WEBVTT - Laverne Caracuzzi 0:00:05.320 --> 0:00:08.600 Hi am Laverne Karacouz, and I was the department head 0:00:08.640 --> 0:00:19.440 makeup artist on the Office. Hello everybody, and welcome back. 0:00:20.160 --> 0:00:23.320 Uh it's a new week and that means it's time 0:00:23.600 --> 0:00:28.440 for another episode of the Office Deep Dive. As always, 0:00:28.800 --> 0:00:32.880 I am your host, Brian Baumgartner. Today we are bringing 0:00:32.960 --> 0:00:35.159 on a guest that I don't have to make up 0:00:35.520 --> 0:00:39.000 because she made me up. Because she does make up, 0:00:39.479 --> 0:00:42.720 get it. She is also the one who made us 0:00:42.800 --> 0:00:46.639 look fresh, well, sometimes made us look like we had 0:00:46.800 --> 0:00:50.840 extremely bad sunburn or in my case my worst week 0:00:51.000 --> 0:00:54.760 on the show, like Michael Moore, let me tell you, 0:00:54.840 --> 0:00:58.440 fake hair on the face not comfortable. Uh. This woman 0:00:58.960 --> 0:01:00.760 had all of the skill to give you a black 0:01:00.800 --> 0:01:05.000 eye or to make you look good even if you were, say, 0:01:05.080 --> 0:01:10.839 under a waterfall at Niagara Falls. Laverne Kara Kusi Laverne 0:01:11.360 --> 0:01:15.360 was the makeup department head on the Office, which, let 0:01:15.360 --> 0:01:19.160 me tell you, this was a huge task, right. We 0:01:19.280 --> 0:01:21.880 had a huge cast, so there were a lot of 0:01:21.880 --> 0:01:24.520 people to get ready every day and not a whole 0:01:24.520 --> 0:01:28.920 lot of time. In fact, the battle plan she used 0:01:29.080 --> 0:01:33.360 then is still used across the board on so many shows. 0:01:33.640 --> 0:01:35.960 But she was so much more than that she was 0:01:36.200 --> 0:01:41.080 a friend, a a therapist, a shoulder to lean on. 0:01:42.360 --> 0:01:46.399 Really just someone to look forward to seeing every single day, 0:01:46.640 --> 0:01:51.640 usually around five o'clock in the morning. And honestly, she 0:01:51.760 --> 0:01:55.880 probably knows more secrets about the Office cast than anyone. 0:01:55.920 --> 0:01:58.760 I mean, think about it. She got hours of one 0:01:58.800 --> 0:02:01.440 on one time with all of the actors day in 0:02:01.640 --> 0:02:04.800 and day out, just getting closer and closer all of 0:02:04.840 --> 0:02:09.000 the time. But don't get any ideas our secrets are 0:02:09.040 --> 0:02:12.760 definitely safe with her. You'll find her work on so 0:02:12.760 --> 0:02:16.280 many shows, from Judging Amy to Monk to The West 0:02:16.320 --> 0:02:22.400 Wing and Animal Kingdom. But perhaps her greatest professional achievement 0:02:22.480 --> 0:02:25.400 thus far was getting her name on a Volunteer of 0:02:25.440 --> 0:02:29.079 the Year plaque that was placed behind Creed's desk in 0:02:29.080 --> 0:02:32.600 one of our episodes. So there's a fun little Easter 0:02:32.680 --> 0:02:36.799 egg for you. But in all seriousness, Laverne I love her. 0:02:37.520 --> 0:02:40.160 She was a joy to have on our crew. I 0:02:40.280 --> 0:02:42.840 was so happy to reconnect with her for the first 0:02:42.880 --> 0:02:47.680 time in many years. So get ready to be dolled 0:02:47.800 --> 0:02:58.560 up with the one, the only Laverne Kara Kusi. I 0:02:58.800 --> 0:03:05.920 love it. The Squiger Bubble and Squiager Cookie every moon 0:03:06.320 --> 0:03:21.200 lift over from the nut before I know, it's been 0:03:21.320 --> 0:03:24.840 so long. Oh my god, I'm so happy to see 0:03:25.160 --> 0:03:29.160 my body. I knows changed. I remember when I used 0:03:29.200 --> 0:03:35.760 to give you coffe. God, I have to put glasses 0:03:35.800 --> 0:03:37.440 on too if I have to look at it to 0:03:37.480 --> 0:03:38.880 look at No, you don't have to look at anything. 