Q&A with Paul Gooch, Hair and Makeup Designer, Tim Burton's, Alice In Wonderland.
To date he has worked on over 300 film and television productions some of which have been nominated for BAFTA’s, Emmy’s and Oscars.
Paul was brought up in Cornwall but moved to London to study at the London College of Fashion in 1981. In the early 80's both the Punk and the New Romantic movements were a great platform for experimenting with make up. After graduating he trained in make up with the BBC, building the foundation for his career in films. To date he has worked on over 300 film and television productions some of which have been nominated for BAFTA’s, Emmy’s and Oscars. He has worked as a make up artist not only specializing in beauty on many international movies but also creating many character makeup’s, where the art of altering a face is accomplished using wigs, prosthetics and a great talent in make-up application. Some of the films Paul has worked on include: “The Hours”,” The Da Vinci code” and most recently, "Gulliver's Travels".
Q..Where are you originally from?
I was bought up in Cornwall and moved to London in my late teens.
Q..Did you always want to be a makeup artist?
Yes.It was a passion from a very young age. I began by doing makeup for my school plays.
Q..How long have you been a makeup artist and where did you train?
I trained at The London College of Fashion 28 years ago and then had further training at the BBC. Unfortunately the BBC no longer have a training school so it is hard for youngsters to get work experience.
Q ..How many hours did you get to prep before you start shooting Alice in Wonderland?
It was a slow run up beginning with the auditions for the character of Alice. Each character had to be carefully and maticulously designed. It was about 12 weeks from the casting to the shooting. We then shot in the UK for 10 days and moved to Los Angeles and shoot for 3 months with a further 2 month additional shooting, again in Los Angeles.
Q. .How do you come up with the makeup designs,?
I begin by researching the period, in this case 1865. Because a lot of Alice in Wonderland is fantasy I extended my research into many of the more ostentatious historical periods such as 1770 and 1835. Once I have this visual reference of style, shape and colour I experiment by recreating them on models or mannequins and then take it a stage further using my own imagination. I often draw my styles and use water paints or pencils for colouring. This is also useful when suggesting ideas to the cast, director or costume designer. It is a very visual industry and pictures are most efficient way of comunicating ideas. Film making is a collaborative process and I get input from the director, actors and costume designer. After several camera tests we finalize a style everyone is happy with.
Q.. What type of makeup products did you use for the film?
I used many of the high street brands and some specialist products that are created for the film, television and theatre industry.
Q..How do they differ for everyday use?
The specialized products do prosthetic application, scar making compounds, airbrush fluids, wig glues, etc. But the 'beauty makeup' is the same as a person would wear for everyday use. Because of the lighting on films, makeup artists need to use more powder and anti shine than for normal 'day wear'.
Q..What are some of your favorite makeup products to use?
I like Laura Mercier & La Prairie foundations, Clinique mascaras, Stila blush colours and MAC lip and eye colours.
Q..Who have been some of your favorite celebrities to work on?
I have worked with so many lovely people during my 28 years in the industry, often more than once. Part of my professional code of conduct is never to mention names.
Q..What would you say is your personal makeup signature or technique?
No two films are the same so it is rare to repeat a style or a technique. Friends who know my work say they recognize my style but I'm not sure what that is. I guess I am too close to it to be the best judge.
Q..Are there any new exciting projects that you are working on or lined up for you in the near future?
Yes, I have a film offer in the pipe line but I make it a rule never to discuss my work ahead of the contract. I don't 'Count my chickens before they hatch'!
