About
"I saw a double feature of The Thing and An American Werewolf in London at the drive-in and I was completely blown away. I was about fourteen then. And I was like, 'that’s what I want to do.'"
In her four-hour-interview, Eryn Krueger Mekash discusses how she became interested in makeup and effects as a child. She talks about attending Sandy Burman's makeup effects school and what she learned from taking a Dick Smith course and Michael Westmore workshop. She outlines her time working for John Buechler, Stan Winston, and Rick Baker in their respective makeup effects shops, and recalls transitioning to more on-set work -- on the Academy Awards, General Hospital, Sabrina the Teenage Witch, Good Morning America, Unhappily Ever After, and Everybody Loves Raymond. She recounts how she first met Ryan Murphy, and talks about makeup looks she created or designed for several shows he created/produced, including Nip/Tuck, Glee, American Horror Story, American Crime Story, Feud, Hollywood, and Ratched. Mekash also describes her work on The Last of Us, speaks about the craft of makeup for television, offers advice to aspiring makeup artists, and speculates on dream projects she'd love to work on. B-roll includes show and tell of several masks, prosthetics, and makeup pieces used in shows that she worked on. Amy Harrington conducted the interview on September 19, 2023 in Burbank, CA.
Highlights
Eryn Krueger Mekash on making blood for Nip/Tuck and how changes in camera technology impacted her choices
Eryn Krueger Mekash on how the makeup on Glee changed from pilot to series
Eryn Krueger Mekash on creating the look for the"Infantata" for American Horror Story: Murder House
Eryn Krueger Mekash on working with Lady Gaga to create the look for "Elizabeth 'the Countess' Johnson" on American Horror Story: Hotel
Eryn Krueger Mekash on creating the look for Sarah Paulson as "Marcia Clark" on American Crime Story: The People v. O.J. Simpson
Eryn Krueger Mekash on advice to an aspiring makeup artist
Full Interview
Chapter 1
On her childhood and early influences; on spending a lot of time in the hospital as a child and watching a lot of Star Trek and movies; on starting to do effects makeup as a child; on An American Werewolf in London, the video for "Thriller," and movies solidifying her desire to work in makeup; on attending Sandy Burman's makeup effects school, and how that led to her first job in the industry -- working for John Buechler in his effects shop; on taking Dick Smith's advanced makeup course via mail
On working on Roger Corman sets; on lessons she learned from John Buechler; on working in Stan Winston's effects shop and realizing she liked mold-making; on the life-casting process, making foam prosthetics, and appliances; on working in Rick Baker's effects shop, Cinovation, and on several of the projects she worked on, including Gremlins 2: The New Batch; on taking a seminar with Michael Westmore and learning about out-of-kit makeup
On her work for the miniseries It and how working on a miniseries compared to working on a film; on her work for the 60th Annual Academy Awards and how she got her start on several ABC shows, including General Hospital; on the type of work she did on General Hospital and on getting her union hours on the show; on Michael Westmore hiring her after she got into the union, what she learned from him, and sourcing out work to his shop when she worked on Sabrina the Teenage Witch
On her work on commercials and infomercials; on doing makeup for people on Good Morning America during the time of the O.J. Simpson trial; on starting to get more into primetime shows and working on Unhappily Ever After; on working on Sabrina the Teenage Witch and Everybody Loves Raymond
Chapter 2
On how she started working on Nip/Tuck, and on the prosthetic work she did on the show; on working on Glee, and on the different types of makeup she did for the show; on working with Ryan Murphy on the show; on the creative and challenging work on American Horror Story and Ryan Murphy's innovations for the show
