Make Up Artist of the Month
Interview
with Marietta Carter-Narcisse
Makeup Artist, Educator, Diva Businesswoman, Mother, Beauty Writer for
Black Elegance Magazine, National Spokeswoman for Interface Cosmetics,
Member of IATSE Local 706, Member of the Academy of Motion Picture Arts
and Sciences and the list goes on! A diva of all trades and a woman of
excellence for September!
I had an inspirational interview with Marietta at her home in Los Angeles. Her home is warm and inviting, filled with photographs on every table with culture abounding in every square inch of her home. She holds fast to her roots as a native from the Caribbean Island of Barbados. She is a mother (among other things) of 4-and-a-half-year-old son Grégoire. Marietta keeps a full schedule as a working makeup artist in TV, film, print, commercial, and videos. Early in her career she toured as Natalie Cole's personal wardrobe, hair and makeup artist. Now, Marietta's reputation as a makeup artist has her celebrity clientele list overflowing! Her personal attention is requested by Samuel L. Jackson, Angela Bassett, Denzel Washington, Michelle Pfeiffer, and Cindy Crawford. Marietta's passion is educating makeup artists on how to makeup women and men of color. She protests it's not about skin color but undertones! She is a goal setter, never looks shabby on a job, represents the epitome of professionalism, is energetic, passionate, and an advocate about her job. (Which she insists is her money making hobby!) Marietta is a package deal with credentials and experience that will raise your eyebrows. She prefers to work smart not hard. Always seeking out knowledge in unknown areas, she is not someone who relies on hear say to develop her own trends or innovations. Read about this once pre-med student turned makeup artist's career and you will be inspired, as I was.
Tell the Makeup Mania readers about your job as President of the Fred
Segal Agency? How did you get involved in the business end of representing
makeup artists in the industry?
I have been involved with the agency for about a year now. I started a
company called Beaute´ 411 Inc., an agency that represents makeup artists,
hairstylists, fashion stylists and photographers in March of 1998. My
company, Beaute´ 411 created a base for the Fred Segal Agency. I took
artists and developed them to their full potential. I cross-trained professionals
from TV and film to the print world. I help artists develop books because
a lot of them don't have anything to represent their work. I feel really
good about this aspect of the job because now some of the top artists'
in television have books and tear sheets that reflect their work. These
artists have good foundations to build upon and it's only going to get
better for them.
What are your other responsibilities at the agency besides developing
artists' portfolios?
I book jobs, negotiate deals, create curriculum for workshops, and teach
workshops. I have my hands full! It's the day to day aspects of running
an office, but it's an agency.
What are the differences in working with the agency and teaching the workshops
for the agency?
Working within the agency your dealing with the day to day aspect of five
lines ringing at one time, trying to negotiate 3 to 4 deals at a time
for different people, making sure all the paperwork is complete, following
up with clients and production companies to collect payments, and being
the buffer between the artist and the client to maintain the balance.
I love teaching! I love putting together curriculum from scratch. I like
to put things down on paper as well as get it across to someone verbally.
That is very rewarding to me when someone in the class gets it.
What is the one thing you would like to say about agents or agencies?
I have a whole new respect for agents.
What is your advice to an aspiring artist looking for representation from
an agent/agency?
An artist who has the potential to be quite busy can benefit from having
a good agent. They can just go in and do their job without the hassles
of deals etc., because the agency would handle the business aspect for
them. Artists tend to not be organized individuals, and tend not to be
business people. If these aspects are weaknesses for an artist, I would
highly recommend getting an agent. Interview them, just like they interview
you. Find out what the agencies' goals and mission statement is. Find
out what the financial turnaround is within the time that you are booked
on a job. Ask if they set goals for their artists and how many artists'
are on the roster and working.
What are some tips for new artists in the industry or fresh out of makeup
school who want to have an agent represent them?
Don't go into an agency with a scrapbook, or photo album photos from your
family album. If you don't have a portfolio, say "I don't have a portfolio,
what do you think is the first step for me to take in getting one together?"
