Department Heads discuss working on the Taylor Sheridan series
Photos: Emerson Miller/Paramount+
MAKE-UP
by Greg Moon | Department Head Make-Up
The best part about returning for a second season is the opportunity to try things you thought about but didn’t implement in the first season. I divided up the cast with my crew and we each helped build this fantastic cast, some familiar faces and some new ones for Season 2 of Landman.
For Demi Moore, I used a different foundation this season: Chanel Les Beiges. The blushes I used were Natasha Denona, Armani, and Patrick Ta. Lip liners were Charlotte Tilbury and lipsticks were Tom Ford. Lip and blush tended to complement what she was wearing, and Janie Bryant, the costume designer, had Cami in some Tom Ford dresses. Demi’s character Cami comes from old oil money, and I wanted to keep things clean and elegant with her. I love that Demi is committed to her role and isn’t afraid to mess up the make-up if it’s called for.
Ali Larter plays Angela on the show. At the start of Season 2, I asked if she wanted anything new this year; her response was, “If it ain’t broke, don’t fix it.” I did, however, hone in on Angela’s look a bit more this season. I overheard Taylor say in the first season that he wasn’t worried about Ali because she knows how to look good, and the same can be said for all our actresses on the show. I try to stay true to the character and make sure I define that separately from the person playing the role. With Angela, I stayed with Koh Gen Do moisture foundation as a base with three drops of T3 oil to keep her glow. I love how this moisturizing foundation is beautiful on its own, but the three drops of T3 keep the skin moisturized and amazingly beautiful. I used Lancôme booster and mascara on Angela and put a few single lashes out to the side for a finished look to the eye. For brows, I used Glossier Boy Brow or switched to the Mario dirty blonde pencil. Eyeshadows were Dior and Armani. Lips were Charlotte Tilbury Pillow Talk Icon Baby, and lip colors ranged from CT Peachy Plum to Gucci, Tom Ford, and Lawless Sugar Plum—it all depended on what she was wearing that day. Angela is a lot of fun to work on because the character is so free-spirited and decisive about what she wants, and the clothes Janie puts her in are amazing. With the temperature fluctuations in Texas, where we film, it can be a struggle to keep the looks fresh and at times require a lot of maintenance.
For Andy Garcia, I used Armani Luminous Silk foundation in the first season, and this season, I used Armani with SENSAI bronzer to give it more of a skin feel. It looks great on camera and doesn’t feel heavy-handed.
Our cast comes prepared for the day with their skin care routine already in place, so there isn’t a lot of time wasted in the chair. Time is money and we are hired to do the make-up—not spend an hour on skin care.
Before I got into make-up, I took an art class where a lot of the students were graphic design majors, and the teacher said something that has stuck with me ever since: There are a lot of talented people competing for your job, and being good sometimes isn’t enough—so be fast and good and you’ll get hired. Time is money. As long as the actors allow me to, I get them ready as quickly as possible and give them the final nod of approval before they leave the trailer.
With the men, I found that Estée Lauder’s Double Wear foundation with SENSAI over, it gives a great skin-glow effect, and it works really well. When the rig workers are out in the field, it’s important to keep a good layer of protection between their face and the environment—sunscreen, along with the foundation helps a lot. It takes constant maintenance to keep the actors from getting burned in the Texas sun.
I love the dinner nights on the show, and the pirate dinner didn’t disappoint. It’s always fun to dress the actors up for one of Angela’s dinner themes—you never know what Taylor is going to write.
Our cast is amazing and wonderful to work with. They put in a lot of time and effort to bring these roles to life, and the long hours they spend outside of their working day staying in shape and maintain themselves does not go unnoticed. Between their dedication and the application of make-up, the characters truly come to life, and it makes for a wonderful collaborative effort. My thanks go to my incredible core team of the past two years: Rey Medrano, Shannon Hokama, Mika Garcia, and Carrie Angland. And to the many additional make-up artists who keep our background looking amazing—a huge shout-out and thank you to all of you. We couldn’t do it without any of them. •
Hair
by Tim Muir | Department Head Hair
Grounded Texture:
Technical Hair Design and Character Styling
Hair design for Landman Season 2 is rooted in technical realism—cuts, texture, color processes, and environmental continuity that reflect the working-class oil economy of West Texas. The styling direction avoids high-gloss polish in favor of durability, matte finishes, and shapes that evolve naturally with character development. Each look is engineered with practical maintenance in mind: minimal product buildup, reduced heat styling, and forms that respond believably to wind, sweat, and extended workdays. The craft lies in controlled imperfection, where execution is precise, yet the result appears effortless and lived in.
Tommy (Billy Bob Thornton)
Tommy’s hair style reflects authority shaped by experience. The cut is a scissor-over-comb taper—never skintight—to maintain maturity and realism. Length on top remains approximately three inches, allowing directional movement without appearing styled. A matte cream or lightweight fiber is applied sparingly to damp hair and left to air-dry, eliminating artificial shine. Subtle salt-and-pepper blending is achieved through low-level demi-color, softening contrast while preserving natural gray concentration at the temples. The silhouette is consistent but not rigid, allowing minor shifts in shape that reflect environmental wear and narrative progression.
Angela (Ali Larter)
Angela’s design balances polish with resilience. The cut consists of long, layered shaping beginning at the collarbone, with internal texturizing to remove bulk while maintaining fullness. Styling begins with a controlled round-brush blowout, followed by shaping with a one-inch flat iron to create a loose, irregular wave pattern. The structure is intentionally broken with hands and finished with minimal texture spray to maintain movement. Color is a warm, dimensional blonde achieved through diagonal foiling combined with soft hand-painted placement around the face. Surface smoothing cream is applied sparingly to control flyaways. Across episodes, the finish evolves—more refined in controlled settings, expanding into a softer, more reactive texture during heightened emotional conditions.
