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Lashes, Lashes, Lashes: What It Took to Give the ‘Bombshell’ Women the Fox Look Lashes, Lashes, Lashes: What It Took to Give the ‘Bombshell’ Women the Fox Look
(about 20 hours later)
They were Roger’s angels. Megyn Kelly, Gretchen Carlson and the other women at Fox all had a specific look that was intended to please him. New York Magazine once described it as “pert noses, bronze skin, blonde hair”; they showed lots of leg, were almost always white and, in the end, appeared “conspicuously unnatural.”They were Roger’s angels. Megyn Kelly, Gretchen Carlson and the other women at Fox all had a specific look that was intended to please him. New York Magazine once described it as “pert noses, bronze skin, blonde hair”; they showed lots of leg, were almost always white and, in the end, appeared “conspicuously unnatural.”
Those women, and the sexual harassment they endured at the hands of the Fox titan Roger Ailes, are the subjects of “Bombshell,” the movie directed by Jay Roach and starring Charlize Theron, Nicole Kidman and Margot Robbie.Those women, and the sexual harassment they endured at the hands of the Fox titan Roger Ailes, are the subjects of “Bombshell,” the movie directed by Jay Roach and starring Charlize Theron, Nicole Kidman and Margot Robbie.
The film has won praise for capturing a toxic work environment and for the performances of its stars. It has also drawn notice for the uncanny resemblance the lead actresses have to the real-life counterparts they portray.The film has won praise for capturing a toxic work environment and for the performances of its stars. It has also drawn notice for the uncanny resemblance the lead actresses have to the real-life counterparts they portray.
Makeup was key to that and to the story. Vivian Baker, the head of the makeup department, said that in these women’s world, it symbolized power — both their own and Ailes’s.Makeup was key to that and to the story. Vivian Baker, the head of the makeup department, said that in these women’s world, it symbolized power — both their own and Ailes’s.
Getting that Fox look though wasn’t easy. Baker and Kazu Hiro, who created the prosthetics for the film, and the team went through troves of images, documentaries and spent months watching clips of Fox, to study the women’s faces and on-air uniforms.Getting that Fox look though wasn’t easy. Baker and Kazu Hiro, who created the prosthetics for the film, and the team went through troves of images, documentaries and spent months watching clips of Fox, to study the women’s faces and on-air uniforms.
“The look,” Baker said, “fits within that whole concept of women as Barbie dolls.”“The look,” Baker said, “fits within that whole concept of women as Barbie dolls.”
Kazu Hiro, who is known for his work on “Planet of the Apes” and “The Curious Case of Benjamin Button,” and who won an Oscar for makeup for “The Darkest Hour,” said “Bombshell” was the hardest film he’s done to date.Kazu Hiro, who is known for his work on “Planet of the Apes” and “The Curious Case of Benjamin Button,” and who won an Oscar for makeup for “The Darkest Hour,” said “Bombshell” was the hardest film he’s done to date.
In addition to the prosthetics came piles of base powder, eyeliner, eye lashes, eye shadow, heaps of lip gloss and wigs.In addition to the prosthetics came piles of base powder, eyeliner, eye lashes, eye shadow, heaps of lip gloss and wigs.
So far their work has earned a 2020 Critics Choice nomination and put the film on the Oscar shortlist for makeup and hairstyling. The Times talked to Kazu Hiro and Baker about the makeup in the film and what that look meant to the women who wore it.So far their work has earned a 2020 Critics Choice nomination and put the film on the Oscar shortlist for makeup and hairstyling. The Times talked to Kazu Hiro and Baker about the makeup in the film and what that look meant to the women who wore it.
Baker and her team watched hours of Fox to get to know the individual anchor’s styles. She noted that there’s a forced element to all of it. “It has to fit a predetermined idea of what men think is pretty, more specifically what Roger Ailes thinks is pretty,” she said. At Fox, that meant sexy, revealing clothes “without being too slutty,” big hair and a full face of makeup. Baker and her team watched hours of Fox to get to know the individual anchors’ styles. She noted that there’s a forced element to all of it. “It has to fit a predetermined idea of what men think is pretty, more specifically what Roger Ailes thinks is pretty,” she said. At Fox, that meant sexy, revealing clothes “without being too slutty,” big hair and a full face of makeup.
