AN AFTERNOON WITH... REBECCA WACHTEL

"High Potential" ©Abc

"Daisy Jones & The Six" and the Art of Block Shooting : You headed the department on this iconic journey through the '70s to the '90s. We know you had to block shoot five episodes at once—quite a feat. How do you manage technical continuity and the physical evolution of the characters when you're filming multiple stages of their lives in the same week?

- Rebecca: Yes! It's all about preparation and planning. I created a very detailed breakdown and a "bible," as I called it. This was something my team and I could refer to at any time to know where each character was in their makeup journey. We were definitely adding and removing pieces of facial hair on any given day, since one scene would be years before or after the scene right after it. Working in episodic television is a fast-paced business. Because of this, I kept the changes subtle and quick so we had time to do the work and still see a change in the aesthetic. I also didn't want their looks to change so drastically that they took you out of the story. For the men, it was longer or shorter sideburns and mustaches. The women had changes as well, as they transitioned from a younger, fresher look to more mature ones. You have to be able to go with the flow and adjust at the last minute if necessary. Most days the schedule would change during the day; scenes would be taken out or pushed in from other shooting days. You had to be ready for anything!

The Evolution of "Pretty Little Liars": You were a Key Artist for the first six seasons and took over as Department Head for the last. Looking back, what was the biggest lesson you learned from being part of a production that defined the aesthetic of a generation for seven years?

- Rebecca: What an honor it was to be part of such a culturally prevalent show! I worked under the direction of Department Head Cindy Miguens for the first six seasons. Under her direction, we created a variety of makeup looks. That show was so much fun because we had beauty as well as special effects; we even did an episode in black and white. It was a great test and growth experience for our flexibility as artists. I enjoy a challenge and variety in the craft. Pretty Little Liars had plenty of that! I think it made me stronger as an artist and quicker to think on my feet.

"High Potential" and the Specialized Characters: While the protagonist has her personal artist, as Department Head you create the "world" around her. How do you approach the challenge of designing new, specialized characters for each episode? How do you use "makeup clues" to help tell the story of each case?

Rebecca: High Potential is such a fun show to push your creativity. The scripts always have some interesting or unique clue that's on the body, so it's created with makeup. From rashes to historical figures, Halloween makeup, tattoos, cuts, bruises, death makeup, scars, puffy eyes, birthmarks, beauty, and even a robot! Those are just a few of the ones we had in season 2 alone. Sometimes we can try out makeup beforehand, but not always. It's important to understand the tools and mediums on a show like this so you can come up with a look on the fly. Again, this show is also very fast-paced, and we're figuring out how to do an effect in just a few days. It's really sharpened my wit and quick thinking. What's important is having a strong, supportive, and talented team, which we do! More brains are better than one!

The next summer hit: "Lucky" (Apple TV+): We're so excited for your new show! Without giving too much away, what can you tell us about the character designs in Lucky? What was the creative spark for the aesthetic of this new project?

- Rebecca: Thank you! I'm so excited for the world to see Lucky. The makeup designs were raw, gritty, and gory. We had the opportunity to create some fun tattoo designs that can simply blend in with a particular character's look. I think sometimes that's the best way to design—adding something that doesn't pull the viewer out of the story but makes you feel a certain way about a character. The little details do this: smudged eye makeup, interesting lip color choices, aged tattoos, shine on the skin, and letting imperfections show. This creates a realistic and believable world. We have this and more in Lucky!

"Truth Be Told" Lizzy Caplan ©AppleTV

"Truth Be Told" and dramatic realism: In this thriller, the lighting and atmosphere are very dense. How do you adapt skin technique so that the actors look real and expressive under the lighting demands of a platform like Apple TV?

- Rebecca: Truth Be Told was a really fun and challenging project. We had everything from polished beauty, bald caps, scars, elaborate and custom fake nails, tattoos, gold teeth, and gory murders. Yes, the lighting and overall look were a bit more dramatic. For me, I connect with the Director of Photography and post-production team to see how they plan to light and tone the image. From there, I adjust the makeup accordingly. Sometimes it might be enhancing the tones to make them pop more, or in dark scenes using a slightly brighter blood color so it's more legible. It all depends on how each scene is approached. I spend a lot of time on set at the DIT monitor, as they usually have the final tones that will be displayed. If it's a look I'm concerned about, I have them put the makeup under the on-camera lighting to see it before it's shot, so I can adjust it if necessary before it goes on camera.

