The Emmy-Nominated Hair Secrets of The Last of Us: Bill, Frank, and the Terrifying Infected

Summary

The Last of Us has received 24 Emmy nominations, cementing its status as one of HBO's best shows this year.

Chris Glimsdale, the head stylist for the hair department, employed various methods including wig usage to effectively age Nick Offerman and Murray Bartlett in what was considered the show's most remarkable episode. Glimsdale further elaborated on her hairstyling strategy, taking into careful consideration factors such as the characters' backgrounds, availability of hair products, and the necessity for hair to endure action-packed sequences.

The Last of Us has solidified its status as one of HBO's top shows this year, receiving critical acclaim and a strong audience response. This recognition has been further reinforced by its nomination for 24 Emmy Awards, placing it just below HBO's Succession with 27 nominations. The show successfully brought the award-winning video game to life through the collaboration of co-creators Neil Druckmann and Craig Mazin, known for his work on Chernobyl and Scriptnotes podcast.

Among its nominations, The Last of Us stands out in the field of Outstanding Contemporary Hairstyling, specifically for its remarkable episode, "Long, Long Time." Chris Glimsdale, the head of the show's hair department, has previously been recognized with Emmy nominations for her outstanding work on Fargo. However, The Last of Us presented Glimsdale with fresh challenges and opportunities. In "Long, Long Time," she skillfully aged actors Nick Offerman and Murray Bartlett over the span of years using various techniques, including wigs.

Chris Glimsdale on The Last of Us

Chris Glimsdale: The more challenging projects always seem to be the ones that end up being nominated. Even on my other nominations, I found them to be more difficult and had moments where it was harder to create. The timing aspect also adds to the difficulty. It's rarely the easy, "Let's just throw it together" projects that get recognized. It's usually the ones that involve a bit of heartache, stress, and a seamless integration of various elements.

The nomination specifically focuses on episode three, where we had to work extensively on portraying aging and the passage of time. I'm curious about the wigs you developed for Nick Offerman and Murray Bartlett. Did you use their actual hair or were you completely covering it up?

Chris Glimsdale explained that they had to use a full wig for Bill's character because his original haircut did not fit the military/backwoods look they wanted. They worked with Rob Pickens at Wigmaker Associates to create the desired texture, density, and hairline for the character.

As the character aged, only two wigs were used throughout the process. Hair was individually added and knotted into the wigs to create the appearance of aging. Gray was airbrushed onto the wigs using three different shades, and a dental brush was used to hand-paint each individual strand near the hairline. This technique, along with the use of different shades of gray, helped create a diverse and realistic look.

For Bill's older look, a whole new wig was used. This wig had thinner density and more gray hair. It was also cut shorter to achieve the desired appearance.

With Frank's character, we primarily utilized his own hair throughout, though we incorporated some additional pieces. To address his receding hairline and achieve a younger appearance, I crafted lace pieces to fill in the gaps and eliminated his natural gray. We made his hair darker, added depth, and introduced some extensions and other elements to create the initial youthful image.

As the character aged, we gradually removed some of the extensions and incorporated more of his own gray hair. Eventually, to enhance the aged and sickly appearance, we extensively applied gray color through airbrushing and utilized a dental brush to paint everything out. We accentuated his receding hairline even further to truly portray his advanced age and deteriorating health.

How does facial hair play a role in the equation? It is evident that facial hair is present, especially in the case of Pedro Pascal.

Chris Glimsdale: Facial hair is primarily handled by the makeup team, as it is not a natural hair component here. However, we closely collaborate with the makeup department to ensure a seamless integration of the beard, hair length, and sideburns. We are responsible for the sideburns, while the makeup department takes charge of the beard. Bill's beard required extensive hand-laying by Connie Parker, who did an exceptional job. Rob Pickens created the base beard, and then additional hair was added on top. As the character aged, more gray was added to the beard, giving it a natural progression. The same approach was used for Frank, using his own existing beard as a starting point.

In this world, there exist various groups such as the Fireflies, Tommy's people, Bill and Frank, and even a group of cannibals. When approaching the subject of hair, it is crucial to consider the way of life for each of these factions. This entails thinking about their access to hair products and the extent to which they prioritize such things.

For instance, let's take the Fireflies as an example. While they may have slightly more resources compared to others, hair products are simply not available anymore. As a result, hairstyles must appear natural. Furthermore, factors like access to running water and the availability of supplies around them must be taken into account. Hair ties and elastics are scarce, unless they come across them by chance. Therefore, fabric becomes the alternative for tying hair, in lieu of elastics. Additionally, the absence of bobby pins means that hairstyles must rely on twisting and turning techniques for desired looks.

When we return to the village, there is an increase in access to running water, houses, and functioning facilities. As a result, the residents have relatively cleaner and less damaged hair. They possess scissors and knives, allowing for more refined haircuts. However, as we venture into the bush and encounter individuals who have had minimal contact with others, their hair is less frequently cut. This lack of grooming adds depth to their unkempt appearance, with strands appearing more piecey and distressed. Some even resort to adding dirt to their hair, resulting in a matted and non-shiny appearance.

