HOW TO GET WORK AS A TRAINEE
Many different routes, reporting from set:
DOM TORRES …… (make-up artist/hairdresser)
JAMEY-LEIGH WEBER……(make-up supervisor)
TONIA VERNAVA……(make-up artist/hairdresser)
MARIE DEEHAN… (make-up designer)
CHERYL MITCHELL…(make-up designer)
RACHEL LENNON (Make-up artist/hairdresser)
VICKY MONEY (Make-up designer/ prosthetic HoD)
ROSIE OCTON (make-up supervisor)
EMILIE YONG
SOPHIE HARMON
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DOM TORRES …… (make-up artist/hairdresser)
I asked an intelligent question of a visiting lecturer who then recommended me to a make-up designer, and I got my first job as a trainee on Mister Selfridge, where I met a make-up artist, who recommended me for a theatre job. I worked in west end theatre for 4 years, and then was recommended to a make-up designer as a daily. After which I joined their main team and have been working full out ever since, shortly off abroad once more on a long period drama.
One line advice….’HAIRDRESSING COURSE FIRST AND TRY THEATRE’’
JAMEY-LEIGH WEBER……(make-up supervisor)
I sent out multiple (BUT INDIVIDUAL) emails to designers, (btw never phone it’s not good) I did my research looking at make-up designers I wanted to work with and by perseverance I struck lucky and now work as make up supervisor on set. I trained originally as a hairdresser and did a 9-month intensive course as Brushstroke.
One line advice…’ ITS NOT JUST ABOUT SKILL, POSITIVE ATTITUDE AND FLEXIBILITY COUNT’
TONIA VERNAVA……(make-up artist/hairdresser)
I found that applying to skillset did it for me. I had almost given up, having trained as a hairdresser, and done a 9-month intensive make up course at brushstroke. Through skill set I got a position as a trainee on a six-month job, and since then I have worked with that team and am now working as a make-up artist.
One line advice…’BE PRO ACTIVE’
MARIE DEEHAN… (make-up designer).
I studied at the London College of Fashion on a year-long course. I was lucky enough to get work experience on a comedy sketch show while still studying, which was a really busy show with wigs and prosthetics. Working first hand on set taught me so much about the industry and the many different skills needed, as well as set etiquette and communication between departments, things you don t necessarily learn in the classroom.
Investing free time does pay off as you learn so much, I was unpaid, but you make valuable contacts. After I had completed my course, I got offered a trainee placement on a comedy show with the same team, and I haven’t looked back since!
One line advice…. ALWAYS WATCH LEARN AND LISTEN.. KNOWLEDGE IS WEALTH.
CHERYL MITCHELL…(make-up designer)
I trained for three years as a hairdresser and beauty therapist. I worked as a therapist for 4 years on cruise ships before returning home and doing a short intensive make up course. After which I contacted her majesties theatre, asking for work experience which led to two days, the moment I stepped into the theatre I knew I had to be there! Later I discovered that the person who set the wigs in the morning was shortly leaving – right time right place – yes, but because I could roller set well, it was easy. I took the part time job and meanwhile practiced dressing hair in 1870 s style and finger waving, so that when a full-time roll came up I was ready and got the job.
After that came Glyndebourne, and then Covent Garden, where I met freelance artists, who were trained at the BBC, and I transferred seamlessly into film and TV.
The best place to learn period hairdressing and how to work with wigs is theatre and opera, invaluable… Rome wasn’t built in a day, these skills take time to learn. Respect the people who have taken the time to learn their trade.
Finally keep your head down, work hard, don t moan, don t be pulled into politics, use your initiative but be a team player, most of all learn how your colleagues like their tea, and don’t Let their cups be empty.
You are only as good as your last job.
One line advice….GET A HAIR QUALIFICATION, DRIVING LICENCE AND INTO THEATRE.
