AN AFTERNOON WITH... ÓSCAR DEL MONTE

Oscar, you've gone from imagining creatures to creating them for the biggest productions in the world. When a novice makeup artist arrives on a large-scale set for the first time, what's the most common "reality shock" they experience compared to what they learned in school?

- Oscar: I think the most common reality shock is understanding that filmmaking is, above all, a team effort. On a set, you have to coordinate with many departments, and they all have to work together for the result to be good. That's usually the first shock for someone arriving on a film set for the first time: realizing that your work doesn't exist in isolation.

Then there's the more internal clash, which is related to the artistic aspect. When you start seeing your creations in front of the camera, there's always a gap between what you imagine and what you can actually bring to life. Usually, what you have in your head is better than what ends up existing in reality. Learning to live with that gap—and not getting frustrated every time it appears—is one of the hardest parts of this profession.

In makeup, it's often said that the best work is the most invisible. How do you make a prosthetic look not like a piece of glued-on silicone, but like real skin that breathes and moves under the lights and high-definition cameras?

- Oscar: I'll say it again: this is a team effort. For a prosthesis to not just look like a piece of silicone glued on, in addition to being very precise and methodical, there are factors that don't depend solely on us.

Lighting is key. Good lighting can make makeup look amazing, and bad lighting can ruin even a solid job.

And then there are the actors and actresses. You can do a technically exquisite job, but if the person wearing it isn't comfortable or can't hold it well in front of the camera, it's not going to work. And vice versa: I've seen performers who could sell and make even a poorly glued chicken breast look believable. In the end, we're doing makeup on people, not mannequins.

When modeling and manufacturing a prosthesis or a flat mold, what do you consider necessary to ensure that neither the material's resistance nor the level of detail fails once applied on set?

- Oscar: For me, it's essential to be able to do tests with the person who will be wearing the prosthesis. It makes a huge difference when you've only been able to make one version and film with that, compared to when you can test, photograph, and correct errors in volume, texture, or color.

The color starts with the mold itself: the tone of the material you fill it with can completely change the realism. As for durability, something as simple as ensuring the material is completely dry makes all the difference during use.

And regarding the details, these pieces often disappear too easily. If you don't restore the modeling with color, what you end up with is something that's "unnoticeable," but also doesn't say anything. Two classic mistakes are made here: overpainting and ruining the integration, or not painting at all, leaving the prosthesis looking like a piece of clear plastic stuck on. You have to restore and showcase the modeling when you color the prosthesis.

Many makeup artists focus solely on color, but you work especially with volume. Why is it so important to understand anatomy and sculpting before even touching a makeup brush?

- Oscar: The idea that I work with volume… I wish. But I do believe that volume is key. Understanding anatomy is what makes a piece work or not. When you attach something to the face or an area with movement, you need to know how that area behaves. If you place a prosthesis that's too thick where there's a lot of movement and the sculpting doesn't work well, the result will tend to look artificial.

Understanding how your muscles move and how your skin responds allows you to decide where you can afford to add more volume and where you need to be much more precise. The more you understand how your body and skin work, the better.

On a film set, time is the most expensive resource. What do you do when something goes wrong with a prosthetic just minutes before the director yells “action”? How do you train that composure?

- Oscar: When something goes wrong… the first thing you can do is pray. I don't know if there's another option. Seriously though: the first thing is to acknowledge the mistake and see if it can be fixed. If it can, ask for five or ten minutes and explain it clearly. If you can't fix it on your own, you have to go back to the team: talk to lighting, to the director, see how it's going to look on camera, ask to widen the shot if necessary.

Calmness isn't magic. It's cultivated by understanding that we're human and that we're going to make mistakes. Instead of looking for someone to blame, we need to accept what happened and propose solutions. Sometimes the solution isn't perfect, but there's almost always one.

 For you, what differentiates an "acceptable" finish from a "world-class" finish that can withstand a close-up on a giant movie screen?

- Oscar: The difference is usually in very small things. The edges are fundamental because they mark the transition between the prosthesis and the skin.

Controlling brightness is another key point. If the shine appears only at the edge, it's a giveaway. If there's shine, it should be evenly distributed. And if there shouldn't be any, then it needs to be properly mattified.

I imagine a world-class finish is one where nothing stands out individually. Everything behaves like real skin, even when you zoom in on it to a giant size on a screen.

In recent years, new products and techniques have emerged. Which do you think has been the real game-changer for the FX makeup artist?

- Oscar: Transfers have been revolutionary, especially because of their speed and durability during filming. Silicones also represented a huge leap forward compared to latex foam due to their translucency. And alcohol-activated makeup changed the way we work with color, allowing for very subtle washes, almost like watercolors, that make the color seem to come from within, and last much longer than older makeup. 

When someone wants to collaborate with you, what do you prefer to see in their portfolio?

- Oscar: A portfolio is important, of course. But there's something that matters much more and doesn't appear in any photo: being a good person. Knowing how to work in a team, having a positive attitude, and not having an inflated ego. In a high-pressure environment like this, someone brilliant but toxic creates more problems than solutions.

If you had to choose five products or tools as a "life insurance" set, what would they be?

- Oscar: An alcohol-activated makeup palette with a good range of colors. A versatile tool set with brushes, spatulas, tweezers, and scissors. A product to mattify shine. Another to add a slight shimmer if the finish is too matte. And a blender or small transfer with the right texture to quickly fix a stubborn edge. And if you'll spare me a sixth item… a portable coffee maker would also be very useful. Did I cheat with the tool set? Does it count as one item?

What would you say to young makeup artists when things get tough?

- Oscar: I'd jokingly tell them to change professions. Honey, you should have listened to people, studied, and looked for something more stable. Now you're going to suffer 😊. But the reality is, yes, it's going to be difficult. And the sooner you accept it, the better.

Working hard is necessary, but so is taking care of yourself. Resting. Having a coffee with someone who encourages you. Because you can dedicate 24/7 to this and it never ends. There's always someone who can dedicate more time than you, or more resources, or who has more skills. If you treat it like a competition, you're going to have a hard time.

If you make it a constant grind, you'll end up burned out. So try to enjoy the journey, learn during downtime, and take care of the people around you. A long career in this profession isn't sustained by talent alone, but by health and compassion.

We are deeply grateful to Óscar del Monte for sharing his valuable time and expertise with our community. His answers not only provide us with a roadmap of the technical demands of contemporary filmmaking, but also reaffirm that precision, rigor, and an unwavering attitude are the foundation of a solid career in the world of special effects.

We hope this interview serves as a source of motivation for all aspiring makeup artists and students who dream of transforming reality through characterization.

We invite you to explore Oscar's work through his social media: Instagram , Imdb .
See you at the next Makeup Artist shoot.