Diane Lane (Cleo Trumbo) juggling during a scene for Trumbo.
and give it an old-time newsreel feeling so it could be merged with the original stuff. We recreated testimony by Trumbo and Edward G. Robinson that way. When you blend archival footage and contemporary film, it makes the story feel like it is rooted in something even more authentic. I think the audience likes to be taken back in time by the actual footage.” In a story that takes place from 1947 through 1970, costume, hair and makeup design are key to creating historical context. “But an independent film like this can’t have six hours of makeup every morning,” says producer Williams. “Our actors had to
embody a lot of these changes in their own way. It was quite a journey trying to figure out all the periods, not just for our cast, but for our background actors as well.” “Meagan Lewis, our New Orleans casting director, also found us amazing local talent,” adds Producer Monica Levinson. “Makeup and hair presented its own set of challenges,” continues Levinson. “Jay worked with our talented team led by Luisa Abel and Kelvin Trahan to make sure we could achieve it all at the highest quality. Everyone in the cast and crew rose to the occasion to deliver their very best despite the extremely hot New Orleans weather and indie film shooting schedule.” “This was an amazing story for a costume designer because it spans several decades and is set in Old Hollywood,” says Costume Designer Daniel Orlandi. “It was great to work with the more glamorous looks of the ’40s and ’50s, but our work also encompasses people at home, in prison, in a sleazy Hollywood producer’s office, on the set of a gangster film and the set of Spartacus. It was daunting but really fun.” Bryan Cranston alone wore more than 60 costumes, according to Orlandi. “His life goes from the height of his success to going to prison to trying to scrape up money to keep his family afloat,” he says. “He has three different tuxedos and casual clothes and dressy
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