0:03:38.880 --> 0:03:43.440 I just have to look at you. Now. You when? Okay? 0:03:43.440 --> 0:03:47.000 When did you start on the Office? Okay? So I 0:03:47.040 --> 0:03:51.440 started the Office when it was the pilot and the 0:03:51.480 --> 0:03:55.120 first six episodes, which you guys considered to be a 0:03:55.200 --> 0:03:57.840 first season, which in as we know in the normal 0:03:57.880 --> 0:04:00.120 TV world, is not the first season. So I or 0:04:00.160 --> 0:04:03.680 did after that sixth episode, So you you was just 0:04:03.800 --> 0:04:06.880 the first six that you weren't there, correct? But I 0:04:06.920 --> 0:04:11.280 was there from the very beginning, Like I remember specific things, 0:04:11.320 --> 0:04:14.920 like I remember exactly where I was on the freeway 0:04:15.240 --> 0:04:17.480 when my telephone rang and You're like, I hear You're 0:04:17.520 --> 0:04:20.320 not coming back to the office. What's going on? And 0:04:20.360 --> 0:04:23.279 you started talking to me and I was like, well, 0:04:23.839 --> 0:04:26.719 I guess I'm not invited back. And then it started 0:04:26.720 --> 0:04:29.200 this whole big thing. And then when I spoke to 0:04:29.279 --> 0:04:32.480 Ken Zivornac, he was like, well, you know, Brian and 0:04:32.720 --> 0:04:37.200 Leslie David, and I think it was mostly you two 0:04:37.360 --> 0:04:39.599 were really rallying for me to go ahead and be there, 0:04:39.680 --> 0:04:42.240 which I was so grateful for it. And then I 0:04:42.279 --> 0:04:44.560 remember you and I were still on the phone even 0:04:44.640 --> 0:04:46.720 by the time I got home, and I was kind 0:04:46.760 --> 0:04:48.800 of like walking around in my front yard like thinking 0:04:48.800 --> 0:04:50.760 about it, like, yeah, I still want to be there 0:04:50.800 --> 0:04:55.320 if I'm welcome back there, you know. Right. And then 0:04:56.520 --> 0:04:59.400 but what were you doing right before you did Freaking Geeks? Right? 0:04:59.520 --> 0:05:02.760 I did Free some Geeks the shot that at Raley Hollywood, 0:05:03.200 --> 0:05:05.240 and I always thought when I did Freaks and Geeks, 0:05:05.279 --> 0:05:08.520 I always thought, God, what a great experience. Am I 0:05:08.600 --> 0:05:11.720 ever going to experience this same kind of feeling again. 0:05:12.000 --> 0:05:14.320 It's kind of like when you finish a job and 0:05:14.360 --> 0:05:15.839 you go like, oh my god, am I ever going 0:05:15.880 --> 0:05:21.440 to work again? Yeah? I feel that, But it was 0:05:21.480 --> 0:05:24.080 that kind of feeling that I thought, Okay, Freaks and Geeks, 0:05:24.080 --> 0:05:26.320 am I ever going to experience that again? And then, 0:05:26.600 --> 0:05:30.920 as you know, we're like siblings, you know, everybody's almost 0:05:31.000 --> 0:05:33.800 kind of arguing with one another, and it's like everybody 0:05:33.839 --> 0:05:36.320 was getting in everybody else's business because they felt like 0:05:36.360 --> 0:05:38.640 they were entitled because we had been around each other 0:05:38.680 --> 0:05:41.360 for over twelve hours a day. I mean, that's the thing, 0:05:41.480 --> 0:05:45.159 is that the the hair and makeup department. What people 0:05:45.240 --> 0:05:50.000 don't realize maybe is like in terms of people on 0:05:50.080 --> 0:05:54.679 the crew who are closest with the cast, there's nobody 0:05:54.720 --> 0:05:58.400 closer because you you hear and see everything, right, I 0:05:58.440 --> 0:06:02.120 think that hair and makeup are definitely the closest to 0:06:02.160 --> 0:06:05.560 the cast. That's why I try to run as tight 0:06:05.600 --> 0:06:08.000 of a ship as I can, where it's like, whatever 0:06:08.080 --> 0:06:12.039 information you hear from anybody, regardless of who it is 0:06:12.120 --> 0:06:14.400 that walks in and out of that door, is not 0:06:14.480 --> 0:06:17.880 to be left from that trailer or to you know, 0:06:18.640 --> 0:06:20.840 you know what I'm talking about. You know, I know, yes, 0:06:21.040 --> 0:06:23.680 we're the first person you see in the morning, and 0:06:24.040 --> 0:06:26.360 so you know, you could be having a bad day, 0:06:26.400 --> 0:06:27.680 but at the end of the day