CV & About

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Since uploading this CV

Since chiefing "Funny Cow" ....

I've been very content to do dailies for other designers and Andrea Finch who chiefs action/stunt/2nd units and supervises crowd make-up and hair on some of the biggest and most prestigious pictures, Bonds (Eon), "Christopher Robin" (Disney), "Succession" (HBO) we've worked for each other frequently since the early 1990's.  

Working for other designers and HOD's has been illuminating, as for many years I'd chiefed my own pictures, often abroad with local crew and hadn't often mixed with other designers or discussed the job.  It's been liberating to see other designers manage the practical challenges of running a department, the difference is how we manage them, and it's been great to see the best in action.   

Although for family reasons I've needed to be less of a full time designer, I'm excited to chief more pictures and miniseries.  I'm most enthusiastic about working with film makers who want their productions to look great and are willing to ensure the necessary resources.   I know I'm very good and gifted at delivering 'cinematic' work even on modest budgets, but it's a fine line between giving good value for money and falling foul of impossible expectations.  Time, planning, prep with the actors, especially for hair/wigs and effects work is essential to deliver considered, polished work.  It ain't much fun doing it on a wing and a prayer and attempting it ruins one's performance and pleasure in the work.  I'm still loving my craft and wish to continue to do so.  I'm sure the best is yet to come.

CV Page 1 - Features, Netflix, TV films and Series

TO SEE PAGE 1 OF MY CV CLICK THIS LINK TO OPEN IT IN A NEW WINDOW

Recent work includes being a core daily on "Christopher Robin" (2017) and I am currently doing dailies "Succession" (2018).

CV Page 2 - Features dailies, TV dailies, commercials and a short.

TO SEE PAGE 2 OF MY CV CLICK THIS LINK TO OPEN IT IN A NEW WINDOW


Since the start of my career, which began in features in 1980, I have always wanted to do interesting work.  I've been very lucky, this is exactly what came my way and has grown into a body of stylish, quirky, cinematic work for which I have 3 x BAFTA nominations.


I'm very experienced at breaking down scripts, contributing to the story-telling with nuanced, well-proven make-up, sfx and hair skills and creating believable characters and arcs, helping the actors travel their individual journeys in the production's tone.


I am also able to break down a script for pretty accurate costings and with a crowd breakdown and schedule I can be alarmingly spot on which has helped me dodge a bullet or two in the past and flag up way ahead of time an imbalance between ambition and resources.  This has meant I more often than not deliver on budget as long as there is no significant brief creep. 


TAKING THE BRIEF


Although I'm more than able to develop a picture's look in the usual manner by referencing Production Design and Costume, sometimes a director will share a visual reference to work with.  I can then create mood boards which we can share, mull over and refine or test. 


Director James Kent gave me 2 stills to suggest looks for "The Thirteenth Tale" - between us, we chose the most practical.

Director Carol Morley showed me a school photograph she liked to suggest the look for "The Falling".

Director Adrian Shergold sent me a link to a documentary set in the 1960's to suggest the look for "Funny Cow", which, because the film covered 4 decades I used to take the 'tone' back to the 1950's and forward to the 1980's.   

Producer of "Casanova" Gillian McNeill sought me out for the production because she was looking for a look that didn't slave it'self to authentic period, she wanted me to "Break the normal period rules and have a lot of fun with it".  


Whatever the look, It's always about creating a strong through-line, harmonizing the elements with good taste and skill so that the work is supportive, "invisible" and never distracting.

Christine 

has 80+ Feature Film and TV credits on IMDB


"The Woman in Black"

In 1989 I was nominated for Best Make-up for this film produced by Chris Burt.  

I'd like to mention Vera Mitchell was the Chief Hairdresser on the production - her hair work was exquisite and after this production she moved to the States and enjoyed a fabulously distinguished career.



"Casanova"

In 2005 I was nominated for Best Make-up and Hair Design for this version starring Peter O'Toole and David Tennant.  

Bea Archer was the Key Hairdresser on my team, without whom this production would not have looked so amazing.  

Claire Whitely ran the crowd hair and make-up in UK/Dubrovnik, and did an amazing job. 


"Margaret Thatcher - the long walk to Finchley"

In 2009 I was nominated for Best Make-up and Hair Design for this version of the Thatcher story starring Andrea Riseborough.  I did Andrea's make-up and hair and wig taking her on a journey from a naive 20 something to her early 40's.

BAFTA Television nomination badge reproduced with kind permission of BAFTA.

If you've read this far, I'd like to acknowledge my mother, chief make-up artist, Connie Reeve.

I grew up around films.  My mother, Connie Reeve, was the make-up artist on the 1963 production of "Swallows and Amazons", which starred a very young Susan George, I was cast as "Baby Walker" (in the photo above with my screen mother, Mary Kenton) - here's the link, I'm the little blonde baby 14 seconds in - if anyone knows how I can get a copy of the whole film I'd love to get a copy.


https://www.youtube.com/watch?v=Pb0eb633Cnk


Here are some photos of Connie Reeve, my mother, who was a commercial artist prior to being the first woman to be trained at Shepperton Studios after WW2.  My uncle Harold Fletcher ran the make-up department at the time and suggested she might like to apply, and after a successful interview she began her training.  Connie can be seen here (left to right) - in her role as Chief Make-up Artist in the unit still on probably her first film as Chief called "Britannia Road" (or as it was released in the US - "Forbidden Street"), in the middle - final checks Gina Lollobrigida for "Beat the Devil", and right enjoying a chicken leg or ice cream, I can't tell which, on a french location, either Paris for "Moulin Rouge" or Monte Carlo for "Affair in Monte Carlo".  Mum also went on to Chief the make-up for Michael Powell for "The Tales of Hoffman".  A few years ago, when doing some days for Morag Ross (Martin Scorsese's make-up artist of choice) on "Hyde Park on Hudson", she told me that it was Connie's work on "The Tales of Hoffman" that inspired her to become a make-up artist, she thought "That's what I want to do".  On "TOH" mum's assistant was Tom Smith who went on to do lots of amazing work on "The Illustrated Man", "The Shining" and who was the Make-up Chief on "Gandhi".  He asked for Connie to come out to join him to do the make-up for Geraldine James who played Mirabehn an acolyte of Gandhi and Candice Bergen who played the photographer Margaret Bourke-White, and I gather from Vera Mitchell one of the hairdressers on the picture that Connie also got stuck in with her clippers on the crowd's sideburns when Paula and Vera needed an extra pair of hands.   

Connie Reeve, my mother, (front row third in from the right) in the unit still of "Britannia Mews" (1947).  It was one of her first films as Chief Make-up Artist. Sitting to Connie's right is Joan Carpenter, the Hairdresser on the picture.  The picture was released in the US as "The Forbidden Street". Funnily enough, one of the first day's work I ever did in 1980 was to drive to Hampshire to make-up Maureen O'Hara, who was the star of this picture and whom I was making up for a documentary.  I had no idea of the connection then - I so wish I had known.

This is a picture of my mother, Connie Reeve, doing final checks on Gina Lollobrigida "Beat the Devil" (1953) a picture she chiefed.  It also starred Humphrey Bogart who had already made "Casablanca" (1942), "To Have and Have Not" (1944), "The Big Sleep" (1946) and "The African Queen" (1951).

Connie Reeve in France on either "Affair in Monte Carlo" (1952) or more likely in Paris during her prep of "Moulin Rouge" (1952, the John Huston version).  She treated herself to a Pierre Balmain hat, which I still have. Cool shades! And I love the couture of the dress.  

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