Local 706 - The Artisan

Winter 2016

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39 head make-up artists who work well together and at any time, can catch any curveballs that come our way. We have a well-oiled machine. As I plug in my walkie-talkie every morning and listen to the set in action, I can navigate throughout the day no matter where I am on the studio lot. I can hear any upcoming changes as they develop and stay several steps ahead of production to keep everything running on course. I'm forever grateful to those artists who taught me along the way and always pass along everything that I can to help my fellow artists succeed in every task that I hand them. That's the way it should be in this ever-changing business. Constant watching, learning and sharing are a must if our craft is to continue in a positive direction. We take care of our actors. We don't pamper them and still have a fun workplace. There's no room for showboating or undermining, just good solid artistry. Whether it's beauty, character or downright gruesome effects, we have it all and at the end of the week, we can be proud of a job well done. Here's my philosophy: If you can't enjoy it and have an occasional laugh, then why do it? Life's too short. Don't run or they'll think it's your fault. No constant touch-ups please. Only in a pie fi ght! I look for the joy in what we do. Hiding from the camera on the fl oor under a gurney while pumping blood up through a patient for our actors to save as they cut, stitch, staple, slip and slide on the crimson overfl ow is surely a sight to behold. Sometimes I just sit there and laugh at what a strange job we have. When things get tense, you might hear the words, "Relax, it's not brain surgery." Actually, in our case it could be true, but we get "Take 2!" • Counterclockwise from top right: Steve LaPorte, Peter Montagna & Cary Ayers cre- ate a woman with severed legs; (top) Perri Sorel works on a victim (bottom) Kristy Horiuchi applies fi nishing touches; a 90% body burn; Trent Cotner preps; a full clamshell;Thom Floutz (left) and LaPorte work on the clamshell; a scene requires six gallons of "blood"; Judy Yonemoto applies make-up.

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