Issue link: https://digital.copcomm.com/i/759117
50 50 all the gnarliness of a typical Hollywood grind. The days were exhausting which led to laughter, and this laughter was a build- ing block for so many wonderful new relationships. I had never been more thrilled to be a part of something with such great potential and also equally frustrated at the common follies of this business. Discovery was around every turn for every artist. Westworld truly did give a different experience to every par- ticipant. For some artists, the experience was magical, a childhood throwback or an idea of what it must have been like to work on an old Hollywood Western. Gerry Quist: Working on Westworld was an opportunity to revisit a place from my childhood in the 1970s. Everything that inspired my career came out of that decade, and the movie Westworld was a part of it. Being involved with this new telling of a story that had such an impact on me has been a gift from the universe. I have re-examined elements that moved me to awe and fear in the original story. The new vision has brought me to terms with another world of thought that inspires and scares me more than anything I could have fathomed as an 8 year old in 1973. It was a privilege to be there. For another artist, the nostalgic feeling that comes with rusted old sets with creaky fl oorboards and the air of dirt and sweat may have been loss. For me, it was a daily reminder of a bigger purpose or reason. Georgia Allen: Westworld was not only professional, hard-working and full of talent, but also a fun, friendly and with a loving group of people. It was a unique experience. Some might have only par- ticipated in the futuristic science fi ction aspect of the show, perhaps spending working on weird, off-putting scenes, apply- ing prosthetics and painting various tones of death and gore. Or maybe an artist only saw a sea of nude men and women, painting them in shades of blue, golds and reds, coating them in gloss and glitter from head to toe. MAKE-UP continued from page 45 resources one could wish for and with a crew of artists that have been an inspiration to me throughout my career and con- tinue to inspire. The truth is, working on Westworld mimics one of the Delos Parks' very own mission statements. Just like a guest visiting the park, the show means something different to everyone. My perspective is shadowed with the duties of department heading. There is the responsibility of spending a large portion of time dealing with the daily politics of management, dealing with restricted time frames and unreasonable requests. It means consistently having battles over "make-up effect budgets" which will always be over costs of "pattern" because the scope of the scripts will always be beyond that of their bank account. Days are fi lled with justifying additional artists required for enormous background scenes, seeing the best plans foiled by a changing schedule or BAD directing. Incorrect call sheets, multiple units in multiple locations, dividing the crew—which then incurs more costs, which in turn demands more discus- sions and more justifi cations, etc. My overall perspective of the show was wonderful. Sure, it was fi lled with daily challenges both managerial and creative, but we had inventive new scripts from Jonah Nolan and Lisa Joy. We were blessed with a cast of veterans: Anthony Hopkins, Ed Harris, James Marsden, Jeffrey Wright, Thandie Newton and Evan Rachel Wood. We were introduced to up-and-coming actors Angela Safaryan, Steven Ogg, Jimmy Simpson, Ben Barnes and many more. We had exceptional departments with exceptional department heads who hired some of the most exceptional crews I've ever worked with. Westworld had tremendous sets and resources that far sur- passed most episodic resources. It has backers like J.J. Abrams, HBO and heck, we even had Elon Musk and Christopher Nolan pay us a visit and contribute ideas and direction. It cer- tainly was a playground of talent and possibilities mixed with