,” “Battles,” length? Yes, these are the things to keep in mind. It was then “The Live Shows.” truly a learning experience every step of the way.

I pinch myself at how wonderful our Local 706 artists are by B ARRy R . kOPER that work on the show, both professionally and person- JOURNEy MAN ally. The core team of make-up artists are Sherri Simmons MAk E-UP ARTIST (key), Kristene Bernard, Carlene K, Thea Samuels and Molly Tissavary. Some work for a portion of the shows and move on or back to their regular gigs. It is a really tightly knit family atmosphere. To walk in to the Glam Room seeing all of the artists huddled around a product and sharing why they like it and how it’s used, really brings me joy. I love that if one person likes a product, we buy enough for the whole team. It goes without saying that we are also very supported Getting into the tail by amazing companies like MAKE Up fOR EVER, Stila Cosmetics, MAC Cosmetics, Girlactik Beauty and Carlene K Body Bronzer, to name a few. 32 33 opaque with the color of the glitter. I cut the tips of the pods at slight angles so they could be glued into the wig with Pros Aide in a contact glue method—now it looked like the kelp Tatiana Dekhtyar in full mermaid garb. was growing out of the hair! We also added to the wig streaks of deep purple hair color to break up the solid color of the wig. Once everything was colored and prepped, it was time to do a final fitting and test eye shadows, eyelashes, lipsticks. I used Graftobian’s “Temptress” HD Foundation as Tatiana’s base and did your basic showgirl look with contour & high- OK, I NEED TO FIND A LARGE ROCK! lights. I found these great eyelashes at Frends Beauty Supply Here’s the thing, once you have a mermaid in a tail, she (Stilazzi Lashes Fantasy #924), they had little black balls on cannot move, sit or walk, or go to the bathroom! This is the end of each eyelash. I coated each ball with iridescent opal important to keep in mind if you are ever doing this for a film! white PAX paint and then did a final coat of matching opal You actually need a “mermaid wrangler” or a team who will white powder over the PAX to set them. They now looked be with your mermaid. She will need to be moved, lifted, and like little bubbles! To go with that I found at Michael’s Art Lady Godiva wig but that’s just what it is. So I ended up fine. So I took the tail and spent six hours repainting it with positioned as long as she is in her tail. Supply, in their wedding section, sheets of all different size getting two of the same wigs. I cut the crown off one of the iridescent pigmented deep purples, violet, opalescent silver I found a great set-decorating company in North Hollywood half-round pearls, I glued these with Pros Aide going up one wigs and spread it open and affixed it at the underside bottom and white to pop the highlights. I wanted it to shimmer the called Jackson Shrub Supply. They create all kinds of natural side around the eye, and down the other giving a flowing edge of the other wig. This gave me the full length I needed. way fish scales do when you hold them up in the light. settings: everything from plants to giant rocks for the indus- bubble effect, I then dipped my brush in Graftobian Magic I wanted to glue some seaweed into the hair to make it look try. They even have an original piece from Gone With the Wind Set Liquid and dipped my brush in a Opal Pearl Glitter and SO WHAT DOES A MERMAID more sea worn. Now you would think that this is no big deal, that they had made for the film! I brought Tatiana with me. brushed it all around the pearls. This, added with the lashes, WEAR ON TOP? but after searching on the Internet for two days with no luck, We had measured her full length in the tail from head to toe created a 3-D effect when Tatiana blinks her eyes, it looks it had become an obsession to find it! I tried everything from Now that the tail was behind me, I needed to figure out and she was almost seven feet long. We needed to find a rock like the bubbles floating off the skin around her eyes. For her aquarium shops to costume shops to set decoration to find what to use for the breast area. I didn’t want to do the tradi- with a dip in it so she could sit sidesaddle when in the tail. eyes I used Graftobian “FantasEyes” Purple, Fuchsia