you have to 0:06:27.760 --> 0:06:30.320 leave that outside the trailer doors and kind of go 0:06:30.440 --> 0:06:32.799 in with a smiley face, and then when everybody leaves, 0:06:32.800 --> 0:06:34.520 you can break down in tears or whatever you need 0:06:34.560 --> 0:06:39.600 to do. It's it's intimate work at times, you know, 0:06:39.640 --> 0:06:43.520 to be working with someone on their face or an 0:06:43.560 --> 0:06:46.880 issue that they might have or whatever else, and and 0:06:46.960 --> 0:06:50.360 it it just sort of it's not intentional, and I 0:06:50.360 --> 0:06:53.920 don't know, maybe it violates rules, but it does become 0:06:54.480 --> 0:06:58.960 almost a therapist type situation too, when you're talking about 0:07:00.520 --> 0:07:05.640 people's outside lives getting neglected at times, and you know, 0:07:05.720 --> 0:07:08.039 the work being so important and on that show. I 0:07:08.080 --> 0:07:12.640 think also the work was really important to everybody. Everybody 0:07:12.680 --> 0:07:16.600 wanted to be good, not for themselves, but it really 0:07:16.720 --> 0:07:19.280 was more a team. I feel like, I feel like 0:07:19.360 --> 0:07:22.120 everybody wanted to be there. It wasn't like they were 0:07:22.200 --> 0:07:25.040 forced to be there. It wasn't like, oh, I need 0:07:25.080 --> 0:07:27.760 a job, so therefore I'm going to go ahead and 0:07:27.800 --> 0:07:30.520 you know, just take this job. Everybody truly wanted to 0:07:30.560 --> 0:07:33.560 be there. And you know, gosh, there were plenty of 0:07:33.600 --> 0:07:36.320 times that not only did you know you have that 0:07:36.440 --> 0:07:39.640 one on one with an actor where they're spilling their 0:07:39.680 --> 0:07:42.200 guts to you, but you're also spilling your guts to 0:07:42.240 --> 0:07:44.960 them because you feel that bond with them. I mean, 0:07:45.000 --> 0:07:47.200 plenty of times, you know I had been in tears 0:07:47.640 --> 0:07:50.640 for whatever reason, you know, I would be like, oh, 0:07:51.560 --> 0:07:54.240 we'd just sit there and talk. It's almost like the 0:07:54.360 --> 0:07:58.440 old timey hair salons, right, I mean, I understand you 0:07:58.520 --> 0:08:00.600 did make up, but right like the or like the 0:08:00.640 --> 0:08:04.640 barber shops or like you go in there and it's 0:08:04.680 --> 0:08:08.880 this like safe zone that you can talk about anything absolutely, 0:08:08.920 --> 0:08:11.400 because it's like when you see those old school movies, 0:08:11.840 --> 0:08:13.400 you know, you see like the girls that are in 0:08:13.400 --> 0:08:15.360 the nail salons and they're getting their nails done and 0:08:15.400 --> 0:08:21.200 they're talking very privately to their person that's doing their nails. Right, 0:08:22.160 --> 0:08:24.160 that's what we did. You guys came in early in 0:08:24.200 --> 0:08:27.720 the morning, and because we had everybody working and up 0:08:27.760 --> 0:08:30.600 at one time, we pretty much had everybody in the trailer. 0:08:30.960 --> 0:08:33.200 And even when we didn't, you guys would still go 0:08:33.240 --> 0:08:35.000 back to your trailer and do something, and you knew 0:08:35.040 --> 0:08:36.839 your friends were going to come in an hour later. 0:08:37.240 --> 0:08:40.240 So we'd always have like this big commotion of things 0:08:40.280 --> 0:08:42.040 kind of going on in the trailer and always have 0:08:42.080 --> 0:08:43.760 the A. D s come in there and say, okay, 0:08:43.800 --> 0:08:45.880 how much longer, how much longer? Well, we have to 0:08:45.920 --> 0:08:48.960 finish this story, and then we'd listen to Rain and 0:08:49.000 --> 0:08:52.360 Oscar go back and forth at one another. Yeah, that's 0:08:52.480 --> 0:08:56.679 what people don't realizes, you know. On our show. By 0:08:56.679 --> 0:09:04.160 the end, we had four cup artists and four hair people. Right. Well, 0:09:04.160 --> 0:09:07.000 we originally started out the show where they thought that 0:09:07.040 --> 0:09:09.680 we could go ahead and get everybody ready at one time, 0:09:09.800 --> 0:09:13.880 would just I think it started out two and two, 0:09:14.280 --> 0:09:16.280 and then it was like, oh, well, we'll just go 0:09:16.320 --> 0:09:18.280 ahead and have three and three, and then it was 0:09:18.320 --> 0:09:21.600 like four and four and then remember we had that chart. 