Conduct more of an inquiry with an agent instead of "I want an agent,"
and you have nothing that an agent can work with. Inquire about advice
for starting out, you might get answers from a kind person or you might
get nothing. It's a chance you have to take. The worse thing you can do
to yourself is approach an agent with mediocrity. It makes you look worse
than asking a couple of questions over the telephone. Be professional,
the presentation sells itself. Make sure your stuff looks clean and you
look clean. When you submit a resume check that you don't have 500 misspelled
words. If you don't have the experience, don't fudge it. Make your resume
make sense. Don't list your specialty as "does black makeup" on your resume.
I don't think that racial stereotypes are specialties. You are either
a prepared makeup artist from A to Z in coloration, or unprepared, and
call it a specialty. You will not get a job from me with that as a specialty
on your resume.
You are a national spokeswoman for Interface Cosmetics, how did you become
involved with this company?
I put together a promotional lecture two years ago at the Samuel L. Jackson
golf tournament. I contacted several makeup companies, one in particular
that I contacted said I know this is a new makeup line, I can't tell you
much information about it, but we need someone like you to help represent
the line. A few months later I was contacted by Interface Cosmetics and
they wanted me to help promote the new line. I helped launch the new line
in Los Angeles. My affiliation with celebrities was a draw to reach a
lot of people. I started going around the country doing media interviews,
makeovers, and television appearances.
Where is Interface Cosmetics located?
The headquarters for Interface are located in Long Island City, New York.
Macy's, Fox Hills location in Los Angeles carries the product, and it
is located in other areas across the United States.
On average, how much time do you devote to Interface as their national
spokesperson?
Once a month, I go out 3 to 4 days to different cities across the United
States.
Tell us about your teaching experiences?
I love educating, training and teaching. I lectured at the Makeup Artist
Trade Show in 1998 and this year. I am still getting letters from people
who attended. They thanked me for changing their careers around. That
is exciting to me when I know I have made and impact on people and I can
contribute something to their careers. People stop me in places and say,
"you have no idea how you have changed my career." I approach makeup from
a very philosophical standpoint, which is very different from how most
people approach makeup. I try to get artists' to see that when someone
sits in your chair, especially if they are not an actor, the kind of impact
you have by changing their physical features around. When you make the
consumer look like that glamorous person they have always wanted to look
like, it is so rewarding. As a makeup artist you have a lot of power in
your hands and sometimes you don't even realize it. When you tell a woman
how beautiful her skin is, or how gorgeous her features are, it positively
reinforces insecurities she might be living with her entire life.
What are common makeup questions you get from other artists' or the general
public?
Most of my questions have been directed to working on black skin and how
to determine proper undertones for all skin types. A lot of makeup artists
have an issue about working on black skin. I have had to come up with
some really strong ways of teaching so that people can understand that
there is no difference between black and white skin. You are just making
up undertones. I try to take "the color" out of makeup.
What kind of feedback do you have when you teach your methods of makeup?
The response is overwhelming! I say you are not doing black or white you
are doing undertones: warm and cool. Most artists' just see black skin
and forget what is coming through the dark, is a blue or deep purple undertone.
Artists' get so overwhelmed by the fact that the person in their chair
is black, that nothing else matters. You have to be able to take that
element out of there and start looking at what you do as an artist.
Do you think that education in this area of makeup application is lacking?
Yes. Teaching proper application of undertones, not skin color and ethnic
backgrounds is lacking. If you teach a person to be an artist and to work
with color, whoever sits in their chair, color becomes irrelevant. You
deal with facial structure or hair texture, not skin color. I say that
in all my lectures because I find that no one else talks about it. Everyone
ignores it. Unfortunately, I have found that most makeup artists don't
know color. Do yourself a favor and take a color class. Because you do
your own makeup doesn't mean you can do it on someone else. I try to get
artists' over their fear so they can be prepared to work on anyone. Stock
your makeup kits: warm to cool, alabaster to ebony. Be a well-rounded
artist. I am very political about this issue. You have to fight to not
get pigeonholed as a certain type of artist. I am a makeup artist, hire
me for the quality of my work, not the color of my skin. I say to artists',
take the time to be qualified so that your art shines.
What is your advice to artists' interested in working in the film industry?
