Episode Transcript
[00:00:00] Speaker A: You know, I was on set once and we had an older lady wearing contacts that I already didn't want to happen because we didn't have a lens tech on set. And the lens flipped to the back of her eye in the middle of a take. And I was literally looking at the ad and I was like, cut. Like, we're done. And they were like, like, the ad told me to shhh. And so I walked into the shot and like grabbed her and was like, we gotta go. And so like those moments where is like, you know, you've gotta, you've gotta be your own voice, right?
You're your own boss on that set. And the actress in that situation, like looked at the AV and was like, you should have done that before. Like, the makeup artist shouldn't have had to do that.
[00:00:54] Speaker B: I'm Luke Steinfeld.
[00:00:55] Speaker C: And I'm Wyatt Sarkisian.
[00:00:56] Speaker B: We made the 5050 podcast to support you on your filmmaking journey.
[00:01:00] Speaker C: 50% business, 50% creative.
[00:01:02] Speaker B: Every Tuesday, a new how to.
[00:01:04] Speaker C: This week we talk with Nadia Reese Stone, who presents to us the role of the on set makeup artist. Ladies and gentlemen, this one's a treat. Enjoy.
[00:01:21] Speaker B: So is that like a, is it like a contract gig? Like, and, and just letting you know, I have no knowledge about this at all. So I'm probably going to be asking some stupid questions that you're going to be like, this is 101 stuff, you know, but like, what are you just on call 24 7? Is this a salary thing? Is this like a, you're a freelance. Like, what is this even? Is there a contract? Is there an agreement? Like, what does that look like?
[00:01:49] Speaker A: Yeah, so it can be. So you could be. There are definitely makeup artists who are on retainer.
Like I would assume, you know, some of the very large names have their makeup artists on retainer, meaning that like those artists are at disposal to them anytime they need.
There are definitely makeup artists who are on salary who do just follow clients. But for the most part we are all completely freelance and we pick and choose.
You know, for some clients in the past, I've canceled other jobs to be with them.
And sometimes, you know, it's, it's kind of a scary battle because you working as a personal artist, it's very fleeting. You know, your client could work with one other makeup artist and like the way that that artist does their eyeliner and boom, you're done. They' now jump ship and working with another artist. So you kind of walk this fine line of I'm going to cater to you so that I'm always your first call. At the same time, you also do have to realize that there is more than just that person to your entire career. So it's definitely a fine line and really tricky.
[00:03:07] Speaker C: Totally.
[00:03:08] Speaker B: Like a photographer or something. Sorry, Wyatt, but, like, no, no, go for it. Just, like, seeing this as like, a freelance position. Freelance gig, like, at our level, like, our age and stuff, and our age group, like, very. Just getting, like, logistical with it, where it's like, okay, artist calls, and it's like, hey, can you come shoot this concert tonight? It's like, yeah, cool. I can do it for 250 bucks. Whatever it is. Like, you kind of set the rate, and it's like you have that conversation up front, and then they pay you after the fact that the label pays. Like, how does payment work for you? Are you. Is there a conver? Like, if it's like, hey, I'm going to dinner, like, any chance you could come do my makeup really fast? Like, I feel like it's a very, like, chill, like, laid back kind of, like, conversation. Like, hey, if you're free, like, would love to have you come over really quick and, like, do this.
Are you.
[00:03:57] Speaker A: Yeah, that's basically how it is.
And then for, like, larger jobs.
[00:04:04] Speaker B: But I mean, like, are you invoicing them, like, the morning after or something? Or, like, okay, yeah.
[00:04:10] Speaker A: And then, like, like you said, sometimes it is getting paid through a label. Like, if it's a music video or usually any type of, you know, campaign or promotional thing, the label will pay. But if it's something more personal than the artist will pay directly.
So it just depends. And usually it's a conversation with the managers of, like, how is this payment going to work on a music video? Last week that I got called the morning of because the artist didn't like their makeup artist, and so they were like, hey, can you come? And I showed up. I didn't know how much I was getting paid.
[00:04:53] Speaker B: Oh, my God.
[00:04:54] Speaker A: How I was being paid, which I can't say I recommend. That's definitely not a good way to go about it.
[00:05:02] Speaker C: Of course.
[00:05:04] Speaker A: But, you know, I got there and I went up to the manager and I said, hey, how are we? And I, like, kind of joke about it. I'm like, hey, I hate asking this question, but how are we dealing with the money?
And not had an issue yet.
[00:05:18] Speaker C: Totally. What is it, like to get called last minute? Like, is it. Who. Who's calling you?
And are you.
[00:05:26] Speaker B: She's shaking her head.
[00:05:28] Speaker C: Who's calling you in? Are you, like, in the moment, Are you saying yes right away because it's like a great career opportunity? Are you hesitant, or are you saying no to a lot of things? Or, like, what. What kind of constitutes, like, a good deal for you?
[00:05:43] Speaker A: I will say across the board, even if it's a personal client to the film industry, nine times out of ten, I am getting called two days before the shoot.
[00:05:53] Speaker C: Sure.
[00:05:54] Speaker A: Three days before the shoot, the day before the shoot.
Makeup artists are never a first thought. And that's kind of like the dirty side to our industry is we're always kind of the last person to get called.
And so, like, my thing is stay prepared so you don't have to get prepared.
So I know some artists will, like, come home from a job and leave their kit to, like, clean it up and sanitize everything until their next job. But typically I'll get home, go to sleep, and the next morning I'll sanitize, clean all my brushes. So if I get a call, I can be there within.
However long it takes me to get there. I don't have to get anything ready.
I will say, I don't know if it's good for my heart.
[00:06:43] Speaker C: I don't know if any of this is good for anybody's heart.
[00:06:46] Speaker A: Yeah. So I think that managing stress and anxiety and being in therapy is really important.
[00:06:56] Speaker C: Yes. Especially for makeup artists. Absolutely. Well, that's so interesting. And I think, I mean, we try to, on this podcast, hear a bunch of different voices from all across the industry, because even if people aren't necessarily, you know, we have a lot of listeners who this, you know, who aren't necessarily interested in being makeup artists, but they sure can learn something about being in therapy while being in a, you know, in a high functioning job. Right. Or getting that call a day before they get onto set. So we really want to get into this, but first, we would just want to introduce Nadia to everybody because, you know, we've been emailing for some time and, you know, obviously you've. You've been busy with different, you know, tours and schedules and things like that, but we originally got introduced to you, I believe, through Jacob Stodenmaier.
[00:07:44] Speaker B: Right.
[00:07:44] Speaker A: Yeah.
[00:07:45] Speaker C: Okay, awesome. And you, when. How. When was the most recent time you worked with him?
