the company that released:
Steven Spielberg's "The Post", "Molly's Game", "I Tonya" and "Wonder" in 2018 and "Sicaro" and "Eye in the Sky" in 2017
Producers: Kevin Proctor & Mark Vennis (POW Films) & Charlotte Arden (Gizmo Films)
Single Card Credit as
Make-up and Hair Designer
This is a story told over 4 decades. We take the eponymous "Funny Cow" over 4 decades with 3 actresses, "Funny Cow Mum" over 4 decades with 2 actresses, "Funny Cow's" boyfriend 3 decades with 2 actors and "Funny Cow's" brother over 3 decades with 2 actors - and if that wouldn't boggle the mind a bit, imagine what it was like to create the best possible links of likeness from a design point of view with haircuts, wigs and contact lenses.
I had a very modest bonded budget for 36 principles and 96 crowd, which grew while we were filming to about 400, most of who were for the 1970's, one of the most expensive periods for make-up and hair. So you see the challenge before me. Thankfully, I had met with Adrian and Kevin early days and was on the picture unusually early, this coupled with the film being put back a couple of times, meant I could prep very thoroughly which not only enabled me to distill our period looks clearly, but saved the fortune we didn't have.
It was an absolute privilege to work with this seriously talented and experienced cast including Maxine for the third time. I'd previously worked with her on "Henry IV Pt.2" and "The Falling".
So our cast were - Maxine Peake, Paddy Considine, Tony Pitts, Stephen Graham, Alun Armstrong (who I also made up on "The Hollow Crown", Lindsey Coulson, Christine Bottomley, Kevin Eldon, Diane Morgan, Hannah Walters, Hebe Beardsall, Tom Gibbons, Adam Gillen, Vic Reeves, John Bishop, Richard Hawley, Corinne Bailey Rae (36 main cast in all, 13 of whom wore wigs).
Adrian Shergold was a delight to work for. He's so experienced and assured. To get started with the look he sent me a link to a film in a Sheffield pub in 1964 from which I took the blue collar tone back to the 50's and forward to the 70's and 80's. I also watched several kitchen sink dramas, iconic films of the 50's and 60's to explore looks for the women in the film. My research turned into a 36 page document which was incredibly helpful for discussion with cast and for my team to "get their eye in" to where I was going with the design.
Kevin Proctor, our producer was so appreciative of the work that went into this document. He could see how it clearly nailed down telling our story with tone and period looks and how it and my involvement in the crowd casting leveraged logic to deliver the look and save money.