Fervor, fake rubber seaweed! Come to find out that I was not using tional clam shells bikini top; that’s been done to death and I You see, the tail also has a dorsal fin which makes sitting White Opal, & Pink Deco. I applied the eye shadows with the proper name for seaweed which is “Kelp.” OK, now I get wanted it to look more organic. I have this great relationship upright impossible. She needed to be comfortable for a long Magic Set Liquid and when dry used matching Graftobian it! Artificial kelp is made overseas and everyone gets it through with Rob and Jennifer Burman, who I had used their line of period of time, so if necessary, we could place some dark sheet Glitter Powders over the top. I also got this real large flake the same supplier who sells it to large aquariums like the Long appliances for creating my peacock make-up, and I knew they foam on the rock for her to sit on. But that was not actually glitter in an iridescent shimmer that looked like fish scales Beach Aquarium, and it costs about $100 a foot! And there had a line of sea shell appliances for their “Rubber Wear” needed. We found two rocks that worked well and we went when it was glued on the body, this helped to pull the whole are only about four or five pods on a foot. You also have to Company. I had found a perfect-sized starfish and asked Rob with the smaller rock so our mermaid would not look like she look together. I created two tattoos, one for each shoulder; order it months in advance because the company here does not if he could cast a mold of it and run me some foam starfish was being dwarfed by the size. We were taken into a room one shows a sailor being caught on a hook like fish being want to keep it in stock because it is so expensive. (OK, let’s to use over the breasts. Once I had the starfish, I then filled in filled with fake rubber plants and leaves. I asked, “Do you have pulled to the surface. The other shows a man being hung put the kelp on hold for now!) I then took Tatiana to Vision around them with other shells from Rubber Wear’s foam line any rubber kelp?” They had a little piece of used kelp about upside down like a caught fish on display; you know the kind Care, where we did a test fitting with Dr. Stacey Sumner for and also created the facial look with more shells. I would have two feet long. I begged, “Can I use that?” They replied, “No, where you have your picture taken with the “catch of the day”! some violet contacts to go with the color theme… loved to have just used the shells on the breasts as a finished but you can have it!” ... kelp problem solved. look but I felt it was a little too “R rated” for IMATS. So I then got some old fish netting at Michael’s Art Supply. It was PAINTING, PREPPING AND real stiff so I washed it in warm liquid soap to soften it. The REHEARSAL FITTINGS idea here was that the shells had affixed themselves to our Once I had all the foam appliances from Rubber Wear, I mermaid like barnacles and that the fisherman’s netting was used MEL Products PAX Paint to paint all the various sea a wrap around them. I added a real shell in the middle of the shell appliances. I decided that in keeping with the purple netting and also painted it to match the overall paint scheme. colors of the tail I would create a color range of pastels for the shells as well. I also used different texture stencils over WIGS AND SEAWEED ... the base paints and airbrushing and painting by hand. On NO PROBLEM ... RIGHT?! top of the finished shells I used an opalescent hairspray by I wanted to find a wig that would complement the purple- Graftobian Make-up. I coated each kelp pod with Scotch hued tail, something long and flowing with soft curls to Brand 77 Spray and then with a large old rouge brush I dipped cascade down to where the tail blends into the waist. I found it in Graftobian “Violicious” glitter and coated each side of a great wig at Wilshire Wigs, (Style: Scarlet, Color 1B). the kelp. Only problem: there is not one wig company that makes a This created a real neat effect that when light hit the kelp. full-flowing wig that long. Oh yes, there’s your cheap-looking It was translucent, but if you took it out of the light it was 34 35 EDUCAT ION PRESIDENT THEATER EDUCAT ION NEWS FROM THE PRESIDENT THEATER NEWS