[00:07:51] Speaker A: We worked together. I want to say it was like a week before I left.
He does this character called Jack Harris, and I do Jack Harris's makeup. So it's a couple prosthetics that we do on him and a hairstyle.
And so I would say that I think that Was the last time.
[00:08:13] Speaker C: Cool. Well, Jacob's definitely a friend of the pod. He's a previous guest of the pod, and he has been officially selected for the 5050 film festival in the past.
And we're really happy to have you on because he spoke obviously very highly of you, especially since we got into that character on his podcast. So it only felt natural to interview the person behind that look.
How much, like, prosthetic stuff do you do? I mean, obviously for artists, you're just doing regular face makeup, but prosthetics, is that, like, a thing you're interested in doing more of or, like, how much do you do of that?
[00:08:52] Speaker A: I would say up until I got into doing some more personal work, like, 99 of my work was prosthetic and creature creation. So my specialty within the industry is definitely prosthetic and creature creation.
[00:09:11] Speaker B: Are you saying creature. Creature creation?
[00:09:14] Speaker A: Yeah.
[00:09:14] Speaker B: That's so cool.
[00:09:16] Speaker C: That is awesome.
[00:09:16] Speaker B: Wait, so are you, like, okay, again, I know nothing about this, so you're gonna have to walk me through this. Like, what, what does creature creation look like? Again? You said this is 99% of your work at the top before kind of digging more into the personal makeup stuff. So kind of walk us through that. That world, if you like.
[00:09:37] Speaker A: Yeah. So when a script is written with any type of monstrous character or anything where you know it's not a human, there has to be thought that goes into, like, what how is that going to be portrayed on camera? Or, like, how are we going to achieve what the director and the writer have in mind as to what this is going to look like?
And a creature creator is usually somebody who comes in in between the. The makeup artists and the director.
And sometimes the makeup department head, that creature creator will come in and usually do, like, concept art, 3D renderings of what they see as that creature looking like. And typically on, like, high budget movies with very large creatures, they'll have multiple different creature creators just to get a lot of different opinions and then they'll go through. So part of my job and where I want to go within the industry is I want to be a department head that also does creature creation so that, you know, I can have more of a physical hands on as to what the makeups in these creatures look like in their final form.
[00:10:58] Speaker B: Is there drawing, like, illustrating or 3D rendering involved in that process?
[00:11:04] Speaker A: Yeah, there's a lot. So it all depends on the budget and how large you're going in, the scale of everything that you're doing. But, yeah, there's definitely 3D printing, 3D rendering, drawing, all of that.
[00:11:22] Speaker C: And how much creativity are you usually given? I'm sure it differs based on director's vision, regular makeup artist vision of things. But how much are you. You know, at what point exactly in the process are you brought in? And then what usually is the average amount of creativity that you're given or freedom to do what you want with it?
[00:11:44] Speaker A: Yeah. So usually I'm brought in.
I'll do a script read, and then there's a conversation between writer, director, and myself. And I'll typically sit down and be like, how do you envision this character? And I'll ask for some reference pictures. And obviously it won't be exactly what they have in mind, but, you know, is it something humanoid? Meaning, like, more. Is it like, a zombie? Right. It's a deformed human. Or are we going more something like Doug Jones in the shape of water, where it's like, a complete fish. Right.
Where do you.
[00:12:23] Speaker C: Is that, like, peak prosthetics, like the shape of water?
[00:12:26] Speaker A: I would say basically any makeup Doug Jones has been in.
Yeah, you're sitting right up there.
But even as of late, like, for me, it was the whale.
[00:12:38] Speaker C: Yeah, yeah.
[00:12:39] Speaker A: That makeup, chef's kiss, and then obviously Nosferatu. Yeah. And the substance.
[00:12:48] Speaker C: These are things that a lot of viewers take for granted. You know, like, these are really.
And when you're watching something like that, are you noticing all the. Like, are you thinking about how this was created?
[00:13:01] Speaker A: And, like, I think it's kind of similar to, like, anybody who's really close to people who work in the film industry, they're like, I can't watch movies with you. You know, because, you know, whether it's like a director supervisor being like, continuity. Right.
Like, for me, it's like, there's an edge, you know, or I can see the lace.
So, you know, in any job within the film industry, I think anytime you watch something or you see something, you're always analyz and drawing inspiration from everything that you see.
[00:13:39] Speaker C: So to continue with the process, you're working with the writer and director, and you've asked them, how do you envision this character? And they're showing you some references. They're not exactly the exact thing, obviously, because it's your job to create that, but what happens next?
[00:13:54] Speaker A: Yeah. So then it usually comes down to a conversation of budget, like, how much.
How much money do you have to throw at this?
And there's two different avenues, which is general prosthetics, which are prosthetics that exist in the world already. You can purchase them from companies and those, like, they don't really have any, like, protected rights. You can use them. They're being sold, Use them for whatever you want. Then there's another avenue of them actually creating your own prosthetics. Right. And that's a whole other side of the makeup industry.
That process typically costs thousands and thousands of dollars.
So if you're looking at, like, a short film budget, something that's not being shot for millions of dollars, you're typically going more towards these general prosthetics.
So in that case, I'll usually see. Send a link to the website that I'll buy prosthetics from. There's a couple different brands I prefer, and I'll be like, hey, look through their Instagram catalog, look through their website, and if you see anything that you really like, let me know.
And then once the director gives me that information back, I'll look at their piece and then be like, okay, I think this will work. This won't work.
Send them back some other options, and then we'll go from there. And then usually the next thing is talking about, like, painting. How do you want it painted? What color do you want it?
How do you want to portray it?
And in the end, some directors want to see a final sketch of what it's going to look like all together.
And some directors just turn around and be like, I trust you. Do your thing.
And then on the day of, I typically will do it in layers if I don't get to do a test makeup, which that is when we bring the actor in before the day of the shoot and do the complete makeup so that everybody can see, test it out, make sure it works well.
But if we don't get to do a test makeup, I'll do it in layers. So, so slowly applying the next thing and have the director come in so that we don't push it too far.
[00:16:21] Speaker C: At anything because it's easier to. You can't go back on it.
[00:16:27] Speaker A: It's really hard to go back.
[00:16:28] Speaker C: Yes, yes, absolutely.
[00:16:31] Speaker B: Do you have a preference when it comes to communicating with directors at that first stage of we're looking at the script together, and we have this crazy character creature thing happening.
Would you. If there are two directors, like, two different paths, one is, here's it on the script, on the page.
I.
You read it, Nadia, I trust you. Like, you do your thing.