You've led departments on major series. What's your philosophy when assembling your team of "Key Artists" to ensure your design vision remains flawless and consistent throughout the entire shooting schedule?

- Rebecca: Having a strong team is imperative! At the beginning of a project, when I'm hired and I've read the scripts, I see what it entails and then hire accordingly. If it's high-end beauty, I hire strong artists in that field; if it's heavy special effects (FX), I do the same. I like to have a balanced department. Bringing in full-time artists who can cover any makeup needs the show might have. Initiative and "no drama" are very important, too. We're a team, and every role is vital. As head of department, I pass on the looks that have been created and approved by myself, the director, the showrunner, and the producers. I also feel it's important for the team to have ownership over their work. I trust their artistic talent and ideas if they want to delve deeper into a specific design. We're all artists in the end, and we're stronger when we have the freedom to express our craft.

"Daisy Jones & The Six" ©Amazon

Technological Evolution (4K to 8K): You've experienced the transition to extreme clarity. How has your product selection changed in your kit to meet the demands of high-definition cameras where every pore is visible?

- Rebecca: Actually, I started in film! Which is crazy to see how things have trickled down to digital. Film was much more forgiving. Now you have to make sure things are perfect for the look you're going for. Typically, in TV/film, they smooth out the overall look with filters and post-production, so it's not like you're necessarily seeing every pore. The advantage is that you can see in real time how things will look and you're able to adjust. Also, now the makeup department works with post-production special effects. There can be overlaps between what we do and what they add later. So it's important to have a good relationship and communication with them.

Department Head Essentials: If you had to choose three products that you consider "life insurance" for any professional makeup artist working on a high-level US film set, what would they be?

- Rebecca: Oh, this is a tough one. Only three?! Alcohol palettes are a must-have for so many things, from tattoo cover-ups to FX and character work. EBA, Skin Illustrator®, and Bluebird® are some of the best brands.

Color correctors, especially orange, to balance dark circles and conceal blemishes. Maqpro® Fard Crème has some really great colors.

Josie Maran® Intensive Creamy Oil. I use this for everything from sweat, body shine, and glow, to even under-eye moisture from crying. It's natural-looking and looks beautiful on camera. In this area, I have an extra product that I use as a moisturizer that creates a nice glow and radiance on the skin: Evanhealy® Whipped Shea Butter With Olive Leaf. It's a staple in my kit!

"Daisy Jones & The Six" Riley Keough ©Amazon

The Importance of Multidisciplinary Design: Your career spans from beauty to effects and prosthetics. In 2026, how vital is it for a Hollywood makeup artist to master all areas of the craft rather than specializing in just one?

Rebecca: I think that, as a makeup artist today, it's very important to be versatile. To know basic special effects, transfer prosthetics, and beauty. You never know what a production is going to throw at you, and you have to be skilled and knowledgeable to handle it all. If you don't do major prosthetics, it's important to have an understanding of them and the requirements they demand. This brings us back to having a strong team or knowing the right people to call on for specialty makeup. As head of department, it's your responsibility to address any creative makeup or know the people you can call on for help.

Roadmap for the professional future: For makeup artists in Spain who dream of an international career, what is the most important advice you would give them about building their own visual identity and persevering in such a competitive sector?

- Rebecca: Practice, practice, practice. This is a journey of passion and creativity. Learn all the mediums and get used to working with them. This builds your skill set so you can approach anything with open creativity and confidence. I think social media is useful for showcasing your work and networking with other artists. Work for little or no time to meet people locally and build a community that you can hopefully grow with. It's not a career for the faint of heart, but if you have drive and passion, you can create a wonderful career for yourself.

Talking to Rebecca Wachtel is to understand the magnitude of what it means to be an image architect in Hollywood. Her ability to maintain excellence for decades and adapt to the new visual languages of today's platforms is a lesson for any professional in the industry.

Thank you, Rebecca, for opening the doors to your creative process and for reminding us that behind every iconic look, there is a brilliant design strategy.

We invite you to explore Rebecca's work through her social media channels: Instagram , IMDb , and her official website www.rebeccawatchel.com.

See you at the next Makeup Artist shoot.