On using Christien Tinsley's transfer method for aging characters on an episode of Nip/Tuck, and getting nominated for an Emmy for that episode; on having additional responsibilities on the set of Nip/Tuck and eventually becoming a producer on other shows in the Ryan Murphy universe
On making blood for Nip/Tuck and how changes in camera technology impacted her choices; on intimacy covers for sex scenes on Nip/Tuck; on creating intimate prosthetics and privacy covers for Ratched and Hollywood; on looks/episodes from Nip/Tuck that she's particularly proud of
On how the makeup on Glee changed from pilot to series; on the challenges the choreography, slushies, and maintaining continuity posed for the makeup on Glee; on the makeup for the "Theatricality" episode of Glee; on recreating looks from "Thriller" for the Super Bowl episode of Glee
Chapter 3
On the role of a makeup designer -- her title on American Horror Story, and on how the visual effects and practical effects teams worked together on the show; on the challenges of working on location for different seasons of American Horror Story; on assembling her team for different seasons of American Horror Story
On creating the look for the "Infantata" for American Horror Story: Murder House; on creating the look for "Pepper" on American Horror Story: Asylum and American Horror Story: Freak Show; on creating the look for "Lana Winters" on American Horror Story: Asylum; on creating the look for "Myrtle Snow" on American Horror Story: Coven; on the look for "Marie Laveau" on American Horror Story: Coven and on how closely she works with the hair department; on the tattoos for "Penny" on American Horror Story: Freak Show
On the looks for conjoined twins "Bette Tattler" and "Dot Tattler" on American Horror Story:Freak Show; on working with Lady Gaga to create the look for "Elizabeth 'the Countess' Johnson" on American Horror Story: Hotel; on creating the look for the "Addiction Demon" on American Horror Story: Hotel; on some of her favorite makeup looks from American Horror Story: Cult; on "Coco's" birdcage wig from American Horror Story: Apocalypse
On creating the look for "Tuberculosis Karen" for American Horror Story: Double Feature; on how the COVID-19 pandemic impacted makeup for television and what the then-current production conditions were like; on the challenges of working with many of the same actors, and sometimes characters, on an anthology series like American Horror Story
On the craft of makeup for television: on her favorite part of doing makeup for the screen; on the role of a makeup artist; on how involved she is with network testing; on working with various complexions and skin tones
Chapter 4
On her approach to the makeup on The Normal Heart, and on winning an Emmy for her work; on creating the look for Sarah Paulson as "Marcia Clark" on American Crime Story: The People v. O.J. Simpson; on the look for Penelope Cruz as "Donatella Versace" on American Crime Story: The Assassination of Gianni Versace
On the looks for Jessica Lange, Susan Sarandon, and Catherine Zeta-Jones on Feud; on her approach to the 1940's looks on Hollywood; on her approach to the 1940's looks on Ratched and making them different from the looks on Hollywood; on her work on The Last of Us season one, episode five, "Endure and Survive"
On how makeup for television has changed since she first started in the industry; on the value of oral history interviews; on advice to an aspiring makeup artist; on her proudest career achievement and career regrets; on a dream project she'd love to work on; on where she sees herself in ten years
B-roll: on "Twisty" from American Horror Story: Freak Show; on Evan Peters' mask from American Horror Story: Cult; on recreating Leonard Engelman's makeup kit to make it period correct for Feud; on Evan Peters' hands on American Horror Story: Freak Show; on early makeup looks she did on herself when she was young; on Star Wars memorabilia -- including some of her and her husband's work on The Mandalorian; on Evan Peters' mustache from American Horror Story: Hotel; on comic books designed by Mike Mekash for American Horror Story: Cult; on Jessica Lange's lip prints and Angela Bassett's eyelashes from American Horror Story: Freak Show; on Jessica Lange's eyelashes on Feud