Like, I'll see you in a week, and, like, we'll do that, like, camera test kind of thing or the test makeup. Or do you prefer let's really get down and dirty in this and, like, really talk about it? And like, here's exactly, like, I have this vision in my head and I know exactly how I want it and I can even draw it and hear all these comp references. And, like, you go and like, get as close to this as possible, please. Like, do you. If that is the kind of the scale, like, you find yourself gravitating towards any side of that.
[00:17:31] Speaker A: I think I like a director who's a little bit more hands on in the sense of, like, I want to get nitty gritty and, like, what you wanted from this character?
I was working on a short film where there was, like, a monstrous version that was haunting this girl.
And at the beginning, the monster was written as a, as a male.
And I was like, I really don't think that the monster should be a male because she's being haunted by women.
So I think the monster should be a woman.
And had I not have had that nitty gritty conversation with the director, I wouldn't be able to have given that piece of advice. Like, I think that this monster being, like, having female aspects will drive your point further.
And in the end, we ended up going with a female monster. And he was, he loved it. He was super, super happy.
And I think it did a lot better job of creating this, like, haunting and spooky experience for the viewers.
[00:18:50] Speaker C: That's so interesting. Are you. This is kind of a random question, but are you ever thinking about if someone's going to be touching the prosthetics or how much they should be moving or are there different strategies for, like, the malleability of different masks and things like that?
[00:19:07] Speaker A: Totally.
You know, there's so many. Nowadays, there's so much technology that goes into makeup artistry and prosthetics.
There's so many different materials that you can use to create prosthetics. The, the two main types are silicone and foam latex.
Nowadays, what you see in, like, big television and movies are typically, typically silicone.
Silicone costs a lot more than latex.
But a lot of the like, like the, the orcs in Lord of the Rings and those type of characters are usually like foam latex when you're trying to hide the fact that it's a human. But then if you look at, like the whale, those are all silicone prosthetics.
[00:20:06] Speaker B: Are you more interested? I know you said the whale. You're, like, very much excited by more than a shape of water or something where, like, do you find yourself more interested in real, like, characters or creatures that, like, feel very, like, human and real, or more on the fantastical, mythical side of things.
[00:20:26] Speaker A: When I first started, I was definitely humanoid, but now I'm definitely leaning more into, like, the fantasy world.
For me, I just am always the most impressed by realism makeup. So realism makeups, aging makeups, weight suits, anything where you're doing, like, you're supposed to be replicating a human.
[00:20:54] Speaker C: Yeah, it's hard to make things look believable.
[00:20:57] Speaker A: Those are the most challenging makeups. Those are the hardest. Those are the most technical. And I don't think people realize that when you're painting an alien, nobody knows what an alien is.
[00:21:08] Speaker C: Totally. We'll believe it. Yeah.
[00:21:10] Speaker A: If you mess up, who's gonna know? But, you know, if you're painting skin and you paint that skin the wrong color, you don't add enough texture that looks off. Doesn't look right.
So having the detail of, you know, like, Brendan Fraser, like, he looks so good.
So, like, for me, I'm like. To be able to, like, see, like, seamlessly portray that character is really, really impressive.
[00:21:42] Speaker B: Are your parents in the industry? Are they. Are they also makeup artists?
[00:21:47] Speaker A: No, my mom is a lawyer. My dad owns a children's gymnastics facility.
[00:21:52] Speaker B: So how did you. How did you get into this? What was the. Did you see Lord of the Rings? And you're like, oh, man, those orcs.
[00:21:59] Speaker C: I want those orcs.
[00:22:01] Speaker A: I actually. It's, like, really strange. I was a childhood dancer, and at 17, I, like, got brutally hurt and kind of was slapped in the face by. You're not going to be able to do this the rest of your life. And I was, like, sitting there with life, like, what am I gonna do?
And one of my best dance friends is like, nadia, you're always doing her makeup for competition.
Why don't you become a makeup artist? And I was like, oh, I never thought about that.
Cool. So I started, like, toying with this idea of being a makeup artist. And then my neighbor was starting out at LMU for film school.
We were talking one day, and he's like, never thought about doing makeup for film.
I was like, huh?
Like, no, I haven't thought about that. And I mentioned it to my mom.
My mom found the pro, the makeup school I ended up going to, which is makeup designer in Burbank. And she showed me all of the pictures of the prosthetic makeups, and I was like, oh, shit. Like, somebody's doing that for movies.
It just, like. I was never a film geek. Growing up, like, I was not one of those that, like, grew up with a camera in my hand. Like, my mom literally showed me, like, a catalog, and I was like, yep, that's what I want to do. And so I went to school and worked on a ton of student films because I knew nothing about the film industry. What.
[00:23:37] Speaker C: What sort of things are they teaching you in makeup school are like, are you. Are you doing film? Are you doing theater? Are you doing other forms of makeup, like, live performance stuff? Like, I.
Makeup differs, right, Depending on what sort of event. If I'm showing up to a film set in theater, makeup, like, I know it's going to be because the camera's so close to me, right? So it's like, I'm curious, you know, what. What sort of things do you get to, like, focus on a specific kind of makeup or, like, what does the curriculum sort of look like?
[00:24:07] Speaker A: Yeah. So, like, my school kind of offers, like, these different flows of programs depending on what you want to do as a makeup artist. So I took their, like, mastery program.
So their program that, like, they call a certified makeup artist. Being a certified makeup artist means nothing. We're not cosmetologists, so.
But essentially, you go through, like, the standard beauty course. And within that beauty course, they, like, tell us, you know, when you're focusing on film, you want to make the skin look like this.
And then when you're doing glam clients for a wedding, you want to do it more towards this. They teach us the different styles.
And then from the beauty course, you typically go to, like, a hairstyling and business course to do, like, basic hairstyling. And in the business course, they'll start running down some of the film industry basics, like invoicing.
And for us, they gave us a list of film terms. I left school with a piece of paper with 75 film terms.
[00:25:18] Speaker C: So director is asking you something, and you're just like, hold on, let me just check my dictionary.
[00:25:23] Speaker A: I remember the first time I went on stage, somebody looked at me and was like, I'm going to 10 1. And I was like, what are you talking about? Give me.
[00:25:30] Speaker B: Give me 35 seconds.
[00:25:32] Speaker C: Yeah, you pull out your laminated scroll.
[00:25:35] Speaker A: I was like, guys, I don't. Or like, the first time somebody was screaming points, I was like, what is happening? Like, I like. I was like, words, please.
[00:25:45] Speaker C: You just cover your head.
[00:25:46] Speaker A: Yeah, yeah. Like, I. It really. And I think a lot of makeup artists who start in the industry feel like that because, you know, we're not going to film school, and we're not. I don't know what film school looks like. But, you know, we don't. We don't have that experience. So jumping into the film world is definitely still intimidating, even going to school, because they'll tell you, like, hey, like, grips do this. And, you know. You know, gaffers do this. But, you know, until you're on set.