In doing research, Baker said they noticed that the newer anchors wore more exaggerated makeup that was not as flattering as the makeup worn by more established women, and that as they moved up, their appearances became more natural. The transition, she said, seemed to denote the power they gained.In doing research, Baker said they noticed that the newer anchors wore more exaggerated makeup that was not as flattering as the makeup worn by more established women, and that as they moved up, their appearances became more natural. The transition, she said, seemed to denote the power they gained.
As a result, Baker said she also used the makeup to show the arc of a character. For Margot Robbie’s young Kayla, makeup was a way to show her growth, she said. “When I designed her makeup, it’s a little off in the beginning when she’s young and naïve and it’s very strong, and then it pulls back ever so slightly, and then at the end it’s very natural.” She added, “The younger ones who were just getting started, it felt more like a mask, and then for Megyn you see she’s more her own. Her makeup is more palatable. The younger ones are a bit more ‘who just did this to me.’”As a result, Baker said she also used the makeup to show the arc of a character. For Margot Robbie’s young Kayla, makeup was a way to show her growth, she said. “When I designed her makeup, it’s a little off in the beginning when she’s young and naïve and it’s very strong, and then it pulls back ever so slightly, and then at the end it’s very natural.” She added, “The younger ones who were just getting started, it felt more like a mask, and then for Megyn you see she’s more her own. Her makeup is more palatable. The younger ones are a bit more ‘who just did this to me.’”
“Whenever I design likeness makeup I start by studying both faces,” Kazu Hiro said. “I try to look for the large characteristics.” That includes doing a face cast and a body scan of the actors. He noted that Kelly has a more angular jawline and pointy chin and heavier eyelids than Theron so he created pieces accordingly. He also made a nose plug to widen her nostrils and she has a nose tip because Kelly has more of an upturned nose. He also gave Theron a chin piece and a jaw piece to help define the jawline.“Whenever I design likeness makeup I start by studying both faces,” Kazu Hiro said. “I try to look for the large characteristics.” That includes doing a face cast and a body scan of the actors. He noted that Kelly has a more angular jawline and pointy chin and heavier eyelids than Theron so he created pieces accordingly. He also made a nose plug to widen her nostrils and she has a nose tip because Kelly has more of an upturned nose. He also gave Theron a chin piece and a jaw piece to help define the jawline.
For John Lithgow as Roger Ailes, he made a nose piece, added to Lithgow’s cheeks, neck and earlobes and changed the hairline to reflect Ailes’s bigger forehead. For Kidman’s turn as Carlson, he added to her cheeks, gave her a bigger nose and a dimple in her chin.For John Lithgow as Roger Ailes, he made a nose piece, added to Lithgow’s cheeks, neck and earlobes and changed the hairline to reflect Ailes’s bigger forehead. For Kidman’s turn as Carlson, he added to her cheeks, gave her a bigger nose and a dimple in her chin.
Once the prosthetics are applied, makeup goes on top. But it’s tricky. “Mixing prosthetic and beauty makeup is really hard,” Kazu Hiro said. “It’s much easier to do character makeup on males,” because the rougher texture of their skin makes application easier, he said. Another difficulty is that once the makeup goes on, it immediately starts to separate from the synthetic base. “So we had to figure out how to mix the makeup with other materials to make it stick to the prosthetics. Any kind of normal makeup has an oil, but that oil also works as a remover, and when we apply it starts to fall apart. We have to design the makeup to last the filming. It’s not normal makeup, it’s very harsh to the skin,” he said. For each star, the process had to align with filming schedules. The application for Theron took three hours, Kazu Hiro said.Once the prosthetics are applied, makeup goes on top. But it’s tricky. “Mixing prosthetic and beauty makeup is really hard,” Kazu Hiro said. “It’s much easier to do character makeup on males,” because the rougher texture of their skin makes application easier, he said. Another difficulty is that once the makeup goes on, it immediately starts to separate from the synthetic base. “So we had to figure out how to mix the makeup with other materials to make it stick to the prosthetics. Any kind of normal makeup has an oil, but that oil also works as a remover, and when we apply it starts to fall apart. We have to design the makeup to last the filming. It’s not normal makeup, it’s very harsh to the skin,” he said. For each star, the process had to align with filming schedules. The application for Theron took three hours, Kazu Hiro said.
