Stylists

Rick Baker on the use of prosthetics in makeup

Rick Baker on the "club" of special makeup effects people, and competition among them

Rick Baker on choosing his projects

Rick Baker on advice to an aspiring special effects makeup artist

Tommy Cole on various aspects of his career

Judy Crown on why she became a hair stylist

Judy Crown on the hair styling tools she typically keeps in her trailer on a shoot

Judy Crown on occasionally dealing with facial hair as a hair stylist

Judy Crown on being on-set to touch up people's hair and ensure continuity

Judy Crown on styling wet hair

Judy Crown on making actors feel comfortable with her, and on coordinating with the makeup and wardrobe departments

Judy Crown on her typical set location when she does hair, and on coloring hair

Judy Crown on dealing with wigs and hair extensions on shows like Seinfeld

Judy Crown on dealing with actors who are unhappy with their hair

Judy Crown on the duties of the hair department head

Judy Crown on teaching hair styling

Judy Crown on what you can learn about a character from their hairstyle, and on her favorite types of hair styles and biggest challenges

Judy Crown on what she liked about styling hair

Kim Kimble on the experience of working on her first film, B.A.P.S., and on how she learned to be a professional hair stylist on a movie set, which was different from her previous work in a salon and at hair shows

Kim Kimble on being the key hair stylist on The Parent 'Hood, and on the difference between working in film and television

Kim Kimble on a typical workweek as a hair stylist on a sitcom, and on how that differs from work on a drama or a new pilot (especially in streaming)

Kim Kimble on the role of the department head as a hair stylist on a television show

Kim Kimble on the collaborative process of creating hair styles for talent when working on a television show

Kim Kimble on the importance of hair in the development of character in film and television, and on how she approaches her work with clients on non-film and television performances in a similar manner to her work on film and TV

Kim Kimble on being a hair stylist who works with clients who work in many different genres, including television, live performance, and film, and on adjusting the hair styles she creates based on what's appropriate for the project

Kim Kimble on her creative process when approaching a new project as a hair stylist, and on using visual references from magazines and Pinterest to collaborate with clients

Kim Kimble on the importance of putting together a team with various expertise in hair styling and cutting in order to do the best work and make actors the most comfortable

Kim Kimble on advice for a hair stylist who hopes to get into the entertainment industry

Irma Kusely on the process of dressing a wig

Irma Kusely on doing research for hairstyling jobs

Irma Kusely on the most important things about hairstyling 

Jodi Mancuso on a typical workweek for her as hairstylist on Saturday Night Live

Jodi Mancuso on collaborating with other departments on Saturday Night Live, and on doing hair for pre-taped segments

Jodi Mancuso on crafting wigs based on real people for Saturday Night Live

Jodi Mancuso on being called on by actors to design wigs for them on various projects

Jodi Mancuso on what a viewer can learn about a character from the way they are styled

Jodi Mancuso on enjoying helping to create a new character

Jodi Mancuso on basing wigs for fictional characters on real people's hair

Jodi Mancuso on advice to an aspiring television hair stylist

Jodi Mancuso puts the interviewer in a Donald Trump wig

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

Howard Smit on the challenges of doing makeup on early television

Howard Smit on the process of corrective beauty makeup

Howard Smit on sharing information with other makeup artists

Howard Smit on dealing with fake beards and mustaches as a makeup artist

Howard Smit on creating fake blood for television and movies

Howard Smit on the process of aging actors and using various prosthetics on them

Howard Smit on dealing with makeup and the hot lights of the studio

Howard Smit on helping improve working conditions for hair stylists and makeup artists as president of the union

Howard Smit on doing freelance work as a makeup artist

Howard Smit on dealing with continuity in makeup

Howard Smit on the makeup artist dealing with different skin tones and ethnicities

Howard Smit on the most important developments in television makeup, and on technological innovations in the medium

Dick Smith on the tools of the makeup artist in the very early days of television

Michael Westmore on his makeup apprenticeship at Universal Studios

Michael Westmore on how prosthetics have changed over the years

Michael Westmore on fitting actors with prosthetics and difficulties if actors are claustrophobic

Michael Westmore on advice to aspiring makeup artists

Michael Westmore on his style as a makeup artist

Louie Zakarian on being self-taught as a makeup artist and how he learned about makeup from books, magazines, and testing on himself

Louie Zakarian on his creative process doing makeup for Saturday Night Live

Louie Zakarian on the challenge of bald caps, particularly on Saturday Night Live, which is so fast paced

Louie Zakarian on figuring out how to complete an extremely quick change into Cleopatra makeup for a sketch on Saturday Night Live

Louie Zakarian on advice for aspiring makeup artists