[00:26:22] Speaker C: Yeah.
[00:26:22] Speaker A: Like, I remember, I would just get on set and I'd be like, I have no clue what anybody's doing.
[00:26:27] Speaker C: Yeah. Yeah.
[00:26:28] Speaker B: How. How long did it take for you to get your footing on a film set?
[00:26:32] Speaker A: Till I, like, got comfortable and was like, I know what I'm doing. Probably, like two years.
And even now, I think.
[00:26:43] Speaker B: Was it. Was it like a certain specific project where you were like, okay, like, I'm. I'm pretty good at this. Like, that. That guy looks really good.
[00:26:51] Speaker A: I think I was always confident in my ability to do makeup. I was never confident in being on set.
[00:26:58] Speaker C: Sure. And it. And it's. It's such a part of the thing, you know? Like, I. I can be confident as an actor, but when you're an actor, you're the amount of. Compared to the amount of time you're spending on set, you're not doing acting a lot. You're socializing with people and collaborating and listening to other people and have to understand contextually where you are in the story and all of that. So it's every role that people are playing on set, it's only a small part of the actual experience.
So I find that very interesting.
[00:27:30] Speaker A: As for makeup artists, too, you know, our job really happens within. Like, on most sets, they want those actors in within.
God forbid you don't have them up there within two hours. Right.
So our job is really happening within the first two hours of the day. So being able, I, like, remember, I was like, I don't know where to stand at the monitor. I don't know, like, any of. I remember just being so uncomfortable or, like, for last looks, you know, like, if somebody didn't call it, but I needed it, like, I would be comfortable being like, last looks. I need last looks.
[00:28:05] Speaker C: Yeah.
[00:28:06] Speaker A: And I think, like, until I finished my. Finished my first feature, which was like, that I. Department head that I was like, this is me, My project. I think, until I finished my first feature and I had to learn how to stand up for myself and be, like, my own backbone, I think that's really when I was like, okay, I got this.
[00:28:31] Speaker B: As if you got to that point of being comfortable enough on set to be like, Hey, I gotta pop in there really fast and just fix her makeup really quick, that kind of thing.
[00:28:39] Speaker A: Yeah. And, like, voice and, like, know where I should be. And it's hard if you're not joining the.
The industry as an assistant and if you don't do a lot of assisting.
[00:28:51] Speaker C: Work, if you're not observing before you actually get in there and have a real role, you know?
[00:28:57] Speaker A: Yeah. It's hard to just. And nobody's there telling you what to do. Right. Like, nobody's doing, like, hey, makeup artists, you should go.
[00:29:05] Speaker C: Yeah.
You really just have to figure out on your own. Yeah.
[00:29:09] Speaker A: Yeah. So for me, I just, like, threw myself in it and I'll figure it out.
[00:29:14] Speaker C: Yeah. Did you have people who do you. I mean, do you still have, like, mentors and people you. Who you can rely on to, like, ask the stupid questions to and, you know, who you can maybe have shadowed and things like that? Like, is there. Do you find that there's that sort of pipeline in the makeup artist community?
[00:29:32] Speaker A: Oh, totally. And, you know, since then, I've definitely found my people, right Of.
I have my mentors, I have people I look up to, and so there are definitely people I can go to with my. So stupid questions.
Just didn't have that at the beginning because I didn't know anybody moving out to la. Like, I mentioned, my parents don't work in the film industry and I moved out to LA with, like, no friends here, nothing.
So I was not connected at all. I knew no one. So it was really hard for me to find.
Makeup artist community is very gatekeepy, so to, like, find makeup artists who want to share their knowledge, it's pretty hard.
[00:30:22] Speaker C: Yeah.
[00:30:23] Speaker B: What's. What's a piece of advice you'd give to a young Nadia, like, a young makeup artist who's, like, just coming out of school and is, like, about to be on their first real film set.
[00:30:34] Speaker A: Don't be afraid to be a.
[00:30:37] Speaker C: And sanitize your equipment. Right.
[00:30:40] Speaker A: Oh, my God, please.
That's actually my biggest pet peeve is, like, when makeup artists post pictures of their kids on Instagram and like, shit is nasty. Sorry.
Things are nasty. I actually am just like, you're gross. Please clean your stuff.
And yeah, like, don't be afraid to stand up for yourself, you know, or, like, get, like, I talk back in a professional way. Yeah, yeah, yeah.
[00:31:11] Speaker B: What do you.
[00:31:11] Speaker C: Can you. Can you dig into that a little bit? Because that's really, really helpful advice.
[00:31:16] Speaker A: Yeah, I mean, the, the. The makeup department along, you know, like, with costuming and stuff. Like, that were never deemed the most important on set.
And we're usually the first ones to become afterthoughts.
And so, you know, there's been so many times where I've been in the middle of literally doing somebody's full face of prosthetics, and the ad is coming in and yelling at me, we need you to hurry up. We need you to hurry up. Like, hey, I told you it was going to take this long. It's not my fault that you let your day run four hours behind.
Right.
And I used to be really scared to say that to people. Or, you know, I was on set once, and we had an older lady wearing lenses. Lenses, contacts that I already didn't want to happen because we didn't have a lens tech on set, which is somebody who specializes in doing contacts, and the lens flipped to the back of her eye in the middle of a take. And I was literally looking at the ad, and I was like, cut. Like, we're done. And they were like, shh. Like, the ad told me to shh. And so I walked into the shot and, like, grabbed her and was like, we gotta go.
[00:32:35] Speaker C: Yeah. Because it's, like a safety issue at that point.
[00:32:38] Speaker A: Exactly.
And so, like, those moments where is, like, you know, you've gotta. You gotta be your own voice, right?
You're. You're Your own boss on that set. And the actress in that situation, like, looked at the ab and was like, you should have done that before. Like, the makeup artist shouldn't have had to do that.
[00:33:01] Speaker C: Yeah.
[00:33:02] Speaker A: So standing up for yourself, standing up for your actors. Like, I would say, like, do not be scared to do that.
I think I've never gotten fired. I've never not gotten rehired because I stood up for myself.
[00:33:18] Speaker C: That's fantastic advice. Do you feel a special connection with actors because you are working so close to them?
[00:33:25] Speaker A: Oh, yeah. I like to call myself a makeup artist therapist because we're the first people that they're gonna come to. If they have an issue, they're gonna tell their makeup artist.
