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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<\/em> Wicked: For Good. As you might guess, spoilers ahead.<\/em><\/p>\n It\u2019s 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<\/em> 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\u2014she had to depict growth in both lead characters while filming the two separate movies simultaneously (sometimes they\u2019d even film scenes from the first movie the same day as scenes from the second).<\/p>\n 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\u2019s star in microbraids; this year, Hannon finally shared the details behind the hair and makeup of the fim franchise\u2019s second installment, Wicked: For Good<\/em>\u2014including 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\u2019s hair, and the choices behind Glinda\u2019s makeup, about which the internet has had some strong feelings\u2014as so many do.<\/p>\n But doing makeup on a movie set like this one isn\u2019t nearly the same as getting a celebrity ready for a photoshoot or red carpet appearance. \u201cSomebody might watch and say, just an example, \u2018Those eyelashes are too strong. Why has that been chosen?\u2019 Or \u2018Those nails!\u2019 or \u2018The shape of his hair!\u2019\u201d 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). \u201cIt 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.\u201d<\/p>\n<\/div>\n