Issue 011 February/March 1998
In this Issue:
Part 1: Tina Earnshaw
Just as the real Titanic was unparalleled amongst the ships of her day, equally so does the credit Titanic on Tina Earnshaw’s resume overpower even the great films she has done such as Hamlet, Jefferson in Paris, Othello and Surviving Picasso. But of course, that’s what Titanic, the ship, and the film, were designed to do. We spoke with Earnshaw about her trials and triumphs aboard the Titanic.
Part 2: Greg Cannom
Greg Cannom steadied his hand against the rising and falling of the sea swells as he painted delicate lines and wrinkles on Gloria Stuart’s face. His make-up room was on the Keldysh, a Russian ship with its course set for the open sea. The paint scheme Cannom had designed to transform 86-year-old Stuart into 101-year-old Rose was arduous. It was all the more so with the pitching of the bilge. But he never faltered and by the time the vessel neared its destination, Gloria Stuart had become Rose, survivor of the Titanic.
Collide with Destiny: The Oscar Race
1997 is a tough year for the make-up Oscar. No one film stood head and shoulders above the rest. Join MA as we discuss the six films being considered for nomination.
Buffy the Vampire Slayer
Combining the talents of veteran make-up artist Todd McIntosh and John Vulch’s Optic Nerve studios—a firm specializing in make-up effects, animatronic puppets, and props—the Warner Brothers Network TV show Buffy the Vampire Slayer represents the best of both worlds. Creating make-ups for television has always been a difficult task marked by tight budgets and even tighter schedules, but between McIntosh and Vulch’s respective teams, Buffy offers cinema quality work borne from a professional relationship that lets each artist display his aesthetic strengths. MA talks with McIntosh and Vulch about how they make this collaboration work.