I had a teacher in school, and I think this was another best piece of advice I ever received, is you're gonna set the mood for the day. The makeup artist is gonna set the mood in the sense of we're typically the first people that actors see. So if actors sit in our trailer and we're stressed out and we're in a bad mood, that's gonna start their day off on foot. And all of a sudden, then you're gonna throw off their performance, which Then throws off the director, which then throws off the entire day because you're having to do more and more shots. You have to be really, really careful about how you're acting around the actors and making sure that they feel comfortable with you. Because, like you said, we are spending the most amount of time with them out of everyone on set.
[00:34:27] Speaker C: Yeah.
[00:34:28] Speaker B: I know that when I get my haircut, like, with my haircut guy, I feel like the conversation has, like, dramatically changed over.
It's. I go there, obviously not that often, but a good amount. And, like, what I'm getting at, though, is, like, the first day on set with the actors I'm sure you have a ton of talk about, but as set goes on and you're sitting there for those two or three or four hours, like, do you find yourself getting comfortable in those silences? Do you invite the silences? Like, how do you kind of foster an environment that, like, feels. Because obviously, sometimes, too, you're an actor. It's like, I am so tired right now. I've been on for however many days, and a lot of times I have to get here super early to get this makeup on before anyone else is here. Like, the last thing I want to do. I'm sorry. Like, you're awesome, but, like, I just want to sit here and close my eyes and, like, in that kind of thing. So, like, are you very much being, like, aware or, like, feeling that. That situation out? Like, how are you. How are you fostering that environment, or what type of environment are you trying to actively foster?
[00:35:35] Speaker A: I always try to foster the type of environment that, like, I'm here to support you. Right. Like, my first job is to, like, make sure you are comfortable at all stages. And I will tell anybody who sits in my chair with prosthetics, I do not care what's happening. If you are having a panic attack and the prosthetics need to come off, I don't care if I have to scream at every single person in the room. I will scream at every person in the room for you.
[00:36:04] Speaker C: You're vouching for them. Yeah.
[00:36:05] Speaker A: I am here for you, number one. And number two is, like, if you don't want to talk, we don't have to talk. You want to talk, let's talk.
And so I'll typically gauge it. Like, if the actor is actively talking to me, I'll talk back.
Usually when they sit down, hey, how are you doing?
You can usually gauge if somebody wants to talk or not talk. They're giving you longer answers.
Doing really well. My Boyfriend last night.
That typically is like, I want to talk versus, like, I'm good.
[00:36:42] Speaker C: Yeah, it's actually not that. It's not that hard when you think about it, you know, but, yeah, you do have to be really in tune. And just, you know, the few times I've had makeup put on me, I definitely. It is a very intimate thing, you know, like another. What a person is touching someone's face and making them look a specific way and what are. What are typically. So, you know, you definitely are making sure they're. They're comfortable and everything. But do you typically. Are you listening to feedback from them about the way that they like stuff? How often is the director coming in? Like, what are those conversations like, about coming from the actor and coming from the director and things like that?
[00:37:25] Speaker A: Yeah. So typically there's, like, as far as the conversation goes, if we're talking, like, beauty makeup for films, usually there'll be some sort of a lookbook that I'll create and send to the director.
You know, like, if it's a period piece, like, if we're in the 60s, do you want to do, like, the Twiggy Eye, which is, like, the line of eyeshadow that people used to do, or do you want to, like, keep it more towards, like, very natural? Like, where are we leaning on a scale of beauty?
And then I'll typically, like, break down the main characters, and then there will be a conversation with the actors, like, hey, like, they want to look a specific way. Like, great one is, like, Lily Rose deaf and the idol.
Like, she told her makeup artist that she wanted to do her lips, like, her lipstick and her lip liner, but just, like, something as a makeup artist, I would be like, go for it if that's gonna make you feel more comfortable, as long as it's not ruining, like, the ambiance of the movie.
But then, like, if you look at Lily Rose death in Nosferatu, she doesn't have her lip liner on.
And that's because, like, that wouldn't have been period accurate.
So there's that line of, like, hey, the actor, actress wants to look a certain way, but we also do have to keep it within.
Like, what are the limits of the movie?
[00:38:59] Speaker B: Mm.
[00:39:02] Speaker C: Did you learn about the history of makeup in film in school? And would you mind taking us through the history of makeup and how it shifts changed? And I. I feel like I have a lot of questions about how it's just changing, you know, in real life, day to day with people. But, you know, specifically in film, we could keep it to right now.
[00:39:21] Speaker B: I, I think adding on to that, too, the beauty standard thing, because I, I, I know you mentioned in, in class, like, you guys are like, the different classes, like, in that specifically, like, beauty, like, I was really was thinking, like, well, what are they teaching? Like, is beautiful. Like, is it more makeup or less makeup? In a very general term, obviously. But I'll let you.
[00:39:44] Speaker A: Yeah. So, like, with, in the beauty standard is, like, for me as a makeup artist is always what I try to stay away from. I'm like, there's, it's, There obviously is a beauty standard of, like, what, like, European women will look like versus, like, what black women will look like versus, like, Indian woman or different cultures, right?
There's, there's totally, like.
But my way of going about it is usually asking the person, like, how do you feel the most beautiful? Right? Because if somebody did, like, a typical western makeup on me, which is, like, very brown and, like, bronzy, I would, like, have a panic attack because I don't think that looks good on me.
But that would be, like, society's version of this is pretty, right?
[00:40:46] Speaker C: And I'm sure it's not always been like that. I'm sure the, the standard has changed over time, right?
[00:40:52] Speaker A: Yeah. So, like, if you look at, like, 2016, right, like, that type that time, you'll see, like, we were wearing makeup in 2016. You know, we were doing bold eyeshadow. We were doing cut creases. Like, we were wearing blush lip liner. Like, we were putting on makeup versus, like, right now, we're in the era of, like, clean girl makeup, right? Which is, like, you obviously have makeup on. Like, kind of like what I'm doing right now, which is, like, I obviously have makeup on, but just a better version of yourself, right? And if you ask me, like, bring back the 2016 makeup. Like, I want to put on some makeup. Yeah, look.
You know what? I want to look like I shoved my face in a cake. Like, let's do it.
But, you know, if you're, if you're talking back to, like, where the industry completely started, like, black and white, you should look up.
[00:41:55] Speaker C: Oh, my God. Black and white is crazy, right?
[00:41:57] Speaker A: Like, you should look.
[00:41:59] Speaker C: What do they look like in color? Is my question, you know, like, do they look crazy?
[00:42:04] Speaker A: The craziest one that I'll tell people is, like, if you watch old black and white movies, you can always tell if the women is where. If the woman is supposed to be wearing a red lip. And I think that's so interesting, right? Like, it's black and white. But every time, you know that if a woman has dark, dark lips, it's meant to be a red lipstick, which is so interesting. And then I was like, how did they do that?
