Local 706 - The Artisan

Winter 2018

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46 • THE ARTISAN WINTER 2018 This was my first experience working with full make-up prosthetics and all my other shows have been very basic in comparison, a lot of cop shows and contemporary hair styles. The Orville was a wonderful experience and I couldn't have done this without my department. Key hair stylist and long- time friend Maggie Hayes Jackson was my right and left arm. We would sit and designs hair styles for our alien crew mem- bers all day long. Maggie's vision and experience is beyond anything I could have hoped for. Arturo Rojas had his hands full with dealing with Halston and her double Selkie Holm. Most of the time we would have two Alara's on set during fight scenes so the upkeep was plentiful. After Arturo left, I was beyond happy to be introduced to Kristen Saia, who dealt with Alara wig and multiple doubles without missing a beat. She then became key when Maggie had to depart. Katherine Rees and Ann Marie Luddy came in as the fourth and did amazing job covering for whatever we needed. I couldn't have done it without my other day players: Kimberly Beaird Pennell, Brent Keene, Jason Orion, Monica Devinti, Darrell Fielder, Lauren Ernsdorf, Kristine Tack and Lori Sanders. BERGER: With each episode being only eight days, make- up and hair worked as a team. As the great Dan Stiepeke had taught me years ago, "We all work under the same umbrella. My success is your success, and my failure is your failure." I live by these words and echo it every time I start a new show. It is important to me we all communicate and stay on the same page. This keeps drama, egos and attitudes at bay, the way it should be. Production views our departments as part of the team and not that annoying gnat they want to swat away whenever there is an issue. It's the best and only way to run a department. OK, enough preaching—onto the behind- the-scenes stuff. Most of all the big make-ups were three pieces; a cowl, chin and the lone ranger piece. We also opted for foam latex over silicone due to weight, the amount of time to run everything at KNB, and foam allows the artist to mix match pieces on BG actors more easily then silicone. Plus, I like foam, it's old school and I like old school. We also did a lot of make-ups with rub- ber mask grease paint and I like to Above, from top: Tami Lane preps Alara; Norman Caberea sculpts Krill captain; Peter Montagna touches up a Krill. Top right: Krill soldiers. Bottom right: Christina Gonzales applies make-up on a Krill.

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