Long before reality TV made prosthetics household talk, Michael Westmore quietly lent Tinseltown craft to clandestine tradecraft. According to contemporary accounts, Westmore and longtime collaborator Tom Burman built full make‑up kits and prosthetic sets for the CIA to help operatives alter appearances overseas. The work married Hollywood’s shopworn art of disguise — the same skills Westmore used on The Munsters and later on Raging Bull and Star Trek — with real intelligence needs: identity changes, aging or de‑aging, and facial alterations intended for long‑term use. The collaboration was tangible enough that one of the sets the pair created later surfaced on the private market and sold for $20,000 in 2011, a rare physical trace of a cross‑section between studio craft and espionage. The story is one of those deliciously strange Cold‑War footnotes where make‑up artistry moved off soundstages and into the shadowy world of spycraft, cementing Westmore’s reputation as a technical chameleon whose techniques served both stars and spies.
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