RACHEL LENNON (Make-up artist/hairdresser)
I didn’t go down the conventional route when I started in the industry. I was very lucky to have a kind contact who was able to start my training in make-up and she advised me to get a hairdressing qualification asap. I did my research and found that I could work as a trainee on set during the week and then do my NVQ level 2 hairdressing on Saturdays, over a year and a half. This was tough but it really boosted my confidence, with hair. This was one of the best pieces of advice I have been given and I make sure to always emphasize this to trainees now. I then branched out and worked with different designers. There are so many fabulous and creative ways of doing things in this job, and by working with different teams, you enhance and extend your skillset.
One line advice… HARD WORK/ ORGANISATION ARE CRUCIAL, THINK AHEAD. GOOD LUCK!
VICKY MONEY (Make-up designer/ prosthetic HoD)
I trained at Greasepaint Make up School and applied myself fully to the course whilst there, ensuring I took every opportunity to listen learn and practice during the day. One of my tutors whom I had admired, and had worked hard to impress, introduced me to a prosthetic designer on a long running BBC series, while she was attending Greasepaint to demo a make-up. After several persistent (but uber polite) emails, she offered me a two-week trial on her team. I tried to perfect every task she gave me during these two weeks, whether that was assisting her and her team on set, organising her products and stock, or making a round of tea. A short while after my trial had finished, she called to offer me a nine-month contact on her team. Having spent the majority of my six months after Greasepaint working for free, I felt like I had won the lottery! I went on to meet a great number of Make-up artists, Designers and technicians through that role, many of whom have become great friends as well as colleagues. I have been fortunate enough to work consistently since and am grateful for my job every day. My advice to new trainees is to simply work hard and be kind. Being respectful of your colleagues and getting on with your team and your artists will get you your next job. And if you do try to always perfect everything you do, you won t need to compete for work.
People will want you around to support them, for your positive attitude and your commitment to doing everything well. That’s what I look for, and appreciate in everyone who works for or alongside me.
One line advice….POSITIVE ATTITUDE, HARD WORK AND COMMITMENT WILL PAY OFF.
ROSIE OCTON (make-up supervisor)
For me as an employer, hairdressing and wig work is the most important area to learn as early as possible in training, as it takes practice and skill to understand the organic dynamics of structure and waves. I trained in hairdressing in the evening before going to uni to train in Make- up. As a trainee I met a fantastic crowd supervisor who comes from a theatre background and has insane skills. She was exceptionally kind and took a chance on me to do a couple of period jobs, which in turn showed me the difference there can be in the range and level of skills different people have, and I realised I wanted to specialise in period hair. So I did. I left TV for a little while and had an amazing time touring the UK an doing festival seasons in Rep theatres, PAID to gain skills! I now go on as many courses as I can to update and revisit areas for improvement. No one knows or excels in everything so never stop leaning as it can only improve you especially startingout.
One line advice: knowledge/skills come with time, don t rush it, use initiative to gain it.
WHAT IS A DESIGNER LOOKING FOR?
EMILIE YONG
I did Louise Constads’ short make-up course and afterwards, began assisting her. While assisting on a commercial I met another Film make-up /Hair designer, who happened to need a trainee for her next film, who had to be able to drive as well. I was working full time in an office at the time but they were very supportive and gave me a sabbatical leave to go off and do it.
I then decided to do a 2-year Fda course at London College of Fashion, and I continued to work whenever I could while also studying hard – that way when I left after two years I had built up some contacts, and I wasn’t starting out completely fresh.
You learn so much on a job that can’t be taught in a classroom and working at the same time as doing my course made me appreciate what I was learning more, as I knew I could then put it straight into practice.
When I first started out, I worked for free for new designers and other Make-up and hair artists. It’s risky for Designers to take on new trainees, and designers don t always have the budget or time to take that risk. For every freebie I did I always got something back, either knowledge, contact or recommendation. Learning how to deal with a new designer can be tricky as everyone has a different way of how they like to do things, but my advice, be intuitive and positive.
Most people starting out don’t realise that most of your work will come from your classmates, and other artists recommending you, it’s important to have that supportive circle around you..