0:09:21.880 --> 0:09:24.480 It was our battle plan where it was color coded 0:09:24.520 --> 0:09:26.560 as to what actor was going to get their makeup 0:09:26.559 --> 0:09:28.240 done and who was going to get their hair done, 0:09:28.240 --> 0:09:30.560 and then the swapping of the chairs and they were 0:09:30.600 --> 0:09:33.720 done in fifteen minute increments, which makes me laugh now 0:09:33.840 --> 0:09:37.280 because since after The Office, I've gone on to other 0:09:37.360 --> 0:09:40.520 shows where they have that same chart and they'll go, oh, 0:09:40.559 --> 0:09:42.680 we have a battle plan, and I go, oh, well, 0:09:42.679 --> 0:09:45.400 that's interesting because I think you took that from our 0:09:45.400 --> 0:09:48.440 show way back. When it's kind of like when you 0:09:48.480 --> 0:09:51.160 see these shows that are doing, you know, talking heads, 0:09:51.160 --> 0:09:55.000 I'm like, oh, really the talking Heads started originally with us. 0:09:55.559 --> 0:09:58.880 I almost kind of get a little bit territorial, right. Well, 0:09:58.880 --> 0:10:03.319 we had I mean, at times like sixteen to twenty 0:10:03.360 --> 0:10:06.120 actors that needed to be ready at the same time, 0:10:06.640 --> 0:10:10.160 So there are four you know, there's four hair and 0:10:10.240 --> 0:10:13.200 four makeup and then people have to flip flop. But 0:10:13.280 --> 0:10:16.840 that's still only eight people, so you guys would create 0:10:16.880 --> 0:10:19.920 this grid that people had to start coming in at 0:10:19.960 --> 0:10:23.160 you know, five o'clock, four thirty in the morning just 0:10:23.200 --> 0:10:26.360 to get everybody ready on time, right exactly. And there 0:10:26.480 --> 0:10:29.720 was no type of buffer scene like a normal TV 0:10:30.000 --> 0:10:32.240 so to speak. Not that our show wasn't normal TV, 0:10:32.880 --> 0:10:34.920 but you never had like those buffer scenes where you 0:10:34.920 --> 0:10:36.720 could go like, oh, let's go ahead and get half 0:10:36.720 --> 0:10:38.480 the people ready, and then we have a buffer scene 0:10:38.480 --> 0:10:40.560 to then go ahead and get more people ready. It 0:10:40.679 --> 0:10:43.480 was like our buffer scene was a talking head and 0:10:43.559 --> 0:10:46.040 that literally, as you know, was only one person. So 0:10:46.080 --> 0:10:49.160 that only gave us a certain amount of time. So 0:10:49.640 --> 0:10:52.760 I thank the office for that very reason because it's 0:10:52.800 --> 0:10:55.360 forced me as an artist to go ahead and really 0:10:55.520 --> 0:10:59.120 gain my speed because when they'll be like, oh, we 0:10:59.200 --> 0:11:01.520 have eight people we need to get ready, I was like, ah, 0:11:01.559 --> 0:11:03.080 that's a walk in the park. I can go ahead 0:11:03.080 --> 0:11:05.280 and do that. We used to get sixteen and twenty 0:11:05.320 --> 0:11:11.000 people ready at one time. How did you get into makeup? Um? Well, 0:11:11.040 --> 0:11:14.360 I always painted a kid, you know. I used to 0:11:14.400 --> 0:11:18.400 go with my face just painted, so I knew like 0:11:18.520 --> 0:11:21.240 the idea of like color theory and how like different 0:11:21.280 --> 0:11:23.920 materials kind of worked with each other. And I would 0:11:23.920 --> 0:11:27.560 walk from my house in Toluca Lake to this woman's 0:11:27.600 --> 0:11:31.000 house and she used to paint in her garage, and 0:11:31.160 --> 0:11:33.320 uh so that kind of started. And I always wanted 0:11:33.360 --> 0:11:35.560 to be in the arts in one capacity or another. 