A Conversation with Zoë Hay | Department Head Make-Up
and Michael Peter Reitz | Department Head Hair
Photos Courtesy of Disney
In just a few months. we will celebrate 10 years working with Dan Fogelman, the creator of This Is Us and Paradise. When Dan asks you to head the department on one of his projects, first you look up and thank your lucky stars, and then you ask, “What the heck have I gotten myself into!”
When we first learned we’d be shooting Paradise, we knew it would be exciting to create an entirely new world. From the start of pre-production, every department had questions: Where is this enclosed society? Do they have electricity, water, seasons, food, jobs, stores? Did they bring anything from the Old World?
As we built the world from the ground up, its rules began to shape every decision. The society was divided into two groups: the billionaires and powerful individuals who helped build and prepare for this place, and the everyday citizens who were given only hours’ notice to arrive and make the city run. On the surface, it would feel like “Anywhere, USA”—but a closer look would reveal much more.
The billionaires brought their favorite comforts, while planners carefully curated every detail for the citizens to feel safe and at ease. There would be electricity, homes, gardens, food farms, stores, e-bikes—and cars for the wealthy. Everything would be reused and recycled. Yes, there’d be a salon, a braiding spot, and a nail place! Cosmetics and hair products were available—not quite Sephora, but more like shopping a 1984 CVS. And boom just like that, we are off to the races with a trailer crammed full of wigs, extensions, prosthetics, blood, facial hair, an incredible team and lots and lots of notes and breakdowns.
ZOË: I always dig in deep with research for my projects. It was especially fun to collaborate with costume designer Sarah Evelyn, who was working with a color palette that reflected the color theory for Paradise City. This created the framework look for our background. We completed this with pops of color nail polish, colored shadows and rosie cheeks and lips, swipes of color as if applied with fingers. Our bunker billionaires had a classic old money look, neutral and neat. We contrasted this with the look in our flashbacks to D.C. with which was precise, more defined, and conservative.
Our team was joined by Mindi Coats, the master barber for the show’s star, Sterling K. Brown, and Kathy Santiago, his personal make-up artist. Together, they achieved the no-nonsense look of his character, Secret Service agent Xavier Collins. Mindi uses ANDIS professional clippers and blades to craft precise, deep wave patterns that enhance his authoritative presence. Kathy did an incredible job subtly de-aging him through different time periods, using correctors and color to create texture changes to reflect his evolving appearance. Her work—adding elements like blood, dirt, and wear—helped visually convey the emotional and physical journey of his character.
Agent Collins is also a loving father whose actions and reactions are often motivated by his daughter, Presley (Aliyah Mastin), and son, James (Percy Daggs IV).
MICHAEL: Hair stylist Ursula Simpson was inspired by Presley’s youth to create individual braids accented with white rubber bands that were uniquely placed on each braid, then swept into various creative styles. Presley’s natural hair was used for flashback looks. Her hair was prepped with two-strand twists, later uncoiled and fluffed to reveal a beautiful, natural curly wave texture.
ZOË: Our actress, though an adult, played a 15-year-old and even younger. I created two looks: a nearly make-up-free style to enhance her natural beauty, and a slightly more polished look for a teen heading to a city carnival. I loved the NARS light reflecting foundations I used for her, creating coverage but looking like “just skin.” For her look as a 12-year-old, we softened her brows, removed all eye make-up, and minimized foundation, combined with her natural hair that was very effective.
MICHAEL: Ursula also did Presley’s younger brother, James, who has naturally curly hair which she enhanced by using a coil comb to define his texture. His overall style was magnified with hair creams and curl jellies.
ZOE: Sinatra, portrayed by Julianne Nicholson, was one of our most complex characters. One moment she’s a grieving mother, and in the next scene, she’s orchestrated the poisoning of a beloved FBI agent.
MICHAEL: To achieve Sinatra’s look, I begin with a round-brush blowout and finish with a flat iron to create natural waves and texture. The structure and subtle details of the style reinforce Sinatra’s composed yet commanding presence.
ZOË: One of Julianne’s first requests to me was not to cover her freckles, so we landed on a tinted moisturizer for a base and her younger scenes we played with a warmer skin tone and brighter neutrals to contrast with her look in Paradise City which slowly becomes less and less make-up as her world starts to unravel.
President Cal Bradford is portrayed by James Marsden. In the Season 1 finale, President Bradford’s hair styling and make-up played a vital role in visually tracking his emotional unraveling.
MICHAEL: His polished, composed appearance was created with a round brush blowout enhanced by thickening foam and finished with matte paste. President Bradford’s hair ultimately transitioned into disheveled, sweat-affected textures that mirrored the rising tension and his demise.
ZOË: For past scenes, I wanted to create a look that felt tanned and youthful for his college years, toning down any correction and highlighting to show his natural age as he progressed to his White House years where he was neat and clean-shaven, very Kennedy-esque. This was in contrast to his stubble and dark circles as he is seen in Paradise City. Stevie Bettles, prosthetic designer, created a body double for James, who was working in London at the time. His body was scanned there and the file sent to us with a tight turnaround. Once James arrived in L.A. just days before filming, we life-cast his hands and feet to complete the body. It was used for scenes where James’s character is dead on the floor for extended periods—we didn’t want him lying there for hours. Affectionately named “Russell,” the fake body patiently endured fake blood and long takes. The piece included punched-in hair (Michelle Nyree) and custom eyes made by Fourth Seal Studios and we matched injuries with prosthetics, which were later applied to James for his fight scenes.