If I could go back and change anything about my training? I wish I had done a hair cutting course sooner. It’s an important and necessary skill to have. Quite a few of the trainees on our last few films have got their foot in the door thanks to their hairdressing training.
One of the things I love about our job is the fact that you always keep learning, knowledge and generosity of knowledge if what is so lovely about our industry.
1 LINE ADVICE. BE POSITIVE, INTUITIVE, PRO- ACTIVE, DO HAIRDRESSING, AND DRIVE!!
SOPHIE HARMON
I studied at greasepaint doing their short course in tv and film hair and make-up. Having no background in hair or make-up I was keen to learn everything. I made sure that I was the first one to arrive at college and the last one to leave. I was proactive, asked questions and practiced in my own time. 2 weeks after my course finished my tutor, who I really looked up to, put my name forward to a designer who was looking for a trainee for a sky comedy series. I was very lucky to meet her and her team who all took the time to teach me and helped me gain confidence. The best advice given to me was to do a hairdressing course which I did every Saturday for a year and a half. I am now qualified as NVQ level 2 in cutting and colouring which has been invaluable.
1 LINE ADVICE ..BE FIRST IN & LAST TO LEAVE AND LISTEN TO ADVICE IF GIVEN
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March 2020 was a time I will never forget. At the time I was working with a brilliant team of people on a new sky original sci-fi series due for release 30th April 2021. We were in our final week of a 6 month shoot and filming some exterior forest scenes in south wales as the news of the global pandemic started reaching us. At the time there was some speculation around if we would complete the shoot or not. The situation was monitored closely by production on a day-by-day basis and unfortunately before we could finish our final block of filming, we had to shut down the shoot, travel back to Manchester, pack down our kits and head home. Being forced into the most uncertain time in my career without the opportunity to have the usual wrap party experience and celebration with the fantastic team and cast I had spent almost half a year with was a very strange and demoralizing experience. With my kit packed I headed home and accepted that I could be out of work for the next 12 months. Luckily, I have a room in my house designated solely to my work where I can set, dress, make wigs, sculpt, make moulids, cast whatever creations I have in my head, so I was looking forward to a balanced life of working on improving my skills and family time.
By April 2020 it was clear that a lot of people in the television and film industry were facing some really tough times as well as some struggles with adapting to the new normal and the uncertainty of what lay ahead. Being an existing member of BECTU I got myself a lot more involved with the union trying to make a positive difference to those already in the industry as well as those soon to be entering or new to the industry. I joined the training sub group and with a small group of other voluntary members started producing a “college pack” for students that was intended to address things previous trainees and new entrants had identified as something they were not taught about whilst training at college. We aimed to put together a sample call sheet, movement order and unit list along with documents on hair and make-up roles withing the tv, film, theatre and fashion sectors.
August 2020 arrived and after 5 months without work I needed a boost of inspiration and for the sake of my own mental health had to throw myself into the challenge of developing new skills. Afro and textured hair work was never part of my formal training and was something I had for a long time wanted to get some training in. With no time like the present, I set about organizing a three-day online training course for myself and another 7 colleagues with the brilliantly skilled Kamanza Amihyia. The course was incredible for all of us and a real boost to our confidence after such a prolonged time out of work. Kamanza is a brilliant educator who instilled us all with a real sense of empowerment and confidence from her teaching.
September 2020, after 6 months with no work the phone started ringing, I agreed to a three-month contract in London starting mid November with some dailies in a few crowd rooms to get me used to working in the new covid world. November 2020 arrived and with it came my eagerly awaited three month job in London.
The production was a well established period drama in its 10th season set in the 1960s, It had been 5 years since I had worked on a 1960s job and this was exactly the challenge I needed to boost my dwindling confidence. I turned up to the job to join a team that had already been together for 3 months and I was terribly nervous. The team where amazingly talented, welcoming and a joy to be around and I learned so much from their collective knowledge.
