Issue link: http://digital.copcomm.com/i/759117
53 No matter how you cut a slice of Westworld and dish it up, the 70-plus make-up artists employed over the course of two years shared one common perspective about the show not yet mentioned … complete and utter mystery to the show's story- line. The mysterious and subversive writing may have been one of the most challenging aspects of the show. Concepts, designs and schedules can easily be discussed extensively. The story line could not be. It was very important for Jonah and Lisa that we DO NOT discuss the scripts with other crewmem- bers or the actors. Other restrictions included no cellphones on set, no department scripts to hand out and no cameras on set. Some exceptions needed to be made so we could capture continuity, but photography permissions were assigned only to a few individuals. I took full responsibility for these persons' actions. Photos were usually taken in discretion and off the set. This handicap took some time to get used to. Even now as I write this article, I am in question of what I can or cannot say. Common conversations at the make-up chair were fi lled with humored frustration and ended in silence. It is really hard to create a subtle likeness make-up on an actor who is asking, "Why are you changing my eyebrows?" But you're not allowed to tell them. I sat in multiple four- hour production meet- ings with every director from every episode 3-10 and would have to try and explain (without explain- ing) " why " we can't provide certain effects because of certain "rules" that apply to the story. The directors didn't even know what was going on! I still can't discuss in this article why some hosts could be shot or killed in certain ways while others could not. If this article comes out before the last episode, then whatever I might have said would have been a spoiler … you're welcome. One of the most common ques- tions from any actor was "Am I a host (robot)?" It wasn't before long that the crew was asking themselves that very same question. As you can see, Westworld was so much more than just make- up. We were doing a futuristic, historical period piece. It's an oxymoron that allowed for a tremendous amount of latitude in design but is also wherein lies the diffi culty. We weren't just making a period piece; we were making a fantasy of the period piece for the guests. One of the mysteries is the " where" and John Damiani: There are various levels to Westworld revealing a sexy, erotic view of a very frightening world. The make-up required in the show allowed for creative make-up techniques—soft, glamor- ous beauty, dirty Western, erotic fantasy and grotesque special effect wounds, all created by a huge group of creative and enthusiastic make-up artists. For some, the thrill was the over- all experience; for others, maybe doing fantasy period make-up or brothel beauty was the bee's knees. Hair might have been as the identifying experience, and in many cases the lack of hair. Beards, mustaches, sideburns and many, many, many, Merkins. Felicia Linsky: I was honored to be a part of the extrodinary make-up team who applied various make-up designs daily from beauty, char- acter, period, extensive body make-up as well as extensive hair work in all kinds of conditions. I am so proud to have been in the trenches with this special group of artists. Being asked on the make-up team on Westworld was an opportunity to be chal- lenged, invigorated and creative. For others, it was an entirely new experience, something so large and comprehensive and with so many moving parts that it could make you dizzy just thinking about it. It was an opportunity to fi nd growth. Rachel Hoke: It was an honor to have worked on Westworld. Having the opportunity to work alongside some of the most talented make-up artists in Hollywood, changed the artist I am forever. Westworld was exhausting, challenging, hilarious, inspiring and allowed me to experience what it looks like when everyone is invested, as a team, to make something great. Ian Cromer: One of the best times of my career has been one of the tough- est. Doing things I've never done before, working hours that others were shocked at … and I wouldn't change it for the world. I couldn't be happier with the crew and also the out- come. Some, no doubt, will only see a blur of moments and memories strung together but will remember the feeling of hard work, creativity and the friendships that were built during the long hours endured. Dominie Till: Westworld was a great collaboration of a team of experienced make-up artists, working on some innovative make-up! It was such a pleasure to be included and welcomed. We enjoyed working together, doing great make-ups, building friendships, supporting each other and surviving the 18-hour night. Elisa Marsh: Shooting Westworld was a rare experience. It was grueling at times but so satisfying. Everyone was committed to each other and getting the job done. It was dusty and hot, our calls were early and the hours were long. Then you get to set and look around and think, "This is magical and I'm glad to be here." It was a once-in-a-lifetime experience and I am grateful. Then there are those at the Effects Lab who saw the show only from the perspective of an "items to build" list, no context in which to fi t the "why?" From top: Sculpture progression; Christien Tinsley (left) in Moab.