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Tilda Swinton, playing the 85-year-old Madame D., required 11 pieces of prosthetic makeup, including hands, neck-piece, chin, earlobes, forehead piece, two nosepieces and chin  — all topped by five wig pieces.

Harvey Keitel, in the role of the hairless Ludwig, required a bald cap because he didn’t want to shave his head for a short part.

These were just two of the hundreds of creative challenges faced by artisans on “The Grand Budapest Hotel,” which is Oscar-nommed for hair and makeup alongside five other below-the-line categories.

Making their job a bit harder was director Wes Anderson’s now-legendary insistence that crew refrain from contact with cast during filming. “Wes doesn’t really like you going in and doing touch-ups,” says prosthetic makeup designer Mark Coulier. “He likes to keep the actors in the moment.”

The helmer did make an occasional exception for Frances Hannon, the film’s overall head of hair and makeup, because Swinton’s get-up was so elaborate it needed extra attention.

Notes Coulier: “Anderson likes to create a special environment for all his actors and crew.”

During the filming of “Budapest,” the production took over an actual hotel. “Everyone stayed there,” he adds. “We turned the foyer into the makeup room.”