February 2021 As the job was coming to its end, I was very kindly asked if I would return to do the next season, which was six months with a 6-week hiatus in between season 10 and 11. I sadly had to say no. With my wife and daughter back home in Glasgow and no way of me commuting back and forth safely at weekends to see them because of the pandemic and the restrictions in place at the time, it was too impractical. So, I bid my new friends goodbye and once more headed home to be with my family and work on improving my own skills in my little work room. I suspect this choice not to return to the production for another season will haunt me as the second biggest mistake I’ve ever made in my career, time will tell. By this point the college pack myself and my fellow BECTU members had started the previous April was ready to be distributed and go live on our website as a resource for all students and new entrants as well as theatre practitioners who may have been heading into tv and film sectors due to the pandemic impacting theatre more dramatically.
March 2021 as vaccines are being administered, once again life as we know it is changing again. After a year of acclimatizing to the new normal we are slowly emerging from this pandemic and readjusting to life slowly changing back to the old normal. I count myself very lucky to have weathered the worst of this storm with work opportunities being a lot more abundant than I initially expected. With our return to a more sociable existence, I have secured a small artist’s studio where I plan to relocate my little hair and make-up sanctuary. Balance is everything in life and I’m looking forward to moving into a space shared by other artists of different disciplines away from the family home where I can continue to develop for no reason other than because I want to. Right now I’m keeping myself busy with some dailies close to home whilst I finish moving into my new little studio and I have also taken on a temporary teaching post with a brilliant team of lecturers at a local college one day per week to help students who’s training has been impacted by the pandemic get the skills and qualifications they need to get there careers of the ground.
In my 8 years in the industry, I’ve learned the most important thing for me in my work life is to be surrounded by supportive, creative and collaborative people as it often creates a very positive team atmosphere which is crucial when your working week is normally a 60 hour minimum. The melting pot of high pressure, long hours and team work in the tv and film sector often brings people together and forms friendships that last a lifetime and a team that works together effectively will grow and learn together effectively.
I am very lucky for so many years to have had a space within my home dedicated to my work where I can lock myself away and create in my own little sanctuary. Working in the television and film industry is a strange environment it can be stressful, fast paced, and littered with think on your feet problem solving moments. It’s also fair to say that it’s not always plain sailing and you most definitely will come across situations and personalities in your career that will have lasting effects on you both positively and negatively. My little workroom has been a lifeline to me throughout my career as I’ve used it as a place to silence the negativity of those internal voices attributed to a phenomenon I like to call “imposter syndrome”. I am happy to say that much like everything in life there’s a balance to be found and even in the negative times there’s a lesson to be learned. My little sanctuary has also been a place of growth to experiment and try out new ideas and positively remind myself why I love what I do. It has also served as a place of learning and sharing for my close friends and colleagues who are always welcome to pop in a talk shop, try out any makeup ideas they have or just see what I am creating in my spare time. My little workplace has also been a great weapon against the negative voices of others I have crossed paths within my career, who have tried to make their own light seem brighter by dimming that of all those around them. It has allowed me a space to revisit refresh and remind myself just how far I’ve come in my journey and just how much further I want to go with learning and honing my craft thoroughly. To anyone reading this who can relate to the feeling of self-doubt in your capabilities caused by the people around you, the best advice I could give you is to change the people around you. Prioritize being surrounded by the right type of people for you and not only will your work skills and confidence improve but you will undoubtably become the best version of yourself you could possibly be. I’m a firm believer that the best teacher you will ever have in life is yourself, because nobody understands your learning process better than you do. You will meet many wonderfully skilled artist throughout your career and if you are as fortunate as I have been you will learn something from each and every one of them but it’s up to you to seek out those lessons and drive yourself forward to become the best artist you can be, all the while sharing what you’ve learned with all those around you and those who follow in your footsteps.