Shows
Academy Awards, The
Eryn Krueger Mekash on her work for the 60th Annual Academy Awards and how she got her start on several ABC shows, including General Hospital
American Crime Story
Eryn Krueger Mekash on creating the look for Sarah Paulson as "Marcia Clark" on American Crime Story: The People v. O.J. Simpson
Eryn Krueger Mekash on the look for Penelope Cruz as "Donatella Versace" on American Crime Story: The Assassination of Gianni Versace
American Crime Story: The Assassination of Gianni Versace
Eryn Krueger Mekash on the look for Penelope Cruz as "Donatella Versace" on American Crime Story: The Assassination of Gianni Versace
American Crime Story: The People v. O.J. Simpson
Eryn Krueger Mekash on creating the look for Sarah Paulson as "Marcia Clark" on American Crime Story: The People v. O.J. Simpson
American Horror Story
Eryn Krueger Mekash on the creative and challenging work on American Horror Story and Ryan Murphy's innovations for the show
Eryn Krueger Mekash on having additional responsibilities on the set of Nip/Tuck and eventually becoming a producer on other shows in the Ryan Murphy universe
Eryn Krueger Mekash on her role as makeup designer on American Horror Story and how the visual effects and practical effects teams worked together on the show
Eryn Krueger Mekash on the challenges of working on location for different seasons of American Horror Story
Eryn Krueger Mekash on assembling her team for different seasons of American Horror Story
Eryn Krueger Mekash on creating the look for the"Infantata" for American Horror Story: Murder House
Eryn Krueger Mekash on the process for creating "Twisty" for American Horror Story: Freak Show
Eryn Krueger Mekash on practical versus visual effects on American Horror Story: Hotel
Eryn Krueger Mekash on creating the look for "Pepper" on American Horror Story: Asylum and American Horror Story: Freak Show
Eryn Krueger Mekash on creating the look for "Lana Winters" on American Horror Story: Asylum
Eryn Krueger Mekash on creating the look for "Myrtle Snow" on American Horror Story: Coven
Eryn Krueger Mekash on the look for "Marie Laveau" on American Horror Story: Coven, and on how closely she works with the hair department
Eryn Krueger Mekash on the tattoos for "Penny" on American Horror Story: Freak Show
Eryn Krueger Mekash on the looks for conjoined twins "Bette Tattler" and "Dot Tattler" on American Horror Story: Freak Show
Eryn Krueger Mekash on working with Lady Gaga to create the look for "Elizabeth 'the Countess' Johnson" on American Horror Story: Hotel
Eryn Krueger Mekash on creating the look for the "Addiction Demon" on American Horror Story: Hotel
Eryn Krueger Mekash on some of her favorite makeup looks from American Horror Story: Cult
Eryn Krueger Mekash on "Coco's" birdcage wig from American Horror Story: Apocalypse
Eryn Krueger Mekash on creating the look for "Tuberculosis Karen" for American Horror Story: Double Feature
Eryn Krueger Mekash on the challenges of working with many of the same actors, and sometimes characters, on an anthology series like American Horror Story
Eryn Krueger Mekash on "Twisty" from American Horror Story: Freak Show
Eryn Krueger Mekash on Evan Peters' mask from American Horror Story: Cult
Eryn Krueger Mekash on Evan Peters' hands on American Horror Story: Freak Show
Eryn Krueger Mekash on Evan Peters' mustache from American Horror Story: Hotel
Eryn Krueger Mekash on comic books designed by Mike Mekash for American Horror Story: Cult
Eryn Krueger Mekash on Jessica Lange's lip prints and Angela Bassett's eyelashes from American Horror Story: Freak Show
American Horror Story: Apocalypse
Eryn Krueger Mekash on "Coco's" birdcage wig from American Horror Story: Apocalypse
American Horror Story: Asylum
Eryn Krueger Mekash on creating the look for "Pepper" on American Horror Story: Asylum and American Horror Story: Freak Show
