Contact - I'm in The Knowledge

Call me 'old-fashioned', but if you'd like an immediate response, please call me personally on my mobile and I'd be happy to discuss your project and specifics with you and my availability if you'd like to meet. 

I represent myself so that an overview of the details about the job, whether a feature film, series, film for tv, commercial, stills shoot can be effectively, instantly communicated.   This is much more useful than going back and forth between an agent who can often begrudge the time for details over an above dates, place and genre and who might not know how to ascertain key information about a project that is considered essential from the point of view of a make-up and hair designer. 

Often, when direct conversations are had they result in a meeting for further discussion and a direct hire because between us we, the director and or producer can be assured of the relevant experience, knowledge and understanding.  

*+(+44 (0)7973 406067)+*

When working on a production, we are totally absorbed and focused with so a heads up by calling to my mobile is the way to get my attention for availability checks.  I don't have an agent, I can still manage and deliver a stack of work and quickly let you know if I'm available and if I am, quickly assess what your job may entail and whether we can move forward.  Simple.

WHY I REPRESENT MYSELF

Since 1980 I have both run my own career and experienced 'representation' by 3 agents since 2005 and running my own career worked by far the best.  I never felt my agents really valued me or got a handle on my skills and abilities, goals or ambitions.  Nor did they actively pursue a career curve on my behalf let alone know how to sell my skill set.  Having a really good body of work reduced to a very average and unimaginative 2 pages then lumped in with a bunch less experienced candidates in a scatter-gun approach is not my idea of 'representation' and the lack of care and obstruction to key details bothered me enormously.  

Far more useful is an up front and insightful conversation with the production about their requirements especially as to attend an interview in terms of time prepping and expenses can cost from £350 a shot. 

THE NUT AND BOLTS AND DETAIL

It's essential to be able to appraise the financial details of the department, budget, number of people in the main team, their rates, hours etc., before committing.  Not being able to evaluate such basics in advance due to 'representation' has in my experience had a detrimental effect.   Agents aren't interested in those "fine details" but they remain key to an HOD's ability to deliver and the settlement of the team.  How can one hope to deliver a happy, efficient department and performance if you don't have the facts?  It's a no-brainer!

It's important to manage brief creep and increasing crowd numbers and the crew to deliver.  Directorial or artist requests can also seriously and immediately impact a budget.  Some of these do not become apparent until we've set sail, but I'll work with you and do my best and get as much bang for your buck on screen as possible.  All it takes is for a leading artist's story requirements or their requirement that a wig be made and you can kiss good-bye to £3.5K.  Prosthetics, bald caps  and effects can also pull greatly on a budget.  However, I've proved on many an occasion that I can manage a budget very tightly. I'm flexible and will do my best to find new ways of working to save time.  I can be ruthless with my department's spend to get value on screen and I'm sure recent producers and directors would agree.  

Team talent is paramount.  Good people know their worth.  We're in business, in an industry.  As an HOD you have to know what your team can be offered in order to gauge the calibre of team you can assemble and then get the best possible people for the money.  It's another no-brainer.

Established Make-up Designers vary in style and tone, and with the accumulation of experience, we find our style. Will mine suite you I wonder?  While we can all embrace and work to many and diverse production designs, it's my ideal to find kindred film makers  one can trust and communicate ideas efficiently with mutual respect.  An artistic understanding goes a long way in simplifying the process.

So these are the reasons why I prefer to represent myself, to attract, based on my own energy and connections business, and repeat business and then further recommendations and re-recommendations from colleagues which raises the liklihood that going to work more likely to be a pleasure, a JOY even.  Being hired as disposable 'canon-fodder' is not fun and can be very damaging.  Until I can be convinced an agent cares enough to represent me as I would prefer to be represented that's the way it's gonna be.

I lead an active life in the country, I am not surgically attached to my phone or always on the internet.  I check my texts and voicemails regularly and love to go to work.

Email: general and non-urgent enquiries via the contact form below which is delivered straight to my personal inbox.

I am Oxfordshire based, near Henley-on-Thames, OX49 5T.  I can work on location in the UK and abroad.

FOR INCOMING TEAMS: As well as being available as HOD/Designer for feature films, I have worked with  incoming Make-up and Hair teams from the US - as I did for Oscar winning Stephan L. Dupuis on "Spider" and Oscar winner Judy Chin (Make-up) and Nathan J Bush II (Hair) on "Across the Universe".  I worked with Albert Wolsky for a week in Liverpool preparing the crowd hair and make-up for The Coven sequence and Liverpool exteriors.  I put together a team to cover the calls on the filming days. 

AS A DAILY: Many Crowd Supervisors just TEXT so I look out for those messages.  I really enjoy doing dailies

ADDITIONAL PRINCIPALS AND GUEST ARTISTS: I am often asked in to work with main team to do guest artists, additional principals on heavy days.  Whether establishd or not, I take note of the brief and do exactly as reqested by the Designer.  As a Designer myself, I appreciate how important it is to have the look and continuity maintained and instructions followed closely. 

WEDDINGS, SPECIAL OCCASION AND EVENT MAKE-UP & HAIR - POA

AVAILABILITY: To be available for film and TV contracts, I cannot commit months in advance to bridal make-up. I am available at short notice, (from 4 weeks to 24 hours in advance) for weddings, special occasions and event make-up and hair should you find yourself suddenly or spontaneously in need of a 'look'.  I do bridal, themed parties (including 18th century with powdered wigs), Halloween and Horror, Prom night or just a special occasion for which you'd like that extra screen sparkle or red carpet glam.  

LAST MINUTE BRIDAL MAKE-UP & HAIR: If your bridal make-up and hair artist is suddenly unable to fulfill the booking, no worries, just give me a call and we can talk it through.  Very often we put looks together on the day for films, so if you find yourself unexpectedly in a 'fix' don't worry - let's get cracking. P.O.A.

TRAVEL: I can travel long-distance by car in the UK (@ 45 p.p.m.)  Travel abroad to European destinations is possible subject to tickets and accommodation being booked and confirmed in advance by the client and a 50% (non-refundable) deposit paid in advance to keep the dates open. 

I will be posting a wedding page (with rates) with it's own password for enquirers once we have spoken.

I am Oxfordshire based, near Henley-on-Thames, OX49 5T.  I can work on location in the UK and abroad. 

For casual enquiries, please use the form to inquire about my availability. 

Call me 'old-fashioned', but if you'd like an immediate response, please call me personally.

*+(+44 (0)7973 406067)+*

I look forward to your call.

Thank you.

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