Right. Because obviously they're playing on a scale of grays, like of black to white. How did they do that?
They were wearing green lipstick. Like, so these people were literally like walking around with bright green lips and like dark. Like, these people looked insane.
[00:42:53] Speaker C: Yeah.
[00:42:54] Speaker A: Walking around.
[00:42:56] Speaker C: They looked like the orcs.
[00:42:58] Speaker A: No, literally, like if old black and white makeup is. If you like. I don't know if you can pull up a picture. It's. They look wild. And so it's kind of funny because it's like they were putting on makeup, you know, like. Yeah, it wasn't, um, you know, like nowadays when you watch.
I'm trying to think of like a movie that's come out.
Oh, what was that with Blake Lively?
[00:43:30] Speaker C: It ends with us.
[00:43:31] Speaker A: Yes. Like, all of the makeup in that is very natural. Right? I don't know why that's the movie. I haven't actually seen that movie.
[00:43:39] Speaker C: Sure.
[00:43:40] Speaker A: I don't know why that one came to mind. But like, all of the makeup with that is like supernatural. And the makeup that you see in like, that is still how I would do makeup on like a day to day person. So it's really interesting because, like the natural makeup, you know, in black and white makeup is insane and looks crazy in order to make them look natural.
But nowadays if you want to make somebody look natural on camera, you have to really scale back and do not a lot of makeup.
[00:44:15] Speaker B: I'm curious to hear your thoughts on a show like Euphoria that was so kind of makeup forward. And I, I know Sam Levinson has a lot of mixed reviews, but like, I think his approach to makeup and specifically just like looking at makeup as an opportunity to like build these characters out even more and like a way like to express these characters even more. And like everyone has their own kind of look.
I don't know. Like, do you.
First of all, is that something that. That has happened in the past? Like I, I feel like there are older films, like when color was being introduced, where it does feel very theatrical and the makeup sense and like very expressive and very like, like Wyatt was saying, it looked like more of a theater is vibe than like what you see. And it ends with us.
[00:45:13] Speaker A: Oh, yeah, totally. I would say, like, if you look at a lot of.
Well, first of all, my opinion on Euphoria is I.
I love Euphoria and I love what Euphoria has done in opening a conversation of the makeup within film and television is, like, what you're saying.
That avenue has been explored, but it hasn't really in the sense of, like.
I think the makeup on Euphoria almost plays against the realism factor.
[00:45:50] Speaker C: Oh, definitely.
[00:45:51] Speaker A: Like.
Like, obviously, when you're watching Euphoria, this is not average high schoolers. Right.
But the makeup directly goes against the realism they're trying to portray, which I think is super interesting.
And in that sense, I'm not sure I've seen or I can think of off the top of my head, a film or a television where the makeup is meant to bring you out of reality, like, out of the reality of the film.
And I love that about Euphoria.
And I think that the only other times that I feel like that are when the makeup is being done badly. Right. Like, if you look at some shows that they're trying to recreate the 70s, and they do, like, a very characterized version of what makeup looked like in the seventies.
[00:46:53] Speaker C: Doesn't feel authentic.
[00:46:55] Speaker A: It doesn't feel authentic, but, like, in a bad way, usually for me, versus, like, Euphoria's, like, intentional use of pulling you out of the reality. I don't know if that makes sense.
[00:47:07] Speaker C: Oh, that's. That's fascinating, and that's interesting. It seems like Luke was right on the nose and bringing up Euphoria, because it seems like they're.
When it was coming out, were there conversations in the makeup community around that? And how often is there a show that is, like, all the makeup artists are raving about it or questioning it or it's making them change the way they saw things.
[00:47:28] Speaker A: Yeah. I mean, I think it definitely also opened up an avenue for directors to start playing with makeup. You know, all of the sudden, her background of music videos were starting to see. See, like, larger looks done, and I think that that's a lot of fun.
And I think as makeup artists, especially working in the film industry, like, if you're not doing special effects, 99 of the time, we're doing grooming makeup, which is like, covering pimples, making sure that somebody looks clean, and that can get kind of boring. Like, we're artists. So show, like, Euphoria definitely sparked, because I think that the people who are angry about Euphoria, I think they're just jealous. Right. You don't get to go to work every day and create looks that exciting.
And I think that a lot of the hate that Euphoria gets in general, it's just that it's not realistic. Right. Like, our high school is really doing that well in some semblance. I was doing drugs in high school, and I had some pretty crazy makeup.
[00:48:41] Speaker C: So, like, if you take Nadia as a sample. Yeah, exactly.
[00:48:45] Speaker A: Like, is it surreal? Definitely. I was not doing, like, rue type of level, but, you know, I remember walking down the hall and people, like, yelling at me. It's not a fashion show, you know, like, but for me, it was like, I was like, well, yeah, I think that this hallway is my Runway. Yeah. I mean, not.
[00:49:03] Speaker B: Not to make this a full podcast about Euphoria, but, like, I think tonally, which is something I want to talk about too, with you, of tone and something Wyatt and I speak about a lot on the show. But, like, I think Euphoria itself, like, with the lighting, right. The very, like the blues and the greens and like, it just constantly, you're being. Yes, it's supposed to be very real, but you're also very much being reminded that this is like some. Some heightened universe, which, by the way, is how teenagers feel, where it's like, no, this is the most important second of my life, like, saying in this math class, like, this is make or break for me, you know? So I think everything on every level of that show is like, every conversation is so elevated, so heightened. The stakes are just like, constantly so high. And obviously, a lot of high school.
[00:49:55] Speaker C: A lot of high school shows, I. Candidly, I haven't seen. Seen a lot of Euphoria, but a lot of high school shows are super dramatic. It's like that whole YA genre, you know, Because I think people, high school students resonate to that your. Your world feels huge in high school, and everything does feel high stakes. It's like it feels life or death. So I think those shows oftentimes play into that.
[00:50:17] Speaker B: I was saying, I think Euphoria was like, you can, like, again, being a teenager in high school, like, you want to express yourself, you want to find avenues to do that and, like, what a cool way to do that by, like, leaning into your makeup and like, how what you think is beauty versus what. What someone else. You know, it's like there was something very interesting and unique about that.
I'll let you.
[00:50:40] Speaker A: Yeah. Donnie Davies, who's the department head, she's just a genius. You know, Euphoria, if I am remembering correctly, was her first large, like, breakthrough television show. And, you know, she actually created half Magic, her makeup line because of all of the like. And she was able. Very successful because of all of the Euphoria makeup talk.
