“It is a time of apparent magic….” This is how Christopher Nolan’s The Odyssey begins. A single line of text against a black screen, reminding viewers of (or introducing them to) Homer’s mythological tale of gods and goddesses, spells and potions, monsters and mystical disguises. Nolan’s film has all of that: the giant Cyclops and the six-headed dog; lotus flowers that, when eaten, erase your memory; Circe, the sorceress, who transforms Odysseus’s men into pigs with her bare hands, in one of the most gut-wrenching scenes in the film (literally and figuratively). The director famously prefers in-camera effects versus CGI, so an integral part of creating this “apparent magic” onscreen was through hair and makeup in the film.
Greek mythology is full of colorful, physical descriptions, often repeated over and over again. Depending on the translation, Athena is the goddess “of the bright owl-eyes.” Calypso is “the nymph with the lovely braids.” When Athena de-ages Odysseus at the climax of the poem, she makes his “hair grow thick on top of his head and flow down in curls like hyacinth blooms.” Hair department lead, Gloria Pasqua Casny, and makeup department head, Luisa Abel, had a lot of history to pull from, but they also had direction from Nolan to keep everything more grounded.
The director wanted “an earthy narrative,” and despite the scale of the film—including the 65 mm film it was shot on, the larger-than-life creatures, and the many complicated battle and boat scenes—in Nolan’s hands, the 3,000-year-old epic poem takes on an intimate, human quality. The way Casny and Abel designed the characters’ hair and makeup has much to do with evoking that quality.
Below, we break down the the ways Casny and Abel helped bring Homer’s tale to life, speaking to them not only about their research and processes, but also how they added that little bit of magic that—based on the response to the film—is making society fall in love with the classic tale once again.
Styling the hair, the Ancient Greek way
Both Casny and Abel looked to ancient Greek art and artifacts in their research for the film. Casny spent time in museums, and Abel examined “pottery, murals, and paintings that showed what facial hair and people’s faces look[ed like] at the time.” Abel also looked into the type of cosmetics people would have had access to in ancient Greece, and “was able to test modern products that simulated the right colors but gave us a lightweight, flawless look that we wanted for IMAX.”
While researching ancient Greek hair practices, Casny came across a few surprises. After a trip to the Brooklyn Museum, she “found that 3,000 years ago, there were curling irons,” and the “ancient Greeks also had barbershops.” Both discoveries informed her choices for many of the principal cast and background actors.
In Greek mythology, curly hair is talked about a lot. It was a sign of vitality and beauty, heroism and divinity. In the book, Odysseus’s hair texture is described as “curling hair like hyacinth petals,” and while Matt Damon kept his natural texture for his turn as the wily warrior, many characters embraced and enhanced their natural curls.
Casny was particularly happy when Tom Holland, who plays Odysseus’s son Telemachus, showed up with his natural bouncy texture. “Tom has great curly hair, and when he came in [for tests], I just shook his hair up and was like, ‘You are not cutting it or wearing it straight,’” she recalls. She used a bit of mousse (often R&Co) and argan oil for some extra zhuzhing on set.