Eryn Krueger Mekash on creating the look for "Lana Winters" on American Horror Story: Asylum
American Horror Story: Coven
Eryn Krueger Mekash on the challenges of working on location in New Orleans for different seasons of American Horror Story
Eryn Krueger Mekash on creating the look for "Myrtle Snow" on American Horror Story: Coven
Eryn Krueger Mekash on the look for "Marie Laveau" on American Horror Story: Coven, and on how closely she works with the hair department
American Horror Story: Cult
Eryn Krueger Mekash on some of her favorite makeup looks from American Horror Story: Cult
Eryn Krueger Mekash on Evan Peters' mask from American Horror Story: Cult
Eryn Krueger Mekash on comic books designed by Mike Mekash for American Horror Story: Cult
American Horror Story: Double Feature
Eryn Krueger Mekash on creating the look for "Tuberculosis Karen" for American Horror Story: Double Feature
American Horror Story: Freak Show
Eryn Krueger Mekash on the process for creating "Twisty" for American Horror Story: Freak Show
Eryn Krueger Mekash on the challenges of working on location in New Orleans for different seasons of American Horror Story
Eryn Krueger Mekash on creating the look for "Pepper" on American Horror Story: Asylum and American Horror Story: Freak Show
Eryn Krueger Mekash on the tattoos for "Penny" on American Horror Story: Freak Show
Eryn Krueger Mekash on the looks for conjoined twins "Bette Tattler" and "Dot Tattler" on American Horror Story: Freak Show
Eryn Krueger Mekash on "Twisty" from American Horror Story: Freak Show
Eryn Krueger Mekash on Evan Peters' hands on American Horror Story: Freak Show
Eryn Krueger Mekash on Jessica Lange's lip prints and Angela Bassett's eyelashes from American Horror Story: Freak Show
American Horror Story: Hotel
Eryn Krueger Mekash on practical versus visual effects on American Horror Story: Hotel
Eryn Krueger Mekash on working with Lady Gaga to create the look for "Elizabeth 'the Countess' Johnson" on American Horror Story: Hotel
Eryn Krueger Mekash on creating the look for the "Addiction Demon" on American Horror Story: Hotel
Eryn Krueger Mekash on Evan Peters' mustache from American Horror Story: Hotel
American Horror Story: Murder House
Eryn Krueger Mekash on creating the look for the"Infantata" for American Horror Story: Murder House
Everybody Loves Raymond
Eryn Krueger Mekash on working on five seasons of Everybody Loves Raymond
Eryn Krueger Mekash on the tools and makeup needed for a sitcom like Everybody Loves Raymond, and on on differences in makeup for Everybody Loves Raymond and for Sabrina the Teenage Witch
Feud
Eryn Krueger Mekash on the looks for Jessica Lange, Susan Sarandon, and Catherine Zeta-Jones on Feud
Eryn Krueger Mekash on recreating Leonard Engelman's makeup kit to make it period correct for Feud
Eryn Krueger Mekash on Jessica Lange's eyelashes on Feud
General Hospital
Eryn Krueger Mekash on her work for the 60th Annual Academy Awards and how she got her start on several ABC shows, including General Hospital
Eryn Krueger Mekash on the type of work she did on General Hospital, and on getting her union hours on the show
Glee
Eryn Krueger Mekash on working on Glee, and on the different types of makeup she did for the show
Eryn Krueger Mekash on how the makeup on Glee changed from pilot to series
Eryn Krueger Mekash on the challenges the choreography, slushies, and maintaining continuity posed for the makeup on Glee
Eryn Krueger Mekash on the makeup for the "Theatricality" episode of Glee
Eryn Krueger Mekash on recreating looks from "Thriller" for the Super Bowl episode of Glee
Glee: Theatricality
Eryn Krueger Mekash on the makeup for the "Theatricality" episode of Glee
Good Morning America
Eryn Krueger Mekash on doing makeup for people on Good Morning America during the time of the O.J. Simpson trial
Hollywood
Eryn Krueger Mekash on creating intimate prosthetics and privacy covers for Ratched and Hollywood
Eryn Krueger Mekash on her approach to the 1940's looks on Hollywood
It
Eryn Krueger Mekash on her work for the miniseries It and how working on a miniseries compared to working on a film
Last of Us, The
