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ANANSI Patricia Green with one of the numerous beards she uses in her work as a make-up artist for film and television. Local make-up artist rubs elbows with the "Stars" What do Peter Straus, Mel Gibson, Diane Keaton and Robert Mit- chum have in common" Aside from the fact they are well known film stars, they have all had make-up applied to their faces by Patricia Green Patricia, who has lived in Greenbank for the past 12 years is a profes- sional make-up artist. W' on she tells people that, they sometimes think she works in a department store or drug-mart putting blush and eye-liner on customers who walk 1n off the street. Far from it. Her career in make-up has taken her onto the sets of feature films in Canada, the United States and France. She has an impressive list of credits and has reached the point where she no longer just applies the make-up to the faces of stars. She's in charge of make-up for films and can have a team of six artists working under her direction. While it's interesting, even glamourous to work NOT GUITE OUT OF THE RED -- OFF -- ANYTHING RED or in @a RED BOX red boxed 'Nikes' J red boxed Greb greenpatch red boxed Tender Tootsies red dresses red sweaters red blouses : red plaid shirts J ol woven leather he Reg $79 95 Taupe & black all leather red belts red socks etc "JUST IN" Men's Dress Shoes ""HipOppoTamus™ by Jarman grey or beige 3 eyelet OUR PRICE "684.985 -- "Angelo Polini" by Jarman 3 eyelet te Reg $69 00 OUR PRICE *554.985 Watch for our OCTOBER 2-12 | "KAYSER'S FALL HOSIERY SALE" Fr YA == T=T=]"4 DEPARTMENT STORE (@ (UT-T-ToRE-- A -ol-T-1 SEN = To Tol Al =1-Tol IV) on a film, and rub shoulders with stars like Diane Keaton and Mel Gibson, make-up 1s much more than just making them look beautiful on the screen, she explained In a recent interview with the Star. Before she even goes on a movie set, Patricia spends endless hours do- ing research to find out exactly how film characters should look if the setting 1s the 1930's, turn of the century, or the 1850's. Most people may not be aware of it, but the length of men's mustaches, for example, . varied throughout dif- ferent periods of history. At one point, mustaches were thin across the upper lip, then they drooped a little below the lip, while at other times they dropped a lot. There were similar subtle changes in the way men wore beards or hair styles, and meticulous care must be paid to these small details by the make-up artist if the film is to be as realistic as possible. Probably the most challenging assignment she's had was her work on the film 'The Wars," directed by Robin Philips. Much of the action takes place in the tren- ches of World War 1, and to find out what mustard gas victims looked like, Patricia interviewed an elderly man who served as a medic in the latter days of the conflict. She also discovered that ban- dages in those days were not pure white as they are now, so for the battle scenes, the bandages had to be dyed with tea colouring. And while the battle scenes in the trenches were filmed in a studio, great pains were taken to ensure that the studio mud was the identical colour to the mud found in France A couple of years ago. Patricia did the make-up for "Mrs Soffell." star ring Diane Keaton and Mel Gibson. based on a true story. around the turn of the century Some of the scenes were ac tually shot in the same Pittsburgh jail where the story took place That jail 1s still in use and prisoners were used as extras Patricia recalls with a smile the film crew working under the wat chful eye of shot-gun toting guards. and the fact that the prisoners used as extras had to cut their hair short and shave off beards to ap pear as prisoners would have looked 80 years ago "They were great. very co-operative she said Her most recent work was the TV feature film "Kane and Abel with Stan Neil. Peter Straus and Veronica Hammel of Hill Street Blues fame It airs on (CBS TV November 1719 as a mini-series Scenes were shot in Canada. the States and Europe. and since the film spanned a 60 year time period, a lot of work on make-up went into ag- - Ing an actor or actress' presents is own challenges. but it 1s even more difficult to make an older person appear younger The person in charge of make-up answers to both the producer and director of the film, but Patricia says the direc- tor of lighting and photography must work closely with the artist. "The lighting man can make or break the make- up,' she states. Although her work in a film begins long before the cameras roll, once shooting starts, the make-up artist can look forward to 12 hour days in the studio or on loca- tion under often tough weather conditions, and a good deal of pressure. If there's a scene ready to be shot and the actors don't have their make-up on, it holds up the entire production. And, says Patricia, there is always the unex- pected that pops on while shooting a movie. Like the time she was working on a film in the desert near Las Vegas. It was supposed to be scorching hot, but the weather was cool, so cool that at times the actors could see their breath. That would not do, so she had them all eat ice cream before the scenes so their breath wouldn't appear on the film. In another film shot on location in Toronto, one of the leading characters had to throw himself on the hood of a car just before it blew up. The shooting came to a quick halt when the actor had a seizure while stretched out on the hood of the car Most film fans have read stories of how tough some stars are to work with on a film set Patricia says she has never had a problem with the stars she has worked with In fact, itis crucial for the leading actors and actresses to build a bond of mutual trust with the make-up artists Patricia says she got into make-up and the movie industry 'almost 5 Year Annual Interest by accident" about ten years ago She had been doing make-up for amateur theatre groups in Oshawa and Whitby. and 1t was suggested to her that she should app- ly her talents for the art on a professional basis She joined the union and went looking for work, starting first with commercial for televi- sion. The first film she worked on was 'Silent Partner" with Christopher Plummer and Elliott Gould, a thriller filmed in Toronto. While the work has its rewards (financial and otherwise) it is stressful and pressure-packed at times. For the first time in several years, Patricia took a summer off to spend the time with her family. She and her husband have two teenagers living at home and two older children in their 20's. Patricia has reached the point in her career where her work is well known and her service in demand. She says there are some films she won't work on (those that ex- ploitive sexually or crudely violent) and she has worked on one film that she's not really very proud of. After a break for the summer, Patricia is starting work this week doing the make-up for a TV movie about child kidnapping. And she says she is very excited about the possibility of a major project that could get started early in the new year. She won't say what it is now because negotiations are still underway. Once she signs a con- tract to do the make-up for a film, Patricia puts everything else aside to concentrate fully on the work. she has to Her reputation is on the line with every scene "You're only as good as your last film If you mess it up. word gets around in a hurry. she says In the office-workshop of her comfortable Greenbank home. there are numerous auto- graphed photos from ac tors and actresses she has worked with over the last few years. a testimony to her talents 14" x HOUSE OLD ALE v T TRUST DON FORDER INSURANCE BROKERS LTD. JOWATER ST PORT PERRY 985-8471 HAT Ff MANGE WITHOLT NOTIC§ i ----r ttt avai a a------ CTR AL il 46 ch RG one TMP a ts dE IR i Si a «i oe ETA amare