I did a lot of mood boarding with different lengths of Afro hair in different styles and manipulations. , I had gone a lot more down the natural hair route because I wasn't sure what length Michaela's hair was - if it was longer, then we obviously had to bleach it, dye it pink, all of this kind of stuff. The only thing that was scripted in the original was that Arabella was a Black girl with pink hair. If, for example, I don't know who the actor is, I make sure I every ethnicity, every hair type, because I don't want to assume any roles, unless I'm aware of who they're looking for. I made mood boards for each of the characters. I've lived in London about 16 years, and for me, it was a really exciting prospect to be able to put my love note, my interpretation of a Londoner, onscreen. They liked my mood board, and we just went from there. Swan: It was genuinely a job interview for me. And it's one of my favorite bits because you just get to imagine the person and go from there and build her: What would they wear? What works? And then you can go back to the producers-directors, and Michaela, in this case, and say, "This is what we're thinking." It's a narrowing-down process from there.Īllure: How did you end up working on I May Destroy You ? It's a really cohesive process, working with those departments. Then I coordinate the hair and makeup to go with or complement a well-rounded character. So I usually go to costume, find out what they're thinking and what their options are. Obviously, you read the scripts and costume is a huge part of the character. Is that their normal look and stuff? And to be able to portray that on the screen, to make people feel more real, it's just been an absolute pleasure. I love looking at someone on the tube, on the street, and wondering why they look like that, where they're going. Bethany Swan: I'm still quite new in the design world, but it's been incredible to create characters and use hair and makeup as the story.
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