0:11:36.280 --> 0:11:38.960 And then after I graduated high school, I went to 0:11:39.080 --> 0:11:41.760 community college, and then I moved to London, and then 0:11:41.760 --> 0:11:44.040 I got a degree in fashion design, and then I 0:11:44.080 --> 0:11:46.320 still kind of dabbled a little bit in the arts 0:11:46.360 --> 0:11:49.640 and you know, doing makeup and stuff like that. I 0:11:49.679 --> 0:11:54.240 started originally doing commercials and I worked with one director 0:11:54.320 --> 0:11:57.360 for many, many years um in commercials. And then my 0:11:57.480 --> 0:12:02.480 first real TV job with Freaks and Geeks. And Freaks 0:12:02.480 --> 0:12:06.680 and Geeks was where I met Paul Fie and Jake 0:12:06.800 --> 0:12:10.280 Kasden and Seth Rogan and on and on and on. 0:12:10.600 --> 0:12:13.360 So how did you get that job? I got that 0:12:13.559 --> 0:12:17.240 job from I was doing a commercial and in between 0:12:17.240 --> 0:12:19.680 going ahead and doing commercials, I had been day playing 0:12:19.679 --> 0:12:22.480 on movies and TV stuff, and a friend of mine 0:12:22.520 --> 0:12:25.000 called me and said, Hey, by the way, I need 0:12:25.040 --> 0:12:27.480 somebody to work with me on this new TV show 0:12:27.520 --> 0:12:30.880 called Freaks and Geeks. It's really simple makeup. These kids 0:12:30.880 --> 0:12:34.559 are young and I thought, okay, and so I had 0:12:34.600 --> 0:12:37.000 to be really straightforward and said, well, I just want 0:12:37.040 --> 0:12:39.640 to let you know that I'm pregnant with my first daughter. 0:12:40.120 --> 0:12:41.840 I would love to go ahead and do the show. 0:12:42.360 --> 0:12:45.040 So basically, I that's how I got the job, and 0:12:45.080 --> 0:12:47.920 I did Freaks and Geeks and um got to know 0:12:47.960 --> 0:12:51.400 everybody there. Then I had the baby in January, and 0:12:51.440 --> 0:12:54.520 then you know, years later I started running into like 0:12:54.600 --> 0:12:58.319 Linda Cardelini and Jason Siegel and people like that, and 0:12:58.360 --> 0:13:01.640 they would always ask how Vannah doing, How Savannah doing, 0:13:01.760 --> 0:13:04.839 and just because I was, you know, pregnant with her 0:13:04.840 --> 0:13:07.720 and I had worked the whole show being pregnant, So 0:13:08.679 --> 0:13:11.320 that was like a special moment for me. Whereas it 0:13:11.400 --> 0:13:13.520 was like even on the office when I would see 0:13:13.600 --> 0:13:17.760 like Angela being pregnant, it reminded me of when I 0:13:17.840 --> 0:13:20.679 went back to Freaking Geeks and when I was pregnant, 0:13:21.080 --> 0:13:25.400 right right, and the hair and makeup world, I mean, 0:13:25.559 --> 0:13:29.640 it really is about the relationships, right, Like you met 0:13:29.679 --> 0:13:32.320 this makeup artist who brought you onto Freaking Geeks, and 0:13:32.320 --> 0:13:35.679 then you you meet people and that's how it happens, right, 0:13:35.920 --> 0:13:38.000 it pretty much does. I mean, I feel if you 0:13:38.120 --> 0:13:43.080 have a good attitude. It's really about relationships because, as 0:13:43.080 --> 0:13:45.440 we know, there's a lot of you know, jobs that 0:13:45.520 --> 0:13:49.080 you often say to yourself, I wonder how they got 0:13:49.120 --> 0:13:51.800 that job, you know what I mean. And that's no 0:13:51.920 --> 0:13:54.320 disrespect to anybody. It's just the way that it is. 0:13:54.760 --> 0:13:58.280 You know, if you are a people person and you 0:13:58.320 --> 0:14:02.720 can do your job sufficiently, you know, and you have 0:14:02.760 --> 0:14:05.440 a good attitude, then obviously you're going to get brought 0:14:05.480 --> 0:14:09.280 onto the next one. Right. Yeah, do you remember anything 0:14:09.320 --> 0:14:14.480 about those early years and we had did six episodes 0:14:14.640 --> 0:14:17.720 and then we did six more and we were sent home. 0:14:18.080 --> 0:14:22.880 And I mean, it occurs to me that the tremendous 0:14:22.880 --> 0:14:25.840 amount of trust and courage that you showed kind of 