When you write a script, you’re not really supposed to think about all the production aspects of the story. At first, you’re just in it to write a good story and then after that you worry about how difficult it’s all going to be to film.
Which is how I ended up with a script that involves two men aging ten years, an open wound on a teenager’s forehead, and tattoos. I knew from the beginning that I needed a great makeup artist, and that nobody I knew could do the job. Most of us can powder an actor’s face to keep the shine off but really, that’s about it.
Bo Keister once again stepped forward for me and gave me a contact who steered me towards Kelley Coleman, a Blacksburg resident and accomplished makeup artist. It took me about thirty seconds on her site (http://kwcmakeup.com) to see that she was more than up to the task at hand.
Kelley just needed to read through the script and before I knew it, I had one more thing off of my plate that I didn’t have to worry about. I only had to give her an idea of what I wanted, and the next thing I knew it had materialized in front of me. This was the first time I had directed a film with a makeup artist on the crew, and now I never want to go to set without one again. And if I have my way, I want it to be Kelley.
Photo courtesy of Liz McAuley