Revealed: How ‘Poker Face’ Used Old Hollywood Tricks for Cynthia Erivo’s Epic Quintuplet Role!

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Heads Up! Spoiler Ahead: As a die-hard movie buff, I can’t help but share my thoughts after watching the premiere of Season 2, Episode 1 of “Poker Face” on Peacock. The twist in “The Game Is a Foot” was as surprising as a royal flush in Texas Hold ‘Em!

In a brainstorming session, Poker Face’s scriptwriter Laura Deeley proposed integrating a set of identical quintuplets into an episode of the mystery series. Rian Johnson, the show’s creator and director, found this concept to be remarkably eccentric yet delightfully so, and he decided to take a chance with it.

Johnson preferred a simple approach for executing the task. He aimed to explore the essence of a “Poker Face” episode, while preserving the classic ambiance reminiscent of Season 1. However, he wanted to employ traditional cinematic techniques during filming. In his words, “For me, that entailed ensuring we were infusing every scene with a touch of ‘What’s Up Doc?’ and slapstick comedy – one door, out the other, close calls, and pretending to be multiple characters.

Additionally, Johnson found it essential to meticulously plan out each scene, sketching storyboards for every shot. “While creating the storyboards,” he explained, “I wasn’t just focusing on visuals, but also figuring out how best to convey the narrative. I was considering which characters would appear and which cameras could capture them simultaneously without interference.” Moreover, Johnson didn’t limit himself to storyboards; he used maps as well. “I labeled all the camera angles,” he said. “For instance, ‘We’ll shoot angles one through three with her in this position, then we’ll leave cameras two and three set up, capturing these subsequent scenes.’

As a dedicated fan, I can’t help but marvel at the masterful execution of that captivating episode. Yet, it wasn’t merely the skilled artisans behind the scenes that made it possible; it was primarily Cynthia Erivo, the brilliant “Wicked” Oscar nominee, who breathed life into all five characters. As Johnson put it, “She was the catalyst that allowed us to complete this episode in a remarkable 10 days.

The second season opener begins with Natasha Lyonne’s character, Charlie Cale, fleeing from Rhea Perlman’s character, Beatrix Hasp, for the umpteenth time. However, a new mystery swiftly arises. Jasmine Guy portrays Norma, a matriarch near death, and Cynthia Erivo plays Amber, an artist who has devoted recent years to nursing her ailing mother. When Amber discovers she’s been disinherited, she embarks on a quest to locate metal artist Felicity Price, who resides off the grid and is set to inherit everything. As it transpires, Felicity is none other than a long-lost sibling. Amber devises a plan to murder Felicity and assume her identity. After Norma’s demise, the family convenes at their estate, where Delia, an apple picker who collaborates with Charlie; Cece, the professor; and Bebe, the DJ, all return home. Suspicions are piqued in Delia as she travels with Charlie, leaving it to Charlie to unravel the mystery as “Fake Amber” and her sisters engage in a power struggle over the inheritance.

According to Erivo, she made sure that every character stood out uniquely, and hair and wardrobe were crucial for her in bringing that distinction to life. “I aimed for you to recognize the same face but perceive diverse life experiences,” Erivo explains. “I believe this enhanced the humor, and it deepens your feelings towards each woman.

She acknowledges Johnson for having faith in her ability to carry out her plans. In the character of Cece, Erivo incorporated French aspects into her dialogue. “There was no French in the script – that was me, inserting instances where she seems to have spent a significant amount of time living as French.” With Delia, Erivo aimed to inspire viewers to develop affection for her character – “because I believe she’s striving to live honorably and be truthful as much as possible.

Each sibling’s hairstyle holds a narrative. “Bebe, who transitioned from being a rave enthusiast to a DJ, sought a style that embodied the essence of old-school rave culture,” Erivo explains. “So we decided on dreadlocks, vibrant dyes, and bleached strands with various colors to make her look like a genuine ’90s rave kid. Cece strives for elegance and sophistication as much as possible. I was captivated by the idea of sporting the wavy, voluminous Farrah Fawcett hairstyle, yet maintaining an Afro vibe. She always takes impeccable care of her hair, and it lays perfectly. Her makeup is flawless, with nothing out of place. She’s a mix of being bothered but unfazed at the same time. I wanted every detail to come together seamlessly.

Delia’s hair is sleek and slender. As Erivo explains, “It’s striving for a uniform look, and it’s a bob cut that doesn’t require much upkeep.” On the other hand, Amber has an abundance of hair, but it’s unruly and free-spirited. It’s large and natural Afro, not well-groomed. Erivo further notes, “She’s a bit disheveled, but she hasn’t quite found her style yet.