0:14:25.920 --> 0:14:30.720 stick with it over periods where you know, we were 0:14:30.760 --> 0:14:32.920 working oddly and we didn't know if we were going 0:14:32.960 --> 0:14:35.320 to keep going, but there was a trust in you 0:14:35.440 --> 0:14:38.080 to kind of stick with it through that time. Well. 0:14:38.120 --> 0:14:41.560 I just kind of feel as freelancers, whether you're above 0:14:41.600 --> 0:14:44.280 the line or below the line, you're a gypsy. You 0:14:44.360 --> 0:14:46.320 take your stuff, you show up at work. You know, 0:14:46.440 --> 0:14:48.480 you don't know. I've been on plenty of shows prior 0:14:48.520 --> 0:14:51.320 to the office where they're like, okay, we shoot up 0:14:51.360 --> 0:14:53.840 till Christmas, you know, and then sometimes they would come 0:14:53.880 --> 0:14:55.680 to you and be like, oh, sorry, it was picked 0:14:55.720 --> 0:14:58.920 up for the back nine, but now we're canceled, you 0:14:58.960 --> 0:15:02.120 know what I mean, But they're was I think it 0:15:02.160 --> 0:15:04.400 goes back to the whole trust thing. I just always 0:15:04.480 --> 0:15:09.400 felt like, you know, especially with Greg being our leader, 0:15:09.440 --> 0:15:12.600 I always felt that he was always so genuine and 0:15:12.640 --> 0:15:15.440 he would have said if there was anything that he 0:15:15.480 --> 0:15:18.080 could foresee that was coming up, that he would have 0:15:18.120 --> 0:15:22.640 said something to us. But I loved the whole cast, 0:15:22.880 --> 0:15:25.560 so there was no reason for me not to be 0:15:25.640 --> 0:15:30.160 excited about coming back. It didn't matter which way you went, 0:15:30.480 --> 0:15:34.120 because it was always an uncertainty, you know. I don't 0:15:34.160 --> 0:15:36.920 know if that's just something that we as individuals in 0:15:37.000 --> 0:15:41.240 this business thrive on, like oh gosh, you know that 0:15:41.640 --> 0:15:44.880 almost like an angst all the time, right right right 0:15:44.960 --> 0:15:47.200 right right, you know. And I truly believe that if 0:15:47.200 --> 0:15:49.800 you're good at what you do, you will always be 0:15:49.920 --> 0:15:53.960 provided for. It may not be the ideal job, but 0:15:54.080 --> 0:15:55.560 you don't know who you're going to meet along the 0:15:55.600 --> 0:15:57.400 way that's going to go ahead and take you onto 0:15:57.400 --> 0:16:20.520 the next thing, or not sure what differences are there 0:16:21.320 --> 0:16:26.120 between being a makeup artist in fashion or whatever, like 0:16:26.160 --> 0:16:30.120 what makes TV and film different and or why do 0:16:30.160 --> 0:16:32.400 you like to do that or why have you chosen 0:16:32.440 --> 0:16:36.560 to do that? I think that compared to say fashion 0:16:36.840 --> 0:16:42.160 or commercials, you work at a completely different pace. Whereas 0:16:42.640 --> 0:16:46.520 in television and film, as you know, we don't shoot, 0:16:47.240 --> 0:16:49.920 you know, day one, night one, day two, so you 0:16:49.960 --> 0:16:55.280 have to remember continuity basis. So when it comes to, 0:16:55.360 --> 0:16:57.880 say a commercial, it's like I'm getting somebody ready and 0:16:57.880 --> 0:17:00.160 I'm doing their makeup for a taco bell commercial, you'll, 0:17:00.240 --> 0:17:05.800 let's say, But when you're doing television or film, there's 0:17:05.880 --> 0:17:10.199 sometimes script wise where you may get them ready for 0:17:10.320 --> 0:17:14.680 day one and then say day two, there's something specifically scripted, 0:17:15.080 --> 0:17:16.679 like a person gets hit in the face with the 0:17:16.720 --> 0:17:18.760 ball and they need to have a black eye, or 0:17:18.800 --> 0:17:20.639 you know, they have a split lip or whatever it 0:17:20.680 --> 0:17:23.640 happens to be. So you have to be really diligent 0:17:23.760 --> 0:17:26.600 and stay on top of it, and you're also you 0:17:26.640 --> 0:17:29.560 have a script that you're going by in television and 0:17:29.680 --> 0:17:35.000 film opposed to fashion or commercials. But also in the 0:17:35.000 --> 0:17:38.560 fashion world sometimes it's super high fashion, so it's thinking 0:17:38.600 --> 0:17:43.119 outside the box opposed to going ahead and doing maybe 0:17:43.119 --> 0:17:47.000 a straight makeup. It just all depends. And then there's 0:17:47.040 --> 0:17:50.119 also differences between going ahead and doing a regular beauty 0:17:50.160 --> 0:17:53.480 makeup opposed to doing special effects makeup or you know, 0:17:53.560 --> 0:17:56.600 sometimes a tattoo is required, or I mean, you know 0:17:56.640 --> 0:17:59.000 how it was when we did our certain episodes of 0:17:59.080 --> 0:18:01.040 the Office where it would be like, oh, it's Halloween, 0:18:01.200 --> 0:18:02.880 so and so it is gonna look like blah blah 0:18:02.880 --> 0:18:06.520 blah blah, you're gonna make me miserable by by putting 0:18:07.160 --> 0:18:12.399 by putting hair all over my face as Michael Moore. 0:18:12.960 --> 0:18:17.960 But oh my gosh, because I had ahead, I had 0:18:18.000 --> 0:18:21.359 to listen to you wine about the fact that I 0:18:21.400 --> 0:18:25.720 had to have this stuff on my face one more time. However, okay, 0:18:25.880 --> 0:18:31.800 now listen when your manager saw you, what was the 0:18:31.840 --> 0:18:34.680 response that your manager had to say? Oh my god, 0:18:34.840 --> 0:18:38.240 I thought that was Michael Moore. So I rest my case. Well, 0:18:38.320 --> 0:18:42.160 here's the thing. People think you guys are nice and 0:18:42.200 --> 0:18:45.440 you all you do is torture us. That's really, That's 0:18:45.480 --> 0:18:50.199 what it is. No. I it's so crazy because on 0:18:50.240 --> 0:18:53.600 the Office, so much of it was straight makeup, you know, 0:18:53.640 --> 0:18:58.160 and downplayed, and you know, them not wanting to come 0:18:58.200 --> 0:19:00.840 in or touch up or do anything because they wanted 0:19:00.840 --> 0:19:04.360 this very sort of realistic look. But along with that, 0:19:04.480 --> 0:19:07.080 there was a lot of crazy stuff that you guys 0:19:07.080 --> 0:19:09.040 had to do in terms of that, or in terms 0:19:09.040 --> 0:19:12.760 of injuries or when Kate got burned because she fell 0:19:12.840 --> 0:19:17.640 asleep from yeah burned or yeah, I mean that must 0:19:17.680 --> 0:19:20.640 make it fun, right? Oh? Absolutely? Every time I would 0:19:20.640 --> 0:19:23.520 look at the script, I'd get super excited and be like, Oh, 0:19:23.520 --> 0:19:25.560 what's in the script this week? And I always knew 0:19:25.600 --> 0:19:27.879 that when Halloween rolled around that there was always going 0:19:27.920 --> 0:19:31.439 to be something fun to actually do. But also to 0:19:31.640 --> 0:19:34.600 there's like this misconception of when people say to you, 0:19:34.640 --> 0:19:37.679 we want no makeup, Okay, well you need to be 0:19:37.720 --> 0:19:40.520 a little bit more specific when you say no makeup. 0:19:40.560 --> 0:19:43.159 There's a difference between a no makeup look where you're 0:19:43.200 --> 0:19:45.919 actually putting on makeup but making them look like they 0:19:45.960 --> 0:19:49.920 don't have makeup, opposed to not putting anything on their face. Right, 0:19:50.440 --> 0:19:52.760 what was this specific direction that you were given in 0:19:52.840 --> 0:19:55.760 terms of how the character should look. They're supposed to 0:19:55.760 --> 0:19:58.760 look natural their everyday people that work in an office. 