In The Scenario, reporter Kirbie Johnson takes readers behind the scenes of the buzziest movies and TV shows to reveal how the best wigs, special effects makeup, and more are created. For this edition, Johnson spoke with Frances Hannon, the award-winning makeup and hair designer of Wicked: For Good. As you might guess, spoilers ahead.
It’s been a year since I first spoke with Frances Hannon, the Oscar and BAFTA award-winning hair and makeup designer who had a large undertaking with the Wicked films: Not only did she have to create believable green skin on Cynthia Erivo, transform Ariana Grande from a pop star into a Glinda the Good, and outfit hundreds of extras in Oz and Munchkinland—she had to depict growth in both lead characters while filming the two separate movies simultaneously (sometimes they’d even film scenes from the first movie the same day as scenes from the second).
Last year, we discussed the numerous prosthetic ears used on set, the thousands of wigs donned by the cast, and the choice to put the movie’s star in microbraids; this year, Hannon finally shared the details behind the hair and makeup of the fim franchise’s second installment, Wicked: For Good—including how she worked with award-winning prosthetics artist Mark Coulier to transform actors Jonathan Bailey and Ethan Slater into the Scarecrow and Tin Man, the subtle but impactful changes made to Elphaba and Glinda’s hair, and the choices behind Glinda’s makeup, about which the internet has had some strong feelings—as so many do.
But doing makeup on a movie set like this one isn’t nearly the same as getting a celebrity ready for a photoshoot or red carpet appearance. “Somebody might watch and say, just an example, ‘Those eyelashes are too strong. Why has that been chosen?’ Or ‘Those nails!’ or ‘The shape of his hair!’” Hannon says. She emphasizes that those viewing the film may not consider or understand how many time constraints artists face on set when accounting for different storylines and collaboration among numerous departments (hair, costume, set design, the producer, and the director, to name a few). “It is the combination of all your thoughts, and often that can bring restrictions as well. For example, with Elphaba wearing a big black hat and a big black cloak, you have to think about what you’re doing around her face, to leave her to perform and to leave the audience able to be attached to her.”