Eryn Krueger Mekash on her work on The Last of Us season one, episode five, "Endure and Survive"
Mandalorian, The
Eryn Krueger Mekash on Star Wars memorabilia -- including some of her and her husband's work on The Mandalorian
Nip/Tuck
Eryn Krueger Mekash on how she started working on Nip/Tuck, on the prosthetic work, and working with Ryan Murphy on the show
Eryn Krueger Mekash on using Christien Tinsley's transfer method for aging characters on an episode of Nip/Tuck, and getting nominated for an Emmy for that episode
Eryn Krueger Mekash on having additional responsibilities on the set of Nip/Tuck and eventually becoming a producer on other shows in the Ryan Murphy universe
Eryn Krueger Mekash on making blood for Nip/Tuck and how changes in camera technology impacted her choices
Eryn Krueger Mekash on intimacy covers for sex scenes on Nip/Tuck
Eryn Krueger Mekash on looks/episodes from Nip/Tuck that she's particularly proud of
Normal Heart, The
Eryn Krueger Mekash on her approach to the makeup on The Normal Heart, and on winning an Emmy for her work
Ratched
Eryn Krueger Mekash on creating intimate prosthetics and privacy covers for Ratched and Hollywood
Eryn Krueger Mekash on her approach to the 1940's looks on Ratched and making them different from the looks on Hollywood
Sabrina the Teenage Witch
Eryn Krueger Mekash on sourcing out work to Michael Westmore's shop when she worked on Sabrina the Teenage Witch
Eryn Krueger Mekash on how she started working on Sabrina the Teenage Witch
Eryn Krueger Mekash on the type of work she did on Sabrina the Teenage Witch
Eryn Krueger Mekash on differences in makeup for Everybody Loves Raymond and for Sabrina the Teenage Witch
Eryn Krueger Mekash on her role as department head on Sabrina the Teenage Witch, the structure of the makeup department on the show, and how closely she worked with other departments
Eryn Krueger Mekash on working with show creator Nell Scovell on Sabrina the Teenage Witch
Eryn Krueger Mekash on the type of work she would outsource to Michael Westmore's shop for Sabrina the Teenage Witch
Star Trek
Eryn Krueger Mekash on spending a lot of time in the hospital as a child -- where she watched Star Trek and movies and became fascinated with monsters and science fiction
Unhappily Ever After
Eryn Krueger Mekash on starting to get more into primetime shows and working on Unhappily Ever After
Topics
Advice
Eryn Krueger Mekash on advice to an aspiring makeup artist
COVID-19 Pandemic
Eryn Krueger Mekash on how the COVID-19 pandemic impacted makeup for television and what the then-current production conditions were like
Creative Influences and Inspiration
Eryn Krueger Mekash on An American Werewolf in London, the video for "Thriller," and movies solidifying her desire to work in makeup
Emmy Awards
Eryn Krueger Mekash on using Christien Tinsley's transfer method for aging characters on an episode of Nip/Tuck, and getting nominated for an Emmy for that episode
Eryn Krueger Mekash on winning an Emmy for the makeup on The Normal Heart
First Big Break
Eryn Krueger Mekash on attending Sandy Burman's makeup effects school, and how that led to her first job in the industry -- working for John Buechler
Health and Medicine
Eryn Krueger Mekash on how the COVID-19 pandemic impacted makeup for television and what the then-current production conditions were like
Historic Events and Social Change
Eryn Krueger Mekash on how the COVID-19 pandemic impacted makeup for television and what the then-current production conditions were like
Eryn Krueger Mekash on her approach to the makeup on The Normal Heart, and on winning an Emmy for her work
LGBTQIA+
Eryn Krueger Mekash on her approach to the makeup on The Normal Heart, and on winning an Emmy for her work
Memorable Moments on Television
Eryn Krueger Mekash on the makeup for the "Theatricality" episode of Glee
Pivotal Career Moments
Eryn Krueger Mekash on attending Sandy Burman's makeup effects school, and how that led to her first job in the industry -- working for John Buechler