0:19:59.200 --> 0:20:04.000 Also to keeping in mind Scranton. Because of Scranton, there's 0:20:04.000 --> 0:20:07.359 a very different everyday look in Scranton as there would 0:20:07.359 --> 0:20:10.320 be to an everyday look in l A or New 0:20:10.400 --> 0:20:12.960 York or Dallas or wherever it happened to be. So 0:20:13.080 --> 0:20:15.760 I think, you know, we never got any notes saying, 0:20:15.800 --> 0:20:18.520 oh it's too much. You know, when we go into 0:20:18.600 --> 0:20:21.640 do a you know myself as an artist, somebody sits 0:20:21.680 --> 0:20:23.160 in your chair and you kind of look at them 0:20:23.160 --> 0:20:25.760 and you're given the direction of natural. You then at 0:20:25.800 --> 0:20:29.120 that point say, okay, do I just conceal under their eyes? 0:20:29.240 --> 0:20:30.840 Are we going to keep the facial hair? We're going 0:20:30.880 --> 0:20:33.359 to shave the facial hair. Are we're gonna whatever it 0:20:33.440 --> 0:20:36.280 happens to be. Are there eyebrows to light that we 0:20:36.359 --> 0:20:38.480 might have to darken a mint a bit. I think 0:20:38.520 --> 0:20:41.959 that Greg was so great at going ahead and giving 0:20:42.119 --> 0:20:46.560 saying a natural look, but then not micromanaging, you know 0:20:46.560 --> 0:20:48.719 what I mean. He let us go ahead and have 0:20:48.840 --> 0:20:53.200 a free range within parameters of what it was that 0:20:53.320 --> 0:20:57.399 we as individuals felt. And you know, Greg, he was 0:20:57.400 --> 0:20:59.679 always such a great leader. I mean, how do you 0:20:59.720 --> 0:21:02.040 not of him? And you know, we had a little 0:21:02.040 --> 0:21:03.840 bit of leeway and we just kind he kind of 0:21:03.920 --> 0:21:07.680 left it up to us. Um, you know, because obviously 0:21:07.680 --> 0:21:09.720 when you're in a trailer, going ahead and getting people 0:21:09.760 --> 0:21:12.720 ready is very different to when you then take them 0:21:12.720 --> 0:21:17.000 outside onto the set, of which I'm a huge advocate for. 0:21:17.359 --> 0:21:20.399 If you're in a trailer, you try to go ahead 0:21:20.400 --> 0:21:23.760 and have your lighting set up to how your lighting 0:21:23.960 --> 0:21:27.320 is on the inside of a set. Did you do that? Yeah, 0:21:27.359 --> 0:21:30.560 we would. We would call in the electric department when 0:21:30.560 --> 0:21:34.840 we would start the new season and say, we need 0:21:34.880 --> 0:21:37.280 to pull these lights because they don't hold the trailer 0:21:37.320 --> 0:21:40.000 from season to season. So we would have the electrical 0:21:40.040 --> 0:21:42.960 department come in take those lights out because they'd always 0:21:43.000 --> 0:21:46.240 put in those lovely fluorescence and put in what was 0:21:46.320 --> 0:21:49.160 color accurate to what it was that we were actually 0:21:49.160 --> 0:21:52.400 shooting inside the set. And then there were some times 0:21:52.520 --> 0:21:55.879 that because you know, certain people were always sitting in 0:21:55.920 --> 0:21:59.639 front of a computer, sometimes having certain colors on a 0:21:59.680 --> 0:22:03.239 computer inter screen always plays a little bit with the 0:22:03.240 --> 0:22:07.480 coloring on people, skin tones, underneath their eyes, any little 0:22:07.520 --> 0:22:10.720 things that you maybe want to color correct. So we 0:22:10.760 --> 0:22:13.639 would have a collaboration, or I did with Steve hutch 0:22:14.320 --> 0:22:17.560 to go ahead and make sure you turn the screen 0:22:18.280 --> 0:22:21.560 to white so that you almost are blowing out the 0:22:21.600 --> 0:22:23.600 color in somebody's face, and then it will be my 0:22:23.720 --> 0:22:26.240 job as an artist to go in and deposit the 0:22:26.240 --> 0:22:29.080 color back into the face because the blue would be 0:22:29.119 --> 0:22:33.920 really throwing you off. Right, that's so interesting. I had 0:22:34.080 --> 0:22:37.119 no idea that you guys were doing that with the 0:22:37.160 --> 0:22:41.040 electric department. That's that's super cool. I mean, that makes 0:22:41.800 --> 0:22:44.040 that makes a lot of sense. Well, I try to 0:22:44.080 --> 0:22:47.760 go ahead, and I figured that out kind of early on, 0:22:47.840 --> 0:22:50.680 and I do that now moving forward on different shows. 0:22:51.160 --> 0:22:53.480 I try to be, you know, go to the electrical 0:22:53.520 --> 0:22:55.399 department and be like, oh, by the way, can you 0:22:55.440 --> 0:22:57.919