THE DEMOLOCAL AND NOT RUINING NEWS THE ILLUSION!LOCAL BUSINESS EXTENDED FAMILY NEWS GUILD So we applied the make-up from the waist up on the IMATS GUILD NEWS stage, from 9 a.m. till noon, we then gave Tatiana a lunch and In Memoriam bathroom break for an hour. We had rigged around the rock a privacy curtain so that we could slide Tatiana into her tail, glue Nancy Baca (1953–2013) Loren Cosand (1913–2012) Isabella Wiley (1965–2013) her in, and then have her lifted onto her rock by two strong men! Originally from Cleveland, Ohio, talented and skillful at many Records show that make-up artist Loren Cosand began working Born in Graz, Austria, Isabella moved to Paris at the age of 20 to Once in position I applied a mixture of Ultra Wet and water levels within the craft of make-up, Nancy Baca joined our Guild in at MGM Studios in 1938, just after Local 706 gained its Charter study make-up artistry at Christian Chauveau Make-up Academy, to the tailREPO to give RTit a “wet look.” Fake kelp was placed around 1995.LOOKS She first worked at KTLA and then was fortunate enough to as an IATSE Local union. He applied for apprenticeship training and received her hair styling license in Austria. After graduation, her and final touchesFROM toTHE her SECREThair. All thisARY- wasTREASU done withoutRER the be workingLAST on Very LO BadOK ThingsS with Jeanne Van Phue and Daniel in 1940 and became a full member in 1946, after serving in the she practiced her artistry on the runways of the French fashion public seeing any of this. Once we were ready, the curtains were Curet, when the film was organized into a union production. She armed forces during World War II. Loren had a long and varied houses and with internationally known photographers. As with pulled away and now you have a complete finished image! No became a journeyman make-up artist in 2000 and her beautiful career in both feature films and television. His credits include films many artists, she desired to spread her wings into the world of fea- one sees how it all happened! That’s part of the magic! When artistry propelled her to work both in feature films and television. with John Wayne (The Sons of Katie Elder & The High and the Mighty ture films. Although in demand with dozens of film credits to her Tatiana needed a break, the curtains would be put back in place. From beards to beauty, make-up effects to eyelashes, Nancy worked (both with make-up artist Web Overlander), Dean Martin (Kiss name in Germany and Austria, she knew she wanted to do more. She would be placed on a sheet on the ground behind the rock on a wide variety of productions from The Power Rangers to The Me, Stupid & Toys in the Attic), Kirk Douglas (Posse), James Cagney and unglued from her tail and she would put on a bathrobe and Wild,NEW Wild WestS, from NYPD Blue to JAG, Monk, Rizzoli & Isles, (The Gallant Hours) and Jack Lemmon and Walter Mathau in The Isabella immigrated to America and expanded her skills to include take herLETTER break. S and Without a Trace. Nancy created memorable characters for both Fortune Cookie. In the early 1970s, Cosand was the make-up artist special make-up effects, hair ventilating, wig making, as well as LETTERS TO THE ARTISAN HEALTH AND WELFARE NEWS I share all of this with you because I think sometimes when the big and smaller screens and her wonderfully dry sense of humor on the long-running television series Lassie. body painting. She worked with Erwin Kupitz and applied her we take on something new like a mermaid, there are things that and genuine friendship made her a welcome addition to every talents to festivals, stage tours, press and editorial junkets and the come up that you would never think of because you are only crew. Most recently, she worked alongside Ela Barczewska, Maxine Loren retired in 1975, and moved to New Mexico and Arizona. He 1998 Star Trek World Tour (Germany) as supervisor of make-up thinking about the make-up and not other areas that may fall Morris and the crew on Justified. began a second career as a painter, and his works became popular at and hair. through the cracks! Here is a project where I had to