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Hair & Makeup, Costumes and Car Design
"Create informants, Agent Purvis. Suspects are to be interrogated ‘vigorously.' Grilled. No obsolete notions of sentimentality. We are in the modern age, and we are making history. Take direct, expedient action. As they say in Italy these days... ‘Take off the white gloves.'” —J. Edgar Hoover

Other production departments that helped to recreate the environment of the 1930s were hair and makeup, costumes and picture cars. These aesthetics were particularly important to Mann, as he wanted to underscore how Dillinger left prison after almost a decade in a gray existence behind bars and entered another world. When he arrived in Chicago, the gang- JOHNNY DEPP as John Dillinger and director MICHAEL MANN on set. ster found a life that was impossibly colorful and inviting. He wanted everything. Now.

"The circumstances were so elevated, compared to what Dillinger had just come from,” offers Mann. "His existence, the conditions, were so rough and the authoritative administration officials were so brutal.

To be on the street in '33 and suddenly have clothes and cars, and living life at all, it would seem crazy. He was having such a good time today, why even worry about tomorrow?”

Due to the devastating economy of the Great Depression, the period hairstyles were more about necessity than fashion. EMANUEL MILLAR, the hair department head, relates of the era: "People were giving haircuts in Central Park, five cents for a shave and a haircut. A man just wanted to clean up the back of his head around his ears, put on his hat and go. They weren't really thinking about moustaches and beards. In the '30s, you didn't see a lot of facial hair. People just wanted to cut and go.”

Still, Depp used a variety of physical enhancements to help his performance, including a razor cut in the back of his head and an occasional moustache to mirror the one Dillinger sported.

Fortunately, the production had images of Billie Frechette from which to imagine Cotillard's signature look. JANE GALLI, the makeup department head who also worked on the actress' transformation, notes, "Because Billie was a hatcheck girl, we've given her period makeup without making her look glamorous. But back then, the women always did their nails, eyebrows and lips, no matter what.” Galli adds that red was a big color for both nails and lips at the time, but interestingly, kissing went out of style. Lipstick was quite expensive, and women didn't want it to come off.

Dillinger was anything but plain, and his taste for the finer things in life extended to his wardrobe. Mann offers: "Dillinger had an intoxication with life that he had been denied in prison, and he had to have everything… right now. He was sophisticated. He had a sense of what was current, in terms of wardrobe and dress, in manners of speaking. We know this because of photos from the period and letters he wrote to his nieces and sister.”

Two-time Oscar®-winning costume designer Colleen Atwood was charged with creating looks for the large cast—from Dillinger's dapper suits and Frechette's intricate costumes to Purvis' perfectly tailored wear.

Depp offers of his experience working with the industry legend: "Colleen Atwood is someone whom I've had the pleasure to work with on and off for the last 20 years, and she's just a complete wizard. She's just amazing. With any character you have a very strong idea of who it is, especially with someone like John Dillinger. With Colleen, you don't have to say a word; you walk into a room, and she's already got you decked out.”

Marion Cotillard shares of Billie's look imagined by Atwood: "When you see pictures of her, the way her hair is done, you realize Billie was simple. She had a taste for being pretty, of course, but we found her clothes wit

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