Eryn Krueger Mekash on An American Werewolf in London, the video for "Thriller," and movies solidifying her desire to work in makeup
Representation on Television
Eryn Krueger Mekash on her approach to the makeup on The Normal Heart, and on winning an Emmy for her work
Technological Innovation
Eryn Krueger Mekash on making blood for Nip/Tuck and how changes in camera technology impacted her choices
Eryn Krueger Mekash on her role as makeup designer on American Horror Story and how the visual effects and practical effects teams worked together on the show
Eryn Krueger Mekash on how makeup for television has changed since she first started in the industry -- technological innovations
Television Industry
Eryn Krueger Mekash on advice to an aspiring makeup artist
Professions
Makeup Artist
Eryn Krueger Mekash on starting to do effects makeup as a child, loving Halloween, and doing makeup for her Halloween costumes
Eryn Krueger Mekash on An American Werewolf in London, the video for "Thriller," and movies solidifying her desire to work in makeup
Eryn Krueger Mekash on attending Sandy Burman's makeup effects school, and how that led to her first job in the industry -- working for John Buechler
Eryn Krueger Mekash on the life-casting process, making foam prosthetics, and appliances
Eryn Krueger Mekash on her role as makeup designer on American Horror Story and how the visual effects and practical effects teams worked together
Eryn Krueger Mekash on assembling her team for American Horror Story
Eryn Krueger Mekash on how closely she works with the hair department
Eryn Krueger Mekash on how the COVID-19 pandemic impacted makeup for television and what the then-current production conditions were like
Eryn Krueger Mekash on her favorite part of doing makeup for the screen
Eryn Krueger Mekash on the role of a makeup artist
Eryn Krueger Mekash on how involved she is with network testing
Eryn Krueger Mekash on working with various complexions and skin tones
Eryn Krueger Mekash on how makeup for television has changed since she first started in the industry
Eryn Krueger Mekash on advice to an aspiring makeup artist
Producers
Eryn Krueger Mekash on having additional responsibilities on the set of Nip/Tuck and eventually becoming a producer on other shows in the Ryan Murphy universe
Stylists
Eryn Krueger Mekash on starting to do effects makeup as a child, loving Halloween, and doing makeup for her Halloween costumes
Eryn Krueger Mekash on An American Werewolf in London, the video for "Thriller," and movies solidifying her desire to work in makeup
Eryn Krueger Mekash on attending Sandy Burman's makeup effects school, and how that led to her first job in the industry -- working for John Buechler
Eryn Krueger Mekash on the life-casting process, making foam prosthetics, and appliances
Eryn Krueger Mekash on her role as makeup designer on American Horror Story and how the visual effects and practical effects teams worked together
Eryn Krueger Mekash on assembling her team for American Horror Story
Eryn Krueger Mekash on how closely she works with the hair department
Eryn Krueger Mekash on how the COVID-19 pandemic impacted makeup for television and what the then-current production conditions were like
Eryn Krueger Mekash on her favorite part of doing makeup for the screen
Eryn Krueger Mekash on the role of a makeup artist
Eryn Krueger Mekash on how involved she is with network testing
Eryn Krueger Mekash on working with various complexions and skin tones
Eryn Krueger Mekash on how makeup for television has changed since she first started in the industry
Eryn Krueger Mekash on advice to an aspiring makeup artist
Genres
Awards Shows
Eryn Krueger Mekash on her work for the 60th Annual Academy Awards and how she got her start on several ABC shows, including General Hospital
Comedy Series
Eryn Krueger Mekash on her work on the primetime series Unhappily Ever After, Sabrina the Teenage Witch, and Everybody Loves Raymond
Eryn Krueger Mekash on makeup on Glee
Eryn Krueger Mekash on working on Glee, and on the different types of makeup she did for the show
Commercials
Eryn Krueger Mekash on her work on commercials and infomercials