wear many art festivals and galleries. He enjoyed good health until he fell and hats, everything from Make-up, Hair, Wardrobe, Set Decoration Many did not know that Nancy was diagnosed with pancreatic can- broke his back in late 2012. Aged 99 at the time of his passing, With years of experience doing both crafts Europe and the United and Logistics. I had a lot of great help from my Crew; I would cer CREin the summerW of 2012 as she kept it personal and private. She Loren was survived by his loving wife Marlene, who has donated a States, she persevered and focused her talents on one. Isabella like to thank,HIGHLIGHTS Shannon McDonald, Maria Amrhein, Lens Tech, had been a true friend to many, always willing to help. Those same number of photos of Loren Cosand to Local 706. achieved Local 706 membership as a make-up artist in 2008. She HIGHLIGHTS AND SHADOWS CREW SHOTS Connie Criswell. My Sponsors, MEL Products, Rubber Wear, friends rallied to support her in her valiant fight, giving her sup- was determined and dedicated to expanding her knowledge even Graftobian Make-up. Professional Vision Care, my model, port to bolster her spirits through the rigors of cancer treatment. more, often attending classes and meetings, always with an upbeat Tatiana Dekhtyar, Teri Hardin and Michael Key.• Nancy was greatly loved, not only by her fellow crew members, but attitude and a passion for the art. She was joyous, energized and by her cast. excited when working on union productions and fulfilling her INFORMATION dreams. Unfortunately, she developed breast cancer in 2008. She I have enclosed some suppliers that should you ever do Nancy’s life was beautifully honored was on Sunday, May 5, at endured four surgeries, five radiation treatments and eight rounds a mermaid, will hopefully help you! Westwood Village Memorial Park. of chemotherapy. All during that time, she would determinedly EVENTS CREDITS fight back and the disease would go into remission. When strong MERMAID TAILCA RENTALS:LENDAR OF EVENTS PHOTO CREDITS http://www.themertailor.com enough, she would work periodically on union and non-union http://www.mermaidrentals.com productions. Rarely has the world seen such a will to fight and http://www.mermaidtails.net fight again. She would attend membership meetings with every SEA SHELLS: color of hair (usually pink or a version of red), always having the http://www.seashellsupply.com upbeat spirit of someone who passionately wanted to work and raise her family. SEAWEED & KELP: http://www.livingcolor.com Sadly, the disease metastasized within recent months and she Loren Cosand (second from right) making up Deborah ROCKS & PLANTS: fought bravely until she passed on Sunday, May 5, surrounded by Kerr on the set of King Solomon’s Mines. Jackson Shrub Supply, Inc. 818-982-0100 loved ones. Courageous, always positive and whimsical, Isabella Wiley is survived by her devoted and loving husband, animator SEA SHELL FOAM APPLIANCES: Daniel Wiley and their teenage daughter Sabina. It was Isabella’s http://www.getrubberwear.com wish not to have any services, but that a white rose be planted in PAX PAINT: her memory. http://www.melefx.com Correction MAKE-UP & GLITTER: Trainee hair stylist Nicole (Frank) DeFrancesco’s passing was http://www.graftobian.com listed as January 18 in the winter 2013 edition of The Artisan. The correct day was January 17. We apologize for this error. WIGS: http://www.wilshirewigs.com 37 EDUCAT ION PRESIDENT THEATER EDUCAT ION NEWS FROM THE PRESIDENT THEATER NEWS

LOCAL NEWS LOCAL BUSINESS EXTENDED FAMILY NEWS GUILD GUILD NEWS

REPORT LOOKS CINEMAMAKEUPSCHOOL FROM THE SECRETARY- TREASURER LAST LOOKS The Blonde Bombshell

LETTERS NEWS LETTERS TO THE ARTISAN HEALTH AND WELFARE NEWS Celebrating over 20 years as Hollywood’s professional makeup school.

HIGHLIGHTS CREW HIGHLIGHTS AND SHADOWS CREW SHOTS

EVENTS CREDITS CALENDAR OF EVENTS PHOTO CREDITS

Sex symbol Marilyn Monroe in a make-up ad for the Westmores of Hollywood promoting her 1953 film noir thriller Niagara. “Something Fishy This Way Comes” cinemamakeup.com 38 Makeup by Inspired by the work of H.P. Lovecraft 213.368.1234