It was New York-based hairstylist Mia Neal who played a key role in crafting unique hairstyles for Cynthia Erivo, despite not having prior knowledge of her or a model of her head. Initially reluctant due to time constraints and lack of hair supplies, the studio provided Neal with all the necessary materials on time. To meet the deadline, Neal constructed one complete wig while others worked on the backs of the wigs as they were the most time-consuming. After a few days, Neal met Erivo to finalize the fits and ensure each style was distinct, ranging from a straight bob to a DJ’s long locs.

Because Erivo portrayed every character, Neal aimed to maintain a swift work pace, thus opting not to apply any adhesives. The wigs and laces had to fit flawlessly, so I utilized elastic prosthetic headbands to secure the wigs and laces. Erivo’s bald head was advantageous during transitions between characters as there was no need to conceal or tuck away hair, and the use of these headbands and pinning significantly reduced hair and makeup preparation time.

Leah Katznelson, the costume designer, looked to the script for inspiration to create the unique outfits. A note indicated that Felicity kept the same jumpsuit in her trailer, which Katznelson used as a starting point and searched for something fitting with the show’s vintage aesthetic. In conclusion, Katznelson explains, the final jumpsuit was modern but had an old-fashioned feel. Afterward, she made multiple copies of these jumpsuits and dyed them to give them a vintage appearance.

In the script, Katznelson discovered Cece, portrayed as a professor of French literature. The costume designer opted for a three-piece tweed suit, as it helped modify her appearance slightly with its high neck, which in turn subtly altered the positioning of her face. Moreover, the choice of attire was meant to convey a romantic image. After all, this character is a teacher of classic literature, and she finds inspiration within that academic sphere.

Katznelson also focused on footwear, understanding its impact on movement and posture. For Cece, she selected a block heel, describing it as a “softer, more feminine alternative to the structured Oxford shoe typically worn by men.

Regarding Bebe, Katznelson aimed to ensure that the DJ character wouldn’t appear outdated. To find inspiration, she delved into photographs. The style of FKA Twigs caught her eye, which served as a catalyst to blend the club scene and modern music aesthetics together.

After finalizing the appearances for each character, it was time for us, as the film crew, to move on to blocking and shooting. Our cinematographer, Jaron Peasante, utilized rehearsal moments to strategize his camera angles and decide when split screens or doubles would be employed. “For every role she enacted,” he explains, “we had a double who memorized all the lines as well. They also wore matching wigs and costumes. This allowed for someone else to be present in the frame for Cynthia to respond to. She would dash around the room, moving from one spot to another, and then quickly to the next.

In every detail, including the editing process, editor Bob Ducsay employed traditional methods. As he explains, “Amber’s first encounter with Felicity required several takes of just Amber on camera, followed by numerous takes of Felicity.” By having so many options, he had the flexibility to select the best shots and extensively work with Cynthia Erivo’s performance.

The fight scene involving Amber, who attempts to kill Felicity once more, was effortless to assemble, and Ducsay employed a variety of methods. “We incorporated face swaps when they were rolling on the ground, which was our most sophisticated move. Additionally, we used the standard split-screen technique made straightforward by camera panning, and the operator meticulously mirrored the pace so we could seamlessly connect the two scenes.

When reunited, Ducsay admits that certain sequences were tough to put together. “Since we plan on performing splits for everyone, and as more characters come together in a single scene, the editing process grows increasingly complex.

Ultimately, Charlie manages to piece everything together and figures out that Felicity isn’t truly who she claims to be. He devises a plan to reveal Amber’s deception by subtly injuring her foot, as Felicity has a prosthetic limb.

According to Katznelson, the chosen boot had several requirements: a tall enough heel and lightweight leather so Charlie could penetrate it during the storyline; it also needed to sport a punk-style appearance and provide space for the special effects team to splatter blood liberally throughout the scene. In total, she ended up obtaining 10 pairs of boots suitable for this purpose.

With regards to Amber’s “poker face” act intended to conceal her agony, editor Ducsay found amusement in it. He explained, “It’s enjoyable to stretch out the moment because it becomes funnier this way.” “She’s attempting to feign that she isn’t experiencing indescribable pain,” he continued. “We had an abundance of fantastic material from Cynthia and, naturally, Natasha too. It was delightful once it was all assembled.

To portray that particular sequence, Erivo had to switch between various characters, each demanding a change in costume, makeup, and hairstyle. As Erivo explains, “We essentially filmed each character nearly twice, but you would have performed four distinct roles before returning to the start.” The experience was exhilarating.

As a cinephile embarking on a challenging role, I found myself questioning my ability to portray each character authentically. “Each one is unique, moving and behaving in their own distinct ways,” I pondered. “They all have different quirks, from the way they sit and speak to the unique timbre of their voices.” The task at hand was not only remembering these intricacies for each character but also embodying them seamlessly, without losing my composure or becoming overwhelmed within.

“It was so much fun to do it,” Erivo says. “And so much fun to flex those muscles.”

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2025-05-09 02:00