Daytime/Primetime Serials
Eryn Krueger Mekash on the type of work she did on General Hospital, and on getting her union hours on the show
Drama Series
Eryn Krueger Mekash on makeup on Nip/Tuck
Eryn Krueger Mekash on how she started working on Nip/Tuck, on the prosthetic work she did on the show, and on working with Ryan Murphy on the show
Eryn Krueger Mekash on the creative and challenging work on American Horror Story and Ryan Murphy's innovations for the show
Eryn Krueger Mekash on creating looks for various seasons of American Horror Story
Eryn Krueger Mekash on makeup looks for American Crime Story, Feud, Hollywood, and Ratched
News and Documentary
Eryn Krueger Mekash on doing makeup for people on Good Morning America during the time of the O.J. Simpson trial
Sci-Fi/Supernatural Series
Eryn Krueger Mekash on her work on The Last of Us season one, episode five, "Endure and Survive"
TV Movies/Miniseries/Dramatic Specials
Eryn Krueger Mekash on her work for the miniseries It and how working on a miniseries compared to working on a film
Eryn Krueger Mekash on her approach to the makeup on The Normal Heart, and on winning an Emmy for her work
People
Dave Anderson
Eryn Krueger Mekash on creating the look for the "Addiction Demon" on American Horror Story: Hotel
Eryn Krueger Mekash on some of her favorite makeup looks from American Horror Story: Cult
Kim Ayers
Eryn Krueger Mekash on assembling her team for different seasons of American Horror Story
Rick Baker
Eryn Krueger Mekash on working in Rick Baker's effects shop, Cinovation, and on several of the projects she worked on, including Gremlins 2: The New Batch
Eryn Krueger Mekash on Rick Baker's reaction to her recreating looks from "Thriller" for the Super Bowl episode of Glee
Eryn Krueger Mekash on Rick Baker's chair
Angela Bassett
Eryn Krueger Mekash on the look for "Marie Laveau" on American Horror Story: Coven and on how closely she works with the hair department
Eryn Krueger Mekash on Jessica Lange's lip prints and Angela Bassett's eyelashes from American Horror Story: Freak Show
Matt Bomer
Eryn Krueger Mekash on her approach to the makeup on The Normal Heart, and on winning an Emmy for her work
John Buechler
Eryn Krueger Mekash on attending Sandy Burman's makeup effects school, and how that led to her first job in the industry -- working for John Buechler
Eryn Krueger Mekash on lessons she learned from John Buechler
Sandy Burman
Eryn Krueger Mekash on attending Sandy Burman's makeup effects school, and how that led to her first job in the industry -- working for John Buechler
Michelle Ceglia
Eryn Krueger Mekash on "Coco's" birdcage wig from American Horror Story: Apocalypse
Frances Conroy
Eryn Krueger Mekash on creating the look for "Myrtle Snow" on American Horror Story: Coven
Roger Corman
Eryn Krueger Mekash on working on Roger Corman sets
Penelope Cruz
Eryn Krueger Mekash on the look for Penelope Cruz as "Donatella Versace" on American Crime Story: The Assassination of Gianni Versace
Clint Eastwood
Eryn Krueger Mekash on working on several Clint Eastwood movies
Leonard Engelman
Eryn Krueger Mekash on recreating Leonard Engelman's makeup kit to make it period correct for Feud
Brad Falchuk
Eryn Krueger Mekash on working with Brad Falchuk
Lady Gaga
Eryn Krueger Mekash on working with Lady Gaga to create the look for "Elizabeth 'the Countess' Johnson" on American Horror Story: Hotel
Barrie Gower
Eryn Krueger Mekash on her work on The Last of Us season one, episode five, "Endure and Survive"
Naomi Grossman
Eryn Krueger Mekash on creating the look for "Pepper" on American Horror Story: Asylum and American Horror Story: Freak Show
Leslie Grossman
Eryn Krueger Mekash on "Coco's" birdcage wig from American Horror Story: Apocalypse
Grace Gummer
Eryn Krueger Mekash on the tattoos for "Penny" on American Horror Story: Freak Show
Michelle Krusiec
Eryn Krueger Mekash on Michelle Krusiec's makeup as "Anna May Wong" on Hollywood
Jessica Lange
Eryn Krueger Mekash on creating the looks for Jessica Lange and Susan Sarandon on Feud
