“So having her scalp be able to breathe a little bit more was a big thing for us and for her to just be comfortable that she didn’t have a crazy amount of layers on her head,” she said. “So most of the head was covered in a skin-toned wig cap.” “Initially, we knew we were going to have to minimize her brows and dye her brows. And that was one of the very first things [we did] in the process of the prepping. That was a bit of a shock for all of us until she put the wig on and then it made sense — the pale blonde wig with the lighter brows worked.” “Then we looked at color references. [Marilyn’s] blonde a lot of the time but depending on the lighting and her hair length, those blonde shades change, so we just needed to find a middle ground for that.” “I don’t know if it’s through just naturally having them or possibly chemical damage from breakage from the bleach. But we wanted to incorporate that, so Rob used a little bit of mohair mixed in [to the wigs]. It’s a lot finer, kind of like little baby hairs around the hairline.” “When I’m working with wigs — which are an incredibly firm structured hairstyle that is designed not to move — I want the wig to move because re-creating [or] mimicking nature is one of the hardest things there is to do.”
