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Costumes and Makeup
BAFTA Award-winning FRANCES HANNON was brought onboard to design the hair and makeup for the film. The passage of time and the transformation taking place in Wes needed to be realized on screen—the office drone grows into the sharpened assassin. Hannon explains, "The main challenge I faced was how to take the character of Wesley from A to Z while keeping the changes subtle and believable. He not only changes how he looks, but how he is inside, and we wanted to show that visually, too.”

That transformation didn't come without its share of bruises…literally. During Wes' training period, he is subjected to several beatings—something Hannon knows how to show on screen, having worked on several thrillers and action films (including The Da Vinci Code and Lara Croft Tomb Raider: The Cradle of Life). But, as always, these choices were run past someone else first. She clarifies, "I had to discuss things with the director, like where on the face a hit will be, what type of hit it is and how long he wants it to last. I can't put a big, fat, black eye on an actor if we need to lose it the next day, so I'd maybe put on a small cut that could feasibly heal. Bekmambetov knew exactly what he wanted to see, where he wanted it and when he wanted it, although we often developed ideas on the move.”

Costume designer Varya Avdyushko has previously worked with Bekmambetov on Night Watch and Day Watch and is used to his ever-flowing ideas. She says, "Bekmambetov generates a lot of ideas, sometimes up until two hours or even less before we're due to shoot a scene. However, because I have worked with him before, I am very used to this way of working. The fountain of ideas he has is very unique.”

Upon receiving the script, Avdyushko broke it down to understand the characters—she created behaviors and habits for them, a detail that she hopes is reflected on screen. Per Avdyushko: "We tried to find a little quirk for every character, particularly the Fraternity. For example, The Butcher, who is a brutal bandit, wears bright yellow sneakers. He wraps them in cellophane to prevent blood from spilling on them. The Gunsmith would never require excess; he's very neat and precise. He only carries what he needs. The Exterminator deals with rats a lot, so on his belt we have jars and various tools he could use to carry his rats with him.”

The costume designer also experienced a close collaboration with production designer Myhre: "He showed me the colors, textures and symbols he wanted to use in his sets, and we incorporated these into our costumes.”

That creative theme of old and new carried throughout the film is also reflected in the clothes the characters wear. Avdyushko offers, "We used elements in the costumes from places like Mexico and modern-day America, but for small details such as buttons, we utilized antiques. They're an important part of the character, of who they are and how they live their lives.”

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