I think you really have to assess your personality in this field. If you
are young and have no responsibilities other than yourself it is great
to travel around with a celebrity or personality. You get a chance to
see a lot of different places at someone else's expense. You can travel
and experience life and come out of your own microcosm. If you have no
kids I say travel around , or do a film, make it fun. I was in Jamaica
for two and a half months on a movie working 17-18 hours a day but I still
had fun because I made it fun. If you are married and have a family you
might consider working on a TV sitcom and do some print work. Based on
your personality, and your individual circumstances assess your career
based on that, a lot of people don't think about that. If you like to
live in a comfort zone the film industry is not the place for you.
Are you still working as a personal for Samuel L. Jackson?
No. I am taking one day at a time, one project at a time. My life has
changed with my son Grégoire. I have to have a life and my life revolves
around my son.
Of your celebrity clientele, is there someone you love to work on as and
artist?
Angela Bassett. I can do her makeup in my sleep and watch her face come
to life. LynneWhitfield. I enjoyed doing her makeup on "Eve's Bayou."
Her hair was very black for the film, which made her face become cool.
Using all the period lipsticks and makeup colors made it all look so real.
What has been your least favorite project?
The Negotiator was my least favorite. There were a lot of things I did
not like about the production in general.
What has been the most challenging project to date that you have been
a part of?
"Malcolm X." I was department head of both makeup and hair. I had up to
50 people under me a day, no matter what happened I was to blame if anything
went wrong. The research for the historical period figure was impeccable.
I look more like Malcolm than Denzel does! Creating the look for Malcolm
on Denzel was challenging because he didn't look anything like him. The
chiseled jawbone, eye color and skin color became a lot of work to transform
him. We did a lot of makeup tests. I was very happy with the end result.
Some days you couldn't tell who was Malcolm and who was Denzel. "Malcolm
X" by far was the biggest challenge with Tina Turner's, "What's Love Got
To Do With It", next in line. She is still living, how do you do this
beautiful icon that's still alive? There was no room for error. I had
a chance to interview Tina for about eight hours to research a lot of
nuances that you don't really see but made the character. A lipstick shade
or nail polish color, the makeup techniques that she used. I had to know
where all the nicks, scares and bruises were because it made a big difference
in the completion of the person she was. These two films were the biggest
of my career.
What is your favorite period style to work in?
The forties. The forties are absolutely gorgeous. The clothes, the makeup,
and the women were beautiful. Women in the forties were ultra feminine
and had bodies. The nails and red lipstick I love. The fifties take it
or leave it. I don't like the fifties June Cleaver look.
What might we find in your makeup kit if we looked inside?
Castor oil. This is my favorite thing. I use it under the eye areas and
in dry flaky areas. Beard cover in the orange color family, those are
the best concealors. La Femme gold leaf powder, gold shine from light
to dark. One of my favorites is Alex de Markopff's Eye Disguise. It keeps
eye shadow on till you cut your eyes out. My motto is whatever works,
whether it's dime store or department store. I am no product lover. Stock
your kits with warm and cool and find those neutrals.
Give us a trick of the trade beauty tip.
Gold. That's what I use on everyone in different intensities.
Marietta's resume is impressive and extensive, here is a sample list:
- The Negotiator
- Jackie Brown
- Sphere
- The Red Violin
- Eve's Bayou
- 187
- The Long Kiss Goodnight
- A Time To Kill
- The Great White Hype
- Fair Game
- Strange Days
- Dangerous Minds
- Beverly Hills Cop 3
- Tina: "What's Love Got To Do With It?
- The Jackson's: An American Dream
- Malcolm X
- A Class Act
- Mobsters
- Boyz 'N The Hood
- Ghost
- The Long Walk Home
- Why Me?
- Her Alibi
- The Mighty Quinn
- Clara's Heart
Back to Vanna in the Valley
Other Star Interviews:
Michael Burnett
Marietta Carter-Narcisse
Marvin Westmore
Eva Marie Denst
Ian Goodwin
Melinda Douglas
Art Anthony
Gregory Arlt
Beckie Kravetz
Douglas Noe
Karen Westerfield
Tina K
Rick Geyer