Eryn Krueger Mekash on Jessica Lange's lip prints and Angela Bassett's eyelashes from American Horror Story: Freak Show
Eryn Krueger Mekash on Jessica Lange's eyelashes on Feud
Ana Lozano
Eryn Krueger Mekash on the look for Penelope Cruz as "Donatella Versace" on American Crime Story: The Assassination of Gianni Versace
Julian McMahon
Eryn Krueger Mekash on intimacy covers for sex scenes on Nip/Tuck
Mike Mekash
Eryn Krueger Mekash on assembling her team for different seasons of American Horror Story
Eryn Krueger Mekash on the tattoos for "Penny" on American Horror Story: Freak Show
Eryn Krueger Mekash on some of her favorite makeup looks from American Horror Story: Cult
Eryn Krueger Mekash on her proudest career achievement
Eryn Krueger Mekash on Star Wars memorabilia -- including some of her and her husband's work on The Mandalorian
Eryn Krueger Mekash on comic books designed by Mike Mekash for American Horror Story: Cult
Donna Messina
Eryn Krueger Mekash on her work for the 60th Annual Academy Awards and how she got her start on several ABC shows, including General Hospital
Lea Michele
Eryn Krueger Mekash on how the makeup on Glee changed from pilot to series
Bart Mixon
Eryn Krueger Mekash on her work for the miniseries It and how working on a miniseries compared to working on a film
Ryan Murphy
Eryn Krueger Mekash on working with Ryan Murphy on Nip/Tuck and on Pretty/Handsome
Eryn Krueger Mekash on having additional responsibilities on the set of Nip/Tuck and eventually becoming a producer on other shows in the Ryan Murphy universe
Sarah Paulson
Eryn Krueger Mekash on creating the look for "Lana Winters" on American Horror Story: Asylum
Eryn Krueger Mekash on the looks for conjoined twins "Bette Tattler" and "Dot Tattler" on American Horror Story: Freak Show
Eryn Krueger Mekash on creating the look for "Tuberculosis Karen" for American Horror Story: Apocalypse
Eryn Krueger Mekash on creating the look for Sarah Paulson as "Marcia Clark" on American Crime Story: The People v. O.J. Simpson
Evan Peters
Eryn Krueger Mekash on some of her favorite makeup looks from American Horror Story: Cult
Eryn Krueger Mekash on Evan Peters' hands on American Horror Story: Freak Show
Eryn Krueger Mekash on Evan Peters' mustache from American Horror Story: Hotel
Doris Roberts
Eryn Krueger Mekash on working with Doris Roberts on Everybody Loves Raymond
Susan Sarandon
Eryn Krueger Mekash on creating the looks for Jessica Lange and Susan Sarandon on Feud
Nell Scovell
Eryn Krueger Mekash on working with show creator Nell Scovell on Sabrina the Teenage Witch
Dick Smith
Eryn Krueger Mekash on taking Dick Smith's advanced makeup course via mail
Sarah Tanno
Eryn Krueger Mekash on working with Lady Gaga to create the look for "Elizabeth 'the Countess' Johnson" on American Horror Story: Hotel
Holland Taylor
Eryn Krueger Mekash on Holland Taylor's makeup on Hollywood
Christien Tinsley
Eryn Krueger Mekash on using Christien Tinsley's transfer method for aging characters on an episode of Nip/Tuck, and getting nominated for an Emmy for that episode
Eryn Krueger Mekash on creating the look for "Pepper" on American Horror Story: Asylum and American Horror Story: Freak Show
Eryn Krueger Mekash on creating the look for "Lana Winters" on American Horror Story: Asylum
Alexander Ward
Eryn Krueger Mekash on creating the look for the "Addiction Demon" on American Horror Story: Hotel
Michael Westmore
Eryn Krueger Mekash on taking a seminar with Michael Westmore and learning about out-of-kit makeup
Eryn Krueger Mekash on Michael Westmore hiring her after she got into the union, what she learned from him, and sourcing out work to his shop when she worked on Sabrina the Teenage Witch
Eryn Krueger Mekash on the type of work she would outsource to Michael Westmore's shop for Sabrina the Teenage Witch
Stan Winston
Eryn Krueger Mekash on working in Stan Winston's effects shop and realizing she liked mold-making
Ben Woolf
Eryn Krueger Mekash on creating the look for the"Infantata" for American Horror Story: Murder House
Catherine Zeta-Jones
Eryn Krueger Mekash on creating the looks for Catherine Zeta-Jones on Feud