What is your current
title? My title varies depending on the project I'm working on. For example,
my current project, "Pirates of the Caribbean 3: At World's End"
I'm titled as a Makeup Artist. However, there have been projects where I was
the Makeup Department Head, such as "The Dying Gaul". Sometimes
I'm a personal Makeup Artist to a particular celeb...I've been a personal
to Burt Reynolds and Faye Dunaway to name a couple.
When did you get into makeup? I officially got into makeup in 1998.
At that time, I was assisting a Producer on a film called "Austin Powers:
The Spy Who Shagged Me". I was at a cross-roads in my life/career and
needed to change paths. I knew I wanted to remain in the film industry, however,
I wasn't sure exactly what I wanted to do. It was on that film that I met
Academy Award winner, Michele Burke. We both have a deep love of animals that
initially molded our friendship. When she and her husband would go out of
town on location, I would stay at thier house and care for her dogs and horse.
In leiu of paying me money, she agreed to teach me the craft of makeup.
Did you go to school for it? I wasn't in a position financially to go
to makeup school. As I was training under Michele in my spare time, I still
had to continue working to support myself. Makeup schools are very expensive
and have an intense curriculum, usually Monday through Friday from 8-5ish.
That type of schedule wasn't condusive to my life at that time. I think there
are many great things about a formal education, however, you have to do the
best with what you have available to you and makeup school wasn't an option.
I was fortunate to have a mentor willing to allow me to apprentice. Apprenticeships
aren't as common now as they were many years ago, however, they are a fabulous
way to learn a trade or skill.
You specialize in 'prosthetic' and special effects makeup - what extra classes
did you have to take? I wouldn't say that I specialize in prosthetic and
special effects makeup, however, it is what I prefer to do as I find them
to be more fun and challenging. I do all types of makeup including beauty
makeup, which tends to be the bread & butter for many Makeup Artists out
here. I believe it's very important to possess as many skills related to your
field as possible because you never know what you'll have to pull out of your
hat. But, like any artist, I'm continuing to grow and learn and that should
never stop. Once you stop learning or feel you know all there is within your
field, you need to find something else to do.
In makeup schools, they have special classes that concentrate on prosthetics
and special effects. However, if you're apprenticing, then you basically need
to know what you'd like to learn or have a mentor that covers all the bases
or at least knows who can help you if they can't. Also, another great way
to learn the ropes of that side of makeup is to work at a makeup effects lab,
which are plentiful out here in LA. If, for some reason, you don't have a
mentor or access to a makeup school, then books are a valuable resource. "Stage
Makeup" by Richard Corson is a staple in any Makeup Artist's library.
How did you get into
the makeup union? I got into the union, Makeup Artists and Hairstylists
Local 706, in 1999. My particular situation was a bit unique...I began working
for Michele on a film called "The Cell". It was early in pre-production
and as it was a makeup intensive show, there were many things to be done,
such as makeup tests, stocking the trailer and research. I was hired before
the production signed a union contract, so technically, I was able to work
because it was non-union at the time I was hired. Once the production company
signed a union deal my 2 choices were: join the union or quit my job. Although
I didn't feel ready to join the union, Michele encouraged me to do so. I joined
in 1999. I said the situation was unique...well, more unusual, I guess. Most
crew members are hired after a union deal is struck. Most people trying to
get into the union work for many years gathering enough "union days"
to present to the union for membership. The only way to get "union days"
without being in a union is if all members of that respective union are currently
employed or unavailable for work, then the production can do what's called
"hiring off the roster". I'm over-simplifying it, but that's the
general idea.
How often do you work? In general, I work about 8 months out of the
year. Sometimes it's more, sometimes less. It really depends on how much work
there is in town vs. location; if there is a strike happening; etc...And,
when I work, it wouldn't be 8 months straight, for example I start a job in
January and I finish it in August. That could happen, but it's rare and unlikely.
Work for me is intermittent throughout the year. I may work 3 months straight
on a project, then I have 2 weeks off, then I work for 2 days a week for the
next month, etc....It's certainly a tough business if your locked into the
"stability" thing.
What are some of the TV shows and movies you've worked on? I've been
fortunate to have worked on some great projects over the years....some of
my favorites are "Pirates of the Caribbean 2: Dead Man's Chest",
"Pirates of the Caribbean 3: At World's End" because the makeups
were interesting and I got to go on location to Dominica and the Bahamas,
"Austin Powers: The Spy Who Shagged Me", "Austin Powers: in
Goldmember" because they were a laugh a minute, "The Cell"
because the makeups were fun and I got to go to Africa, the HBO series "Carnivale"
because it was a creatively challenging show, the cast was great and I got
an Emmy nom in 2005 and "Mr. & Mrs. Smith" because I got to
work with a great Department Head that I hit it off with and have continued
a working relationship with to date. Sometimes a great show or a favorite
show isn't just about the makeup, but also the people you work with. You spend
literally more time with co-workers than with your own family so it's very
special when you have a great relationship with them.