Raymond McArthur
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2020 started off well for me. Plenty of work and then came the week of the 16th March and everything changed. My parents had to self-isolate. Schools were to close. My teaching was cancelled that week so students could travel home. My children’s education at school/university went online and there were to be no exams. My daughter needed to leave her Uni accommodation immediately as we were going into lockdown. My gym membership was frozen. My friends and family stayed in touch by weekly Zoom/Houseparty meetings. I would facetime/call instead of WhatsApp to have human contact.
There was no work and initially this wasn’t a bad thing. Time to catch up with life and our busy working schedules. You didn’t have any work and couldn’t find any, so we all had to stop. I realised I needed to help and do something. I decided to support my fellow make-up industry colleagues become aware that PAM was still open online to support the shop. I decided an Instagram 3 day workshop on how to apply a bald cap would be a good idea. I also continued to teach online at Delamar. To stay in touch with the industry was important and BACTU became a source of communication for me. I also became included in BECTU workshops for BAME mentoring.
I knew people who were going back to work in very odd ways. None of them were the same, some were from 2 metres away supervising or some were teaching the actors by Zoom. A few were making up actors for less than 15 mins. I wanted to be a part of this in any way. I felt left out. Would I ever work again? Would I die of COVID? Then my friend called me and said she had a Theatre Commercial and would I do it with her. I was so excited and frightened at the same time. Just one day would be enough to see what this strange new world would bring. Five months with no work and I was ready. We put wigs, beards on and applied wounds on our actors and it was the same as before COVID. I could see the lace through all the PPE/Visors although you had to dodge the reflections. The communication was limited and muffled and a lot less which is still the case. I obviously didn’t catch COVID or die.
After this my own job took over, I began prepping Worzel Gummidge with full prosthetics and full PPE including protective suits (at KM Effects) keeping everyone barriered from each other and safe. It was good to be among friends and I class Kristyan as one. We stood strong together to move forward to get back to work and beat the pandemic that had devastated our industry. I decided I would start posting my first 10 days of filming as an Instagram blog for all those who felt as I did. Anyone who felt left out could stand with me and be included in my first days going back to work during Covid. I’ve been busy since and now I’m a year on.
Life in our industry isn’t back to normal as the world is still living with the pandemic. Most of my fellow work colleagues and actors are working and double jabbed and the Government is looking at easing back to a more normal life. I’m hoping and praying we see the future is bright for all of us including Theatres.
I feel lucky to have had a great career in the Film & TV Industry as I’m nearing the end or at least slowing down. I look back to myself when I was 24 years old, just starting my career, and my advice would be this:
Don’t stay in one job too long as you should always strive to move forward, I still learn something new most days, so my journey continues. Enjoy your job and your surrounding colleagues, you spend more time with them than your partner. I have some great friends within the industry and a fantastic support network. Unfortunately, I’ve been bullied and picked on and, on every occasion, I’ve removed myself from the job or situation and survived the gossip and felt stronger for taking control. I would not change a single thing in my career apart from this pandemic, but we will survive.
Believe in yourself.
@vixvoller @PAM @katebenton.mua @kmfxltd @jonmoorefx @daniduffymakeup @sophieflynnfx
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I have done 4 jobs post covid. The first job was very strict. We had full PPE gear, including the visor gloves, mask, blue overall and only two people allowed in the van. No food no drink. Checks on set had to be done by one person doing many people and sanitising in between. COVID tests daily.
Cleanliness is key.
]]>I have now done 4 jobs post covid. The first job was very strict. We had full PPE gear, including the visor gloves, mask, blue overall and only two people allowed in the van. No food no drink. Checks on set had to be done by one person doing many people and sanitising in between. COVID tests daily.
Now on this job which has been filming for 5 months, we are currently daily temp check and questionnaire to fill out, and three times a week COVID tests. We have had one outbreak – over Christmas, so only one filming day lost.
We wear coloured bands to denote red, green or amber access depending upon how close to actors you get. Obviously make up is in the front line. We are now down to FP2 masks while making the actors up, and ordinary blue masks that are changed every four hours on set. We try to keep 2 metres apart wherever possible and on set we work from iPads for continuity and have seated separate areas.