President Bradford’s secret love interest, Nicole Robinson (Krys Marshall), is a high-ranking Secret Service agent.
MICHAEL: Hair stylist Ursula Simpson used a custom lace wig to create Robinson’s structured and professional classic bob. To ensure a natural look, we adapted the wig to allow the actress’ natural hairline to remain exposed. This subtle detail refined the overall finish, along with a ceramic flat iron which added shine and a realistic touch to the style
ZOË: Hanny Eisen applied Kris’s make-up, creating two looks for her. A no-fuss clean natural beauty make-up for her everyday work look and a relaxed full glam look for her date, using Hourglass Ambient powder, and MAC Mineralize skin finish for a perfect natural finish. For full action sequence from the White House to the bunker and Hanny was always one step away splattering blood and sweat.
Dr. Gabriela Torabi (Sarah Shahi), a psychotherapist and social architect of Paradise whose dedication to Sinatra leads her into a world of chaos, has a warm and soft approachable feel to her character.
MICHAEL: My invaluable Assistant Department Head, Michael Anton-Prockiw, enhances her long locks by using various conical and flat irons, oil, and Oribe texture spray and cream, creating soft casual look.
ZOË: Laura Lieffring, my Assistant Department Head, did Sarah’s make-up. While keeping her look simple and neutral, she had her work cut out covering Sarah’s numerous hand and arm tattoos, especially for an intensive shower scene. She settled on airbrushing with European Body art colors and sealing with Krylon fixer spray.
Agent Jane Driscoll (Nicole Brydon Bloom) is a member of the President’s Secret Service detail. In the Season 1 finale, we see the dramatic end to Jane’s once unwavering commitment to Sinatra.
MICHAEL: Michael A. created her sleek ‘killer’ ponytail, achieved by flat ironing, backcombing her crown and applying dry wax. The episode ended with a playful, half flat ironed beach waved updo, creating a detached and psychopathic reality for her character.
ZOË: Laura once again whipped out her brushes to create a beautiful simple and innocent make-up for Jane with a skin forward focus. She used Giorgio Armani foundation and neutral palette to create this look and was able to bump it up and use more color for her non-work scenes.
MICHAEL: Billy Pace was a Secret Service agent, contract killer, ex-con, and abused child. We had a whole episode exploring his complex past.
ZOË: In Paradise, we purposely did not have him follow Secret Service grooming guidelines to show that he is a little loose. For flashback scenes when he leaves jail, we were asked to give him tattoos. I created custom tattoos, and we also added stock pieces all provided by “Out of Kit.” For one of the tattoos, I was able to use a photo of an actual skull I pulled from a lake in Montana which the actor especially liked as his character is from there. Other pieces included a half arm of gray work skulls, and a Montana grizzly bear. Laura helped with application of these and handled his looks, including hand laying a slightly longer beard into his stubble and of course, killing him. She also matched the younger actor playing him as a child.
As Paradise viewers asked, “Who killed President Bradford?” I can’t imagine anyone had their eyes on unassuming librarian Trent (Ian Kerrigan)—one of the most pivotal characters of Season 1. Our showrunner came to us in pre-production with an Ian in mind—distinctive and very tall—so the challenge was to disguise him completely until the final reveal in the last episode. Michael and I were thrilled. During prep week, we dedicated a full day to testing nearly 20 different looks: various hair styles, wigs, facial hair (his own, shaved, and added beards). We ended the day by applying a generic fat-face prosthetic from “Out of Kit” to alter his jawline and make him appear heavier. The team loved the transformation, and we eventually narrowed it down to a few key looks used throughout the show. He was always present—just completely unrecognizable
MICHAEL: Trent’s disguises were achieved by using lace wigs and hairpieces that were cut, colored and styled to seamlessly blend into the world of Paradise. The goal was to create a believable, layered disguise that not only hid the killer in plain sight, but also intensified the tension leading up to the dramatic final reveal.
Michael Reitz, Ursula Simpson and Mindi Coats (in back)
ZOË: Prosthetics designer Stevie Bettles created an outstanding peel-and-stick silicone prosthetic for the characters’ transformation, which I applied, along with Laura throughout the season. At one stage, we added a hand-laid stubble beard over the prosthetic to craft an in-between look. Later, we see him as a long-bearded man leaving jail, looking almost unrecognizable. This disguise was especially exciting: Stevie created a prosthetic bald pate meticulously hand-punched by Brooke Barker which matched a wig designed by Michael Reitz. It all led up to a pivotal scene where the character shaves his head and cuts his beard in a bathroom mirror—making the transformation complete. The result was seamless and incredibly effective on screen. He reintroduces himself in Paradise City with a completely new identity, for this last look. I hand-tied a beard copying the actor’s own that he arrived with on our first test day.
We had such a large cast working so I also want to thank Tania McComas and Elizabeth Hoel-Chang for being such an important part of our make-up department.
MICHAEL: Any reason to work with the incredibly talented wigmaker Stacey Butterworth and seeing the finished product is always thrilling.
We have worked together for nearly a decade. Our history has created a partnership that can communicate without words and overcome obstacles on even the most challenging days. We are so lucky to be surrounded by so many talented artists and are blessed to work with one of the most collaborative crews we have ever met in our 30-plus years. We would like to thank all the Local 706 make-up and hair stylists who came to work with us Season 1.
As we wrap Season 2 of Paradise, we can tell you that it provided a new and exciting set of hair and make-up challenges that we have faced. We are anxious to watch along with you. •
