Q. Greg, you've talked about how the makeup was really instrumental in getting this movie made and off the ground. I wonder if you've had other opportunities, especially more recently, where the work of the makeup artist is taken very seriously and really has that sort of impact that a director and producer is really looking for.
A. (Greg Cannom) I think it always is important. I mean, I'm going back to DRACULA and MRS. DOUBTFIRE and all those films. I mean, if those makeups didn't work, the whole film wouldn't have worked. So this film was really important. The makeup worked, and it worked better than I ever thought it would, you know?
Q. When we talk about makeup and hairstyling, there is always a lot of talk about how long the actor was in the seat, like Christian Bale was four hours every day. How hard is that for you guys? You also do this every day, for hours.
A. (Greg Cannom) Yeah. But, you know, we are professional, but it ‑‑ you know, sometimes we had to do him twice a day, take him completely out of that makeup and then put him in a different age depending on the location. So it's hard, but you know, we are pretty good at really doing it as fast as possible and getting it done because the actor needs the time, too, of course, so we worked very quickly. And for us, the time flies by because we are concentrating the whole time whereas the actor, you know, just has to kind of sit there.
Q. Congratulations. I wanted to ask you, what was the challenge that you couldn't predict that you discovered on set?
A. (Greg Cannom) All I can say is that we started out with Christian and we tried to do a really good job, but it still evolved as we went along, and Christian had a lot to do with it, and he wanted to be a little heavier still in the neck and not as much in the front, and you have to ‑‑ I had to back the pieces off from his mouth because otherwise he'd get crinkles in it. So you just keep doing makeup tests and makeup tests and trying this and trying that.
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