And I think that there's something, like, really interesting to what you're saying about, like, she. With. Even within the show of starting a conversation about the makeup, like, she was able to take that conversation and do the makeup in a way that it actually, like, I have half magic makeup is sitting in my kit, and I use it on almost every single one of my people who sit in my chair. Like, she is able to take the makeup from Euphoria and actually, like, sell it to everyday people, even though they're these, like, avant garde makeup looks. And I think that that's really interesting and super cool that she was able to do that.
[00:51:54] Speaker B: It also sounds like she was able to. I mean, you mentioned before that, like, you're getting called two days before set or the morning of, like, she was able to kind of assume the position of, like, hey, she's in the room with the director and the DP and, like, they're taught in the showrunners. Like, she's, like, in the room.
[00:52:15] Speaker C: A true creative voice.
[00:52:16] Speaker B: Yeah, she's like, a real creative voice. And so I can. I can understand where for you it's like, yeah, like, this is, like. I mean, for you. Is that. Is that someone you aspire to be like, or.
I mean, like an ideal mentor or something, or a certain path like, you'd want to take on on your own?
[00:52:36] Speaker A: I think Euphoria is really interesting in the sense of, like, they get to do these really fun avant garde makeups, and in the same sentence, they also get to do some pretty cool special effects makeups, too, I think. Like, I would love to, like, if there was a mix between Donny Davy and Erin Kruger. Makash. I would like to sit between those two women, and those are women on kind of very different ends of the field. Aaron Cougar McCash is a special effects makeup artist who's responsible for Beetlejuice. Right. So she's. Oh, no, that's B.E. neal. I'm so sorry, but you have B.E. neal and Erin Krueger McCash.
So, like, those two women in the special effects realm who do a lot with more, and then you have Donnie, who does a lot more beauty. If you were able to take those three women and put them all together, I think that would be my ideal mentor. And I don't know if I know of any makeup artists who are sitting quite there that do the high glam and social effects.
[00:53:55] Speaker C: Totally. Are you feeling like you're involving yourself in. In both sort of areas, like the sort of elevated regular makeup and special effects. Like, are you. Are you trying to put yourself in, you know, those dual situations?
[00:54:12] Speaker A: Yeah. And I think, like, you were asking me, like, what's a piece of advice I would give to myself at the beginning? I think, like, the biggest piece of advice I'd give to myself is, like, do not let people to tell you. Tell you to put yourself in a box.
Because when I was in school, people were telling me, you have to pick something to specialize. You have to specialize in special effects. You have to specialize in beauty. You have to specialize in editorial.
You can't do it all.
That's the biggest lie I've ever heard. I'm doing it all. And I think that's what's made me so successful and so flexible, is I could get a call tomorrow to make somebody be an old man. I could call tomorrow to do a huge avant garde makeup look, and I would be able to do both jobs, whereas some makeup artists wouldn't be able to do that. And had I really listened to that and put myself in a box, I would be stuck.
[00:55:13] Speaker C: Absolutely.
[00:55:14] Speaker A: So I definitely think coming out of school, I put myself in a place box if I want to do special effects.
And in the past year, I've, like, really realized I love doing high glam beauty as well.
Been fighting to get some of those jobs.
[00:55:33] Speaker C: That's amazing.
[00:55:34] Speaker B: Do you have, like, a little brother or sister that you just, like, put crazy wounds on their face and stuff and scare your parents or, like, what is.
[00:55:42] Speaker A: I have really good friends who let me practice a lot.
Yeah, My parents always just say, like, it was clearly what I was meant to do.
[00:55:54] Speaker C: That's so amazing that they're so supportive and see that in you.
[00:55:58] Speaker A: Yeah, I don't know. I kind of just picked up on it all. I did the classes at mud, and they teach you how to apply a prosthetic, and I kind of watched somebody apply the prosthetic, and then, you know, every time I do a prosthetic, it looks better than the last prosthetic that I did. I would never say that I'm the best prosthetic makeup artist in the world. I'm far from it.
But every time you do it, you get a little bit better.
But I will say, like, compared to some, I do feel like I picked up the technique fairly quickly.
[00:56:35] Speaker C: Yeah.
This is kind of a broad question, but are there conversations about gender in the makeup community and specifically, you know, projecting masculinity and femininity, you know, in. In this day and age specifically? And what are Those conversations, like.
[00:56:54] Speaker A: Yeah. So, like, within the film industry, I think, like, the. The overall thought is that the makeup industry is mostly women.
The beauty industry within the film industry, yes. The special effects world, absolutely not. That is dominated by. By men.
And it's always been a very large conversation of. It's very. And I mean, I think it's like that in any department.
You know, unfortunately, I've had experiences with men where you were talking about mentors, where I was leaning on them to be a mentor, and it turned out to be a creepy situation. Like, unfortunately, that does happen.
I'm not gonna try to scare anybody with that, because unfortunately, that could happen in literally any industry you work in.
And that's why I say, like, don't be. Don't be afraid to be a.
Right. Because as a woman, you definitely have to stand up for yourself.
[00:58:00] Speaker C: Yeah.
[00:58:00] Speaker A: And the first thing is, like, oh, that they're complaining. They're bitchy. Like, blah, blah. But usually it's like, if a man is saying the same exact thing as I'm saying, would you pay a little bit more attention?
And so I definitely feel that. Right. Like, are you not listening to me? Because I'm a woman, and as soon as I put on my angry voice, all of a sudden you're listening to me.
But at the same time, you know, I think that where the world is right now, and with everything going on, everybody our age within the industry is really trying to, you know, push a different narrative and create a very welcoming space. I find that when I work on set with people around our age and our generation, you know, the sets tend to be a lot more equal. You see a lot more women in the camera department, which is awesome. I love that. But when I'm on set where I'm one of the younger people, I'm typically one of the only women.
One of my favorite things to tell people is I was on a tampon commercial, and I was the only woman.
[00:59:13] Speaker C: That's, like, out of.
[00:59:14] Speaker B: That's crazy.
[00:59:15] Speaker C: That's, like, out of the studio or something that, like, sounds like it's part of, like, a show.
[00:59:19] Speaker A: Like, it was me and the actress, the only women.
[00:59:23] Speaker C: Oh, my God.
[00:59:24] Speaker A: I was like, you've actually kind of got to be kidding me. Right?
[00:59:27] Speaker C: It's, like, funny. It's like. It seems like a joke.
[00:59:31] Speaker A: Like, actually, it's an episode of the studio.
[00:59:34] Speaker C: Yeah.
[00:59:36] Speaker A: And so there's definitely, like, what's going on here. But at the same time, I think I'm very thankful that I'm in the industry in the 2000s and you know, maybe not, you know, like 70s, 80s when, you know, or even, you know, 10 years ago.
