Although it didn't take home the top honor of best picture at the 87th Academy Awards, Wes Anderson's
In addition to original score (Alexandre Desplat) and production design (for Adam Stockhausen's production design and Anna Pinnock's set decoration), there were two categories close to our hearts here at All the Rage: costume design, and makeup and hairstyling.
It was the fourth Academy Award win for "Grand Budapest" costume designer Milena Canonero, who notched her first Oscar for "Barry Lyndon" (1975), followed by "Chariots of Fire" (1981) and "Marie Antoinette" (2006). Just six days before her latest Oscar win, her efforts on "Grand Budapest" were recognized by her peers with a win in the period film category at the 17th Costume Designers Guild Awards.
The Oscar for makeup and hairstyling went to Frances Hannon and Mark Coulier for their work on Anderson's concierge caper, a first-time win for Hannon and a second for Coulier (who won, with J. Roy Helland, for the 2011 film "The Iron Lady").
When the film first came out early last year, we were so entranced by the assorted tonsorial topiaries -- ranging from the drawn-on pencil-thin mustache of Tony Revolori's lobby boy to Bill Murray's face-spanning walrus 'stache -- that we felt compelled to hop on the phone and get the backstory on some of that fantastical facial hair. And, now that she and Coulier have been recognized by the Academy, we're glad we did.
Probably my favorite part of the Q&A was part of Hannon's answer to a question about Jeff Goldblum's beard.
"And Jeff took such exceptional care of [the beard] himself," Hannon told us. "He trained and cared for his beard like it was his pet dog. He oiled it, massaged it, combed it constantly and twisted the ends."
You can find the Q&A in its entirety here or by clicking the related link in this article.