The makeup the women wear for most of the film is also meant to show what is required to absorb the harsh light and cameras on TV sets. To get those faces, Baker said her team used a lot of theatrical base powders, layers upon layers. But they also had to contrast the made-for-cameras appearances and the off-camera scenes: There are moments when Kelly and Carlson don’t have their on-air makeup on, so in essence they had to create two looks.The makeup the women wear for most of the film is also meant to show what is required to absorb the harsh light and cameras on TV sets. To get those faces, Baker said her team used a lot of theatrical base powders, layers upon layers. But they also had to contrast the made-for-cameras appearances and the off-camera scenes: There are moments when Kelly and Carlson don’t have their on-air makeup on, so in essence they had to create two looks.
To get the eyes of each character, Baker said she and her team often created the shape from scratch. “We changed eye shapes completely. When you put your makeup on you have a crease, we ignored it. We paint it away. If I need her eyes to be much longer, much wider. We paint it in.” To get different profiles, they adjusted the shape of the eye socket and made the brows very arched and also used contact lenses. False eyelashes were an essential element. “There wasn’t anything in the lash arsenal we did not use,” she said. They doubled and tripled up on lash strips and used a product called Lashify and went through pounds of lash glue.To get the eyes of each character, Baker said she and her team often created the shape from scratch. “We changed eye shapes completely. When you put your makeup on you have a crease, we ignored it. We paint it away. If I need her eyes to be much longer, much wider. We paint it in.” To get different profiles, they adjusted the shape of the eye socket and made the brows very arched and also used contact lenses. False eyelashes were an essential element. “There wasn’t anything in the lash arsenal we did not use,” she said. They doubled and tripled up on lash strips and used a product called Lashify and went through pounds of lash glue.
“Super glossy, super pretty,” is how Baker described the lips for Kelly and the rest of the women. “We just collected all the glosses, and they got piled on. We wanted things that sparkled because it worked under the lights.” Their favored brands were Kevyn Aucoin’s Peonine and Senna. “I think that we put on 14 layers, so that might not be what most women want to wear,” she said.“Super glossy, super pretty,” is how Baker described the lips for Kelly and the rest of the women. “We just collected all the glosses, and they got piled on. We wanted things that sparkled because it worked under the lights.” Their favored brands were Kevyn Aucoin’s Peonine and Senna. “I think that we put on 14 layers, so that might not be what most women want to wear,” she said.
Still, some women may want to hunt down that Kevyn Aucoin gloss after watching the film. It’s a point that Baker has thought a lot about since seeing the movie. “One of the things I really liked about it, even in looking at the makeup and clothes: There’s complexity. It’s not completely like ‘I hate that look,’” she said. “On the one hand, women like to look good and they like a compliment, and on the other hand, what happens when that compliment becomes a tool of power? It’s utterly devastating,” she said. “We did make the makeup so heavy at times that it would be unappealing, and at other times they look beautiful.”Still, some women may want to hunt down that Kevyn Aucoin gloss after watching the film. It’s a point that Baker has thought a lot about since seeing the movie. “One of the things I really liked about it, even in looking at the makeup and clothes: There’s complexity. It’s not completely like ‘I hate that look,’” she said. “On the one hand, women like to look good and they like a compliment, and on the other hand, what happens when that compliment becomes a tool of power? It’s utterly devastating,” she said. “We did make the makeup so heavy at times that it would be unappealing, and at other times they look beautiful.”