I think that our generation is definitely trying to push a little bit more inclusivity.
So I, I feel like it will get better. Just have to get some of the old people out.
[01:00:08] Speaker B: So our audience is a lot of in, in their undergrad years days, and they're making these short films and we have a lot of young directors, a lot of young filmmakers.
If they are looking to make their first short or their second short, whatever it is, and they want to get hair and makeup involved, how should they do that? Like, what is the best conversation? What is the best outreach?
Hey, like any of that. What is. Like if you were to put yourself back in those undergrad days and you were having to deal with what you had to deal with, with these filmmakers who are just like, I don't know what, what should they know?
[01:00:52] Speaker A: Yeah.
Once you have your script written and finalized and you start crewing up crew for your makeup artist as well, right. Like as soon as you start getting all of your department heads, the makeup artist is a department head, right. Like have your makeup artist be part of production meetings, right. Like I'm telling you, all of the best productions have been when I have been included from day one, Right. Like every single meeting, do I necessarily need to be there?
No. But if I've been invited to each one and it's my choice to come or not, you're going to put yourself in a lot better position.
Pay with makeup, specifically with prosthetics. It's expensive and unfortunately it is a part of the industry where you can't really bargain.
It's. You're paying the price of raw goods and you get what you pay for, right? So if you want to do it cheap, it's going to look cheap. There's the cheap, fast and good, right? Like, you can have it fast and cheap. You can have it fast and good, you can have it good and cheap. Right. Or whatever. But you can't have all three, right?
[01:02:20] Speaker C: Fast, cheap, good.
[01:02:21] Speaker A: Yeah, yeah. So you got to pick, right? So you're gonna get what you pay for.
And so that's what I'm gonna say. I cannot stress how many times I've been that last minute call because they went with a cheaper option and realized.
[01:02:41] Speaker C: And then they're spending more money than they would have by just hiring you or an equivalent.
[01:02:46] Speaker A: Yeah.
And then like the last piece of advice I would give is like to just ask questions, right? Like you're Never gonna bother the makeup artist for asking questions that you don't know the answer to. Right. Or even, like, the amount of times directors have been like, this is my first time working with prosthetics. Let me know that. Right. Because then I don't feel like I'm fighting an uphill battle. I can be like, hey, listen, you have to go easy on your actors because they're going to get tired.
Right. If you've never worked with prosthetics, Right. Like, you have to make sure you're scheduling your days in a way that you're going to give us an hour to do removals.
Right. And that's where having us in the scheduling conversations and all of that is super, super important.
[01:03:40] Speaker C: Yeah.
[01:03:42] Speaker A: So, like, just don't ever be scared to ask questions. I don't know any makeup artists who would be annoyed from being over prepared than, like, having to be like, oh, come on. Really? Like, they didn't think about the fact that, like, he's going to be covered in blood and this is the first shot of the day.
[01:03:59] Speaker C: Yeah, totally. And even because you. You are a person that's on set for a very long time, you should have met the director and the AD and actress and all these people who are, you know, vital to the set. As well you should, just for everybody's sake. Because oftentimes I'm sure you're having to make quick decisions and it's. There are urgent things that need to happen, and to have that sort of previous knowledge of each other is always helpful.
[01:04:28] Speaker B: So.
[01:04:28] Speaker C: Yeah, I mean, like a lot of roles on set, preparation is vital, and preparation can always happen. Can only happen when you are brought into the process at. At the beginning, or at least when the script is finalized and you're assembling the rest of the crew.
[01:04:43] Speaker B: So I. I know we're wrapping up in a second, but before we do, what's. What's, like, the craziest thing you've ever, like, Creature or something you've ever done? Like, craziest. Like, just like nuts.
[01:04:57] Speaker A: I think I have to go, like, a little biased on this one. There's two.
One would be the old age makeup I did on Doug Jones.
Just because it was on Doug Jones. Right. Like, that's a figure in our industry.
So it wasn't a crazy makeup. It's actually, like, very subtle. And most people, when they look at that makeup, don't even realize that he has prosthetics on, which is a very large compliment, the government, but that one. And then as far as like, full body creature.
I wrote and directed my own little situation, and I did a full, like, 1960s housewife and as an alien, and she had, like, three boobs and a full cowl, and she's probably my favorite creature I've done.
[01:05:59] Speaker B: How long did that take to. To, like, do the prosthetics for?
[01:06:03] Speaker A: I was only, like, two and a half hours. It wasn't that bad.
[01:06:06] Speaker C: Got it. You did it on another person, I assume, and an actress.
[01:06:10] Speaker A: Yeah, yeah, yeah. But I've done applications like that, you know, six, eight hours.
Wow.
Crazy.
[01:06:19] Speaker B: I want to put Wyatt in a chair for, like.
[01:06:21] Speaker C: Yeah, get me in the chair 10.
[01:06:23] Speaker B: To 16 hours and just, like, make him look.
I don't even know, like, the.
[01:06:29] Speaker C: Like, the substance.
[01:06:30] Speaker A: Yes, let's do it.
[01:06:33] Speaker B: The substance. Honestly? Yes. Like, I want to make Wyatt look like that at the end.
[01:06:39] Speaker A: I went to the panel for that, and they said that they used.
Was it 30? It was either 30 or 300,000.
No, it was 30,000 gallons of blood, and they used an actual fire hose for that. And, like, that's the shit as a makeup artist, where I'm like, put me in the room.
Like, I want to spray the hose. Are you kidding me? That's crazy.
Yeah, 30,000 gallons of blood.
[01:07:07] Speaker C: Unbelievable. Well, I feel like we could get into so much more, but, you know, I want to be conscious of time, so. Nadia, really, really, we appreciate. Appreciate you chatting with us about the history of makeup, the conversations that makeup artists are having, because I think that's really important to kind of understand your guys's, you know, thoughts from your perspective and just, you know what it's like to be on set and fill that role. So we really appreciate it.
[01:07:32] Speaker B: And Euphoria. How fun is that?
[01:07:34] Speaker C: Yeah, right? This has been a Euphoria plugging podcast, I guess. Yeah, we love that.
[01:07:41] Speaker B: Thank you.
Awesome.
[01:07:42] Speaker C: Really appreciate it.
[01:07:43] Speaker A: Thank you guys so much for having me. I really appreciate it.
[01:07:52] Speaker B: Did you learn something? I'm like your mom. Did you learn something in this episode? I hope so. Or not. That's okay. Thanks for hanging. Make sure you follow us at the 5050 Fest on Instagram and give us five stars, because. Why not? Why not subscribe? Why not? You know, why not? Okay, bye.
