Issue link: https://digital.copcomm.com/i/1486000
THE ARTISAN WINTER 2023 • 83 MAKE-UP B Y E L I S A M A R S H Westworld is a rare gem. It's a television show shot on film. Every department is bringing its best every day. So many of us have been a part of the journey since Season 1, and we are all looking out for each other. All ready to find the joy & humor. So far, it's the most challenging and rewarding project I've ever been involved in. Before speaking about the design, scale, organization, and make- up looks of Season 4, I would like to acknowledge the people. I am so grateful to every artist; their talent, skill, support, and enthusi- asm blow me away. It is said it takes a village; if so, Westworld takes a nation. John Damiani and Becky Cotton were the make-up keys del- egating duties and keeping the trailer together. Becky kept ahead of the ever-changing schedule, and John was all about continuity. ey accomplished all this while doing great make-up looks and covering the set. Cynthia Hernandez was the lead artist in the back- ground world. A sense of magic or flow in a make-up trailer when all the moving parts come together, which makes the day work. No matter the location, New York, Los Angeles, Cabo, or the Hoover Dam. A shout-out to Ashley Williams and the other Local 798 artists who joined us in New York and also to Ubaldo Nevarez and Irvin Vallabain in Cabo. I was so excited when I learned Temperance would be a part of Season 4. Complete with knock-offs of the original Sweetwater characters. I love period make-up and knew that changing Sweetwater to the 1930s would be exciting. Jose and I immediately got together with stacks of references. For Maeve's 1920/1930s and look, I used Rituel de Fille eclipse with Chanel Les 4 Ombres 268 for smoky eyes and Kevyn Aucoin