AN EVENING WITH... NIKKI GOOLEY
The Architect of Universes: From The Matrix to Panem
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"The Sapphires" by Tony Briggs ©Goalpost Pictures |
There are names in the credits that guarantee an unforgettable visual experience, and Nikki Gooley is undoubtedly one of them. BAFTA winner and Academy Award nominee, Nikki has been the creative right hand of visionaries such as George Lucas and the Wachowski sisters. Her ability to pivot from the industrial aesthetic of "The Matrix" to the epic fantasy of Narnia, and then to the sophisticated realism of "Nine Perfect Strangers", places her in the pantheon of elite designers.
In a world where image is everything, Nikki has shown that makeup and hairstyling are not just aesthetics: they are narrative tools that build realities. Today, at lolitamakeupshop.es, we talk to a living legend about the responsibility of creating icons and the art of maintaining passion on the biggest film sets in the world.
THE DAWN OF CYBERPUNK and the tragedy of the Sith
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In "The Matrix", you created an aesthetic that became a global phenomenon. How did you achieve that "perfect" yet artificial skin finish within the simulation, and how did the use of iconic sunglasses influence your decisions about facial makeup? - Nikki: I wanted to have a subtle difference between the worlds - The clear reality of the real world and slightly heightened in the Matrix. Working with the Wachowski’s was a real joy.. Almost the entire film was storyboarded so was very clear how they wanted things to develop with the characters.. It was nice to keep some of the men more nerdy and the women not your stereotypical glamour. Trinity had very little makeup which gave way to more reality rather than making her into a “look” if that makes sense.
The DP also used a different colour filter from memory (it was over 20 years ago !!! Haha) which gave a slightly green/blue tint making the
skin tones slightly cooler and reds more depth. This helped with the Agents “nerdy but nasty” look.
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As Makeup Designer for "Star Wars: Episode III", you managed Anakin Skywalker's physical transformation. What was the design process for his scars and visual deterioration so that the audience could feel his fall to the Dark Side even before the mask was put on? - Nikki: It’s a big responsibility following through on such a huge empire such as Star Wars. A lot of the looks are flow ons from previous stories. George Lucas was clear on the characters journeys.Working closely with the Costume Designer and the archival team at Lucas Films was paramount to have a full understanding of each of the characters. Subtle additions to Annakins look such as darkness under the eyes , slightly different hair shape, hoping the audience senses a change but not quite sure where he’s headed.. It was an emotional day on set when he put the mask on.
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"Stay tuned, listen to your gut"
BETWEEN NARNIA AND PANEM
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In "The Lion, the Witch and the Wardrobe", makeup had to coexist with mythological creatures and complex prosthetics. What was the secret to keeping the young protagonists looking natural and fresh in such a fantasy-laden environment? - Nikki: Narnia was literally like working within a fantasy..Walking on to a new set or location was always breath-taking. Keeping the Pevensies looking young and innocent was a challenge as we filmed for a few months and Georgie and Skandar were growing and changing so fast. Sometimes it may be necessary to give a tweek of a haircut or pluck of an eyebrow, bleach the peach fuzz on the face of the boys to help keep the teen maturity coming through...
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In "The Hunger Games: The Ballad of Songbirds & Snakes", we see a different aesthetic from the original trilogy. How did you approach the character design for this "earlier," less saturated Capitol, and how important was hair in defining social status in this prequel? - Nikki: Panem - Balld of Songs and Snakes was a challenge with Snows hair. Tom had 3 different wigs as well as scalp bleach for the buzz cut every few days. Sometimes the schedule wouldn´t allow the time for color so covering regrowth was a stressful challenge... With pickups months after main wrap I had a buzz cut wig made. With great artists from Twighlight FX applying a bald cap & a great wig and application from Chrissy Zemura it was seamless. That´s where a decent budget comes in handy !!!.
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"don't be afraid to ask questions!"
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"The Hunger Games: The Ballad of Songbirds & Snakes" by Francis Lawrence / Hunter Chafer ©Murray Close/ Lionsgate |
THE AESTHETICS OF WELLBEING AND THE INSEPARABLE DUO
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In "Nine Perfect Strangers", makeup seems non-existent but is key to defining characters like Nicole Kidman's Masha. How do you design that look of "ethereal perfection" that must hold up under natural light and the scrutiny of high definition? - Nikki: I thought it would be interesting to have the guests skin very glossy while they were tripping and micro-dosed up. That helped to give a Heightened reality with their performance. The character relaxes into their stay and gives over to hair frizz no makeup etc.The staff also having a really healthy glow I wanted them to look like they all had facials to get that glow you see at day spas. Less ids more with HD.
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You often design both makeup and hairstyling. For a young person starting out, why do you think it is vital to understand both disciplines as a single artistic vision? - Nikki: You can’t build a house without understanding what the foundation and each stage of build does so I approach it the same way. There needs to be a blend from the end of hair into makeup and vice versa, or sometimes there’s a disconnect . One doesn’t go without the other so I enjoy designing and doing both. However, some jobs if one is more complicated than the other it is worth having them down separately so the artist isn’t snowed under with 2 very different mediums.
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"Truth" by James Vanderbilt / Cate Blanchett ©Sony Pictures |
ON-SET ADAPTATION AND 8K
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You have worked on productions with massive budgets and tight schedules. What is the "invisible" skill (beyond the brush) that you think makes a makeup artist stand out in such a large department? - Nikki: Every job is different, so what works for one isn’t necessarily right for the next.. Being flexible, listening and not being afraid to speak up if something is difficult or not going to work so the rest of the team or production can accommodate anything required. Be present on set, stand near the action ( obviously not in the way) so when MUH is called for you or your team are there.
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With cameras that see every pore, what technical advice would you give a newcomer to prevent makeup from looking "heavy" or cakey on screen? - Nikki: Note to self, Less is More, If you can see it with your eyes you will see it on screen. I put less makeup on these days with all the different HD cameras. Have a look on a super HD tv and what may have looked good at the cinema is super heightened and shows everything on the tv. Don´t over complicate things...
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"Less is more"
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"Nine Perfect Stranges" by David E.Kelley & John-Henry Butterworth / Nicole Kidman ©Hulu |
THE ARTIST'S GAZE
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After creating so many worlds, where does Nikki Gooley still find inspiration? Is it in painting, on the street, or in the natural essence of the actors themselves? - Nikki: I love film as a medium. So watching films and classics..watching Interviews with directors - old school ones.. I also paint, I love high end magazines, classic paintings, and collaborating with actors when they have an interesting process.
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If you could travel back in time to your early days in the industry, what would you tell that young Nikki to help her not fear big studios and to trust her creative instincts? - Nikki: There are so many lessons you will only learn as you go along... Try different techniques - dont paint by numbers. Be aware, listen to your instinct. If you’re a woman stand up for yourself, Ask yourself the question first...dont be afraid to ask questions!!!... Read the room!!!!!.
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Talking with Nikki Gooley is like reviewing the modern history of cinema through the anatomy, skin, and hair of its protagonists. Her career is living proof of how the most rigorous technique, when fused with an extraordinary artistic sensibility, is capable of building identities that remain etched forever in collective memory. Thank you, Nikki, for your immense generosity in sharing your expertise with us and for reminding us that, in the big leagues of cinematography, the truthfulness of each shot is defined in the most subtle nuance of the makeup chair. |
We invite you to continue exploring Nikki's impeccable work on her projects through her social media channels: instagram and Imdb. And her website nikkigooley.com See you at the next shoot, Makeup Artist.
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