Ainsley (Michelle Randolph)
Ainsley’s hair reflects youth and modernity while remaining regionally authentic. Twenty-two-inch extensions are integrated and custom cut into a long, blended shape with soft face-framing layers and minimal perimeter weight. Styling emphasizes irregular wave formation using a one-inch flat iron worked in alternating directions to avoid uniformity. The result is a natural, broken texture that holds through movement. Color is a neutral blonde built with baby lights and a carefully diffused root shadow to eliminate a freshly processed appearance. The root melt is technically critical, creating depth while allowing believable regrowth over multiple episodes. When pulled back, styling favors loose ponytails or casual ties with visible texture rather than tension, reinforcing practicality and character consistency.
Cami (Demi Moore)
Cami’s look incorporates controlled sophistication through the use of a hand-tied full lace wig constructed by Robert Pickens. The cut establishes a shoulder-length blunt perimeter, softened internally through slicing techniques that remove weight while maintaining density. Styling is achieved with a 1.5-inch curling iron, then refined by finger combing to reduce structure and introduce softness. Product application is minimal—a light texture spray for separation and a small amount of oil applied strictly to the ends to avoid collapse. The overall effect is composed but natural, with subtle movement that maintains continuity across varying environments.
Cooper (Jacob Lofland)
Cooper’s design reflects transitional maturity. His haircut is a scissor-cut textured crop with soft, shaggy graduation, allowing flexibility in growth continuity across episodes. The structure supports irregular movement, preventing the look from appearing overly groomed. Styling is minimal, using a pea-sized amount of matte paste emulsified thoroughly and applied primarily at the crown to create separation. Natural cowlicks are maintained rather than corrected, reinforcing authenticity.
Ariana (Paulina Chávez)
Ariana’s hair emphasizes natural texture and tonal richness. The cut features long layers carved through point cutting to prevent blunt heaviness while encouraging movement. Styling focuses on curl definition using lightweight cream and diffuser drying to enhance natural pattern. Frizz is managed but not eliminated, allowing the hair to interact with environmental conditions in a believable way. Color remains a deep brunette, refined through gloss layering rather than traditional highlighting.
Rebecca (Kayla Wallace)
Rebecca’s look communicates structure and professionalism. A long bob sits just below the shoulders, defined by a precise perimeter and softened internally with subtle layering. Styling leans smoother than other characters, achieved through a controlled blow dry using a paddle brush to maintain straightness without stiffness. The shape is slightly disrupted with the hands to avoid a rigid finish. Color is a neutral brown enhanced with a balanced blend of highlights and lowlights for understated dimension. Product use is strategic: texture powder at the root for lift, a lightweight smoothing serum through mid-lengths, and a flexible hold hairspray to maintain movement.
Dale (James Jordan)
Dale’s hair reflects a rugged, field-driven presence. The cut is a classic taper with a longer, uneven crown that allows natural movement and variation. Clippers are used conservatively—a #7 on the sides blended seamlessly into scissor work to avoid harsh transitions. Styling is minimal to nonexistent, often air-dried without product or supported by a small amount of matte clay for light control. The design prioritizes durability and realism, ensuring the hair responds naturally to environmental exposure.
Boss (Mustafa Speaks)
Boss’s design leans into authority with a clean, structured silhouette. A defined taper with sharpened edges reinforces a commanding presence. The top is kept short, approximately one inch in length, allowing for low-maintenance styling. Wave cream is applied and controlled through compression techniques, often supported with a durag to maintain pattern consistency. Gray blending is kept minimal, allowing natural aging to remain visible.
Gallino (Andy Garcia)
Gallino’s hair style incorporates cultural authenticity and natural texture. Length is retained through the top, with tapered sides that support movement while maintaining shape. Styling utilizes pomade to provide definition, allowing the hair to retain flexibility. Color remains natural, enhanced only with gloss to create depth for camera. Edges are softened intentionally, avoiding overly sharp lineups unless required by narrative context. The result is a controlled yet organic finish that aligns with character identity.
T.L. (Sam Elliott)
T.L.’s design reflects practicality and restraint. A medium-length scissor cut with minimal taper allows for ease of maintenance and natural growth progression. Styling is nearly nonexistent—hair is combed or shaped by hand, with only a lightweight cream or oil introduced for subtle separation. Slight irregularities in length are preserved deliberately, reinforcing authenticity and lived-in texture. The look remains consistent, adapting naturally to environmental conditions.
Technical Continuity and Environmental Considerations
Continuity across all characters is essential to the visual language of the series. Hair must respond to environmental factors, including wind displacement, compression from hats, and perspiration at the hairline. Matte products and dry texture sprays are utilized to adjust shape without introducing artificial shine. Growth progression is integrated subtly—edges soften, lengths extend incrementally, and color fades naturally to maintain realism over time.
Headwear, including hard hats and caps, is factored into the design process. Each style is constructed to recover believably once removed, preserving continuity between scenes. Color palette cohesion remains critical, with warm brunettes, sandy blondes, muted grays, and sun-faded tones reflecting the West Texas landscape. High-contrast highlights and overly polished finishes are intentionally avoided.
The result is a cohesive system of hair design that supports character, environment, and narrative equally—where technical execution remains invisible, and realism drives every decision.
I would like to thank my amazing team to which none of this would have been possible without. Andrea De Leon, Kenneth K-Bobby Edgar, Wesley Porras, Mia Atkins, Angela Jackson, and TJ Romeland. •