To truly grasp the authenticity of these hairstyles, it is essential to conduct thorough research. Examining photographs from the Dirty Thirties era and studying the hair of individuals living on the streets with minimal access to washing facilities provides insight into the texture and worn-out appearance of their hair. This research also reveals how their hair can become dense, creating a textured and uneven look.

Is it more convenient for characters to use wigs rather than risk damaging their real hair if they neglect its care?

Chris Glimsdale: Typically, it is actually simpler to intentionally mess up their natural hair. We took great care to check all the background actors and ensure they did not have recent hair dye or highlights, unless it appeared naturally sun-kissed. The characters did not have colored hair, regrowth, or a mix of gray and dark hair.

We incorporated a generous amount of deep conditioning masks and followed it with a substantial application of clean dirt, resulting in the addition of dimension to the hair. The individuals greatly appreciated the deep hair conditioning as they could rinse out their hair upon returning home, enjoying the benefits of the treatment throughout the day. However, the real magic lies in the ability to directly target the scalp, creating a disheveled hair appearance that beautifully complements their natural hair. If possible, utilizing their natural hair achieves a much more desirable outcome.

It's fascinating how prosthetics and other adaptations need to be made for the infected characters. Additionally, when working with a wig that will be used in action sequences, how do you approach those scenes where there is more movement?

Chris Glimsdale: We take that into careful consideration and I make sure to preview some of the stunt scenes beforehand, so I have an idea of their movements and how they are handled. Since many of the infected engage directly, it was crucial to ensure that the pieces and hair we applied stayed in place. The heavy mushroom pieces often fell back, so the initial work we did was vital.

When placing the prosthetic pieces and adding our hair, we ensured that everything was oriented correctly. This meant that sometimes the pieces faced backwards, depending on the actors' movements. It required a lot of adjustment and sometimes we had to make fixes after their stunts, as things wouldn't always stay in place. For example, if there was a rain scene and a heavy prosthetic piece fell forward, we would use pins to secure it. The key is to have a solid foundation to keep everything in place.

In terms of actor input, it varies. Some actors have more specific preferences for their hair, while others may not express any preferences. Are there any actors on the show who were particularly specific about their hair or had clear preferences?

Chris Glimsdale observed that Merle Dandridge, who played Marlene, faced difficulties adjusting to the added gray in her hair. The change in density and texture was unfamiliar to her, making it a challenge for her to see herself aging so significantly compared to her normal, beautiful appearance. When her new look was created, it had a profound impact on her, highlighting the reality and dramatic nature of the character. Despite not disliking the transformation, Merle had to acclimate to the contrast between her natural hair texture and the wig, including its curl pattern and the inclusion of gray. This experience brought the character to life for her, even though she had portrayed the character in the game for many years. Merle was deeply moved by the transformation and was almost brought to tears, as she could truly feel the character's essence. Witnessing this meaningful shift, especially considering her portrayal in both the game and the show, was truly awe-inspiring.

Regarding the rest of them, there wasn't a specific desired outcome. For Bella, we decided to trim their hair since it was much longer than their waist. We removed a significant amount of hair and focused on finding the perfect style. They were incredibly thrilled about the idea of having shorter hair as they had never experienced it before. Witnessing their joy and the feeling of liberation was truly remarkable.

While working on this, how much were you considering the future? Especially in the games, between Part One and Part Two, there is a time gap. Were you already contemplating how to age the characters when you have the opportunity to revisit this?

Chris Glimsdale often ponders how to advance and achieve certain goals. As character development gets underway, he consistently contemplates future elements such as water sequences, snowy settings, and overall direction. This ongoing thought process adds excitement and intrigue to his work.

So, what is your work environment like? Are you someone who prefers silence or do you enjoy playing music while working?

Chris Glimsdale: When people step into the trailer, they often describe it as a serene sanctuary with a Zen-like ambiance. The presence of natural elements such as rocks and stones contributes to this tranquil atmosphere. It may sound peculiar, but the truth is that it's a haven of peace. Every individual who enters can't help but release a deep breath, as if a weight has been lifted off their shoulders. It's truly heartwarming to witness them finding solace in this special space.

About The Last of Us

Set in a world devastated by a fungal outbreak, The Last Of Us is a gripping series inspired by the immensely popular 2013 video game. The narrative centers around Joel, a toughened smuggler, who embarks on a mission to safely transport Ellie, a 14-year-old girl, across the desolate United States in search of a possible antidote.

Check out our other The Last of Us interviews here:

Craig Mazin & Neil Druckmann

Pedro Pascal & Bella Ramsey

Gabriel Luna

Merle Dandridge

Jeffrey Pierce

VFX Supervisor Simon Jung

The Last of Us season 1 is streaming in full on Max.

Source: Screen Rant Plus