Cleanliness is key. Netflix does not approve of fogging. So, we rely on good cleaning and our own personal hygiene. We work using palettes and our MYO kits – being co owner of PAM has been Uber useful as it means I have access to all the useful covid products. Pippa's pouch has been really popular as has the Rachel brush pouch. Key to it for us is separate brushes bags etc for each actor, whom we have colour coded the top 4 cast and even the towels and face clothes we use are colour coded to match. Productions have a separate budget line for covid related purchases which has been a huge help to MUA's. BECTU too has done amazing advice and courses. Mostly its common sense.
One useful thing I learnt was to use 70 % IPA to sterilise my chair and place – as you need the extra drying time of the alcohol to make sure the virus has been killed.
Honestly, some of the fun of the job has gone with covid. We are not allowed to mix on set, and the large department of COVID police enforce the rules, but it is for our safety.
It’s also very difficult to hear what everyone is saying because you can’t see their lips move!
The key points are:
We have tried to incorporate much of this advice in the PAM on our IGTV and our Tuesday tips finally remember that its busy out there and going to be busier!!! The UK film industry is super busy and there is still a role for trainees, who are highly sought after and in demand.
Remember Tuesday tip on PAM instagram.
Shop the PAM COVID Corner here.
Good luck all,
Kate Benton
]]>Huge thanks to Jamey-Leigh Weber for the creation of Pam Girl - The Adventures of a PAM Make-up Artist...
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Thrilled to launch our first instalment.
]]>Working as a makeup artist is challenging but also very rewarding. It may seem like a minefield to get into the industry while you’re studying but there are so many fantastic opportunities available to trainees at the moment and it’s worth every bit of effort to get into the industry! When I first started out, I never imagined the places I’d get to see or how much time I’d spend with colleagues that become like family.
Working as a makeup artist is challenging but also very rewarding. It may seem like a minefield to get into the industry while you’re studying but there are so many fantastic opportunities available to trainees at the moment and it’s worth every bit of effort to get into the industry! When I first started out, I never imagined the places I’d get to see or how much time I’d spend with colleagues that become like family.
However, I also didn’t realise how much time would be spent on the motorway, or the amount of mud I’d have to wade through on location!
I have just finished a 3 month shoot in freezing cold Scotland on a film that had a lot of wigs for picture doubles. This is something I hadn’t done before and added a new meaning to continuity; as we were creating a look sometimes 3 times over, on different wigs to be worn by different artists. Which when cut together will all be the same person. This job was such a fantastic opportunity to learn about all the post-production involved in creating something so heavily reliant on VFX. I’m doing now dailies on two shows one in Liverpool and the other in London; commuting from Leeds and spending most mornings in traffic and the nights in different ‘hotels’. That said, doing this job, really does make you appreciate a good hotel! These two jobs are both set around the 70’s, so it has been fantastic to practice period hairstyling after being in lockdown, and I was definitely very rusty!
Aside from the banalities of traffic and motorway services food, working as a daily is a fantastic way to network with all sorts of people and have a good old look through peoples set bags to see what else I need to add to my PAM list! Whether it’s brushes, bloods or battery packs, there’s always something new to try. One absolute desert island product is the MaqPro Grande palette. If I have one of those in my set bag, I feel like I can get myself out of most problems. Whether it be tattoo coverage, bruising or beauty makeup- these palettes can do it all. They can be used straight or can be diluted with IPA (or Jao in a pickle) to create a wash of colour or be flicked. When diluted, MaqPro has the illusion of sitting under the skin, perfect for bruising or swelling. I never go to set without my Grande palette!
As a final note, aside from products and traffic, one thing I have learnt so far in this job is the importance of health. Both physical and mental- it is so easy to over stretch yourself when you first start out in this industry. But it’s so important to rest between jobs and make sure you sleep well before driving long distances. After all, you can’t give 100% to a job when you’re only feeling 50%!
Kate Benton