"Other People" Makeup Head Elle Favorule On Tackling Tricky Physical Transformation

Makeup department head Elle Favorule played a makeup double-header last year: working on two first time writer/director features back to back. In fact, she was still on location in Georgia for Clea DuVall’s “The Intervention” when pre-production began on Chris Kelly’s LA based “Other People.”  Racing back to her hotel after a fourteen hour day, she’d meet with key hairstylist Darbie Wieczorek, also working both films, and began researching applications that would believably transform actress Molly Shannon into Joanne, a woman passing through the final stages of cancer.

Throughout pre-production Favorule referenced other films, such as “50/50”, that tackled the subject, studied the affects cancer and its treatment had on patients, and focused primarily on photos and testimonials Kelly shared from his mother’s battle.   Favorule and Wieczorek also conversed regularly with LA based Victoria Boothroyd (key makeup artist) and Annie Cardea (key SPFX artist), sharing notes, suggestions and a materials breakdown.  The LA team had everything prepped and ready upon Favorule’s and Wieczorek’s return, two days prior to production.

With only 24 hours to make changes, Favorule worked closely with DP Brian Burgoyne on camera tests. Applying a light airbrushed makeup, Favorule discovered the slightest adjustment in color – generally drops added to foundation - created a natural look.

“We started so heavy, where it was too much, then scaled back until we found what looked just right on camera,” said Favorule.

The key to nailing the subtle changes in Shannon’s appearance throughout the film came through a clearly defined timeline. Kelly broke down the shooting days into months to help define the look of Joanne’s illness.  The AD would then group crucial scenes to aid the hair and makeup departments from having to make extreme adjustments to Shannon’s transformation.   Favorule and her team further broke down the looks into a timeline to offer a guideline for all applications.  The airbrushed makeup allowed for easy removal and modifications.

Minor effects that were required during the treatment phase were handled with prosaid transfers found in the Got Flesh “Bumps and Swells” kit. However, for larger pieces such as the sculpting of a back lump synonymous with Joanne’s type of cancer, Oscar-winning special effects artist Matthew Mungle joined the team.  Mungle also created and applied a bald cap to conceal Shannon’s hair (which was used during her healthy scenes.)

“It is jarring to see a woman bald. We really wanted it to be something amazing,” said Favorule.

Eyebrow hair is also lost during chemo, however Favorule felt an eyebrow-less woman would be too jarring for the audience. She opted to lightening them with alcohol colors, making their appearance notably different.  To refine the look of Joanne’s post-chemo hair growth, the hair team turned to men’s human hair wigs due to the hair’s coarseness and growth patterns.

The makeup team had a much easier task in tackling Jesse Plemon’s makeup. Playing Joanne’s overburdened son, Favorule opted to leave him untouched.

“Men are often made up,” said Favorule. “We let his own color happen naturally.”