AN AFTERNOON WITH... ZAIRA ADÉN

"Sirât" by Oliver Laxe / Richard Ballamy

Zaira, the title of your most talked-about project, Sirât , evokes a path of absolute precision where there is no room for error. How do you translate that philosophy to working (makeup & FX) on a highly demanding set like this project?

- Zaira: In my opinion, it's important to find a balance between what looks realistic (due to the responsibility of the narrative), what is feasible to reproduce and withstand long hours of work in extreme temperatures, and what protects the actors' skin. In the case of the summer desert, skin care was a priority: protecting it from the sun and any skin conditions resulting from the intense emotions experienced while acting, as well as from the extreme scenes involving exposure to the environment and the earth. By acknowledging these constraints, some premises naturally become clear. Then there's the artistic aspect and what we can propose in purely aesthetic and narrative terms. This part involves more communication with the other departments and is a collective endeavor that is both necessary and rewarding.

Productions like Sirât present unique environmental challenges. How do you maintain the technical integrity of your materials when weather conditions threaten to ruin the makeup and effects finish?

- Zaira: This is a very complicated issue. In Sirat, we had a food cooler, and the motorhome's air conditioning was always on. The truth is, the prosthetic changes were done on set under almost impossible conditions. Honestly, this question highlights a filming accident: we had to make some changes inside a vehicle, protecting ourselves from the hot, sandy winds, because the glue-laden brushes would harden within a 15cm stroke.

In modern cinema, the success of a prosthetic or transfer lies in its seamlessness. What protocol do you follow to ensure that the transition between skin and material is so smooth and realistic, especially under the scrutiny of 4K and 8K?

- Zaira: I always have options and spares for everything I propose. Up until now, for projects requiring special effects, I've planned with production autonomy and a stock of various sizes and models of prosthetics. For each day of prosthetic use, I have six copies in their silicone flat molds: one at base camp, one in the retouching bag on set, one the actor is using, one in case of an accident during the initial application, and two in case one of the prosthetics doesn't dry properly and I have to choose. During rehearsals, it's important for me to dedicate enough time to trying them on actors, understanding the characters' behavior, and working with them to develop ways of using the prosthetics. Due to logistical and geographical reasons, I usually meet the actors in person shortly before filming begins, so I prepare the prosthetics at home in different sizes to have options available for rehearsals. 

Consultations with the photographer are also important. While I prioritize transparency in flat-mold prostheses for better skin integration, these often present photographic challenges with light reflections, as their opacity differs from that of skin. That's why camera tests are crucial to address any doubts or potential issues.

Color integration is what truly "crosses" the bridge to realism. How do you work with layers of transparency so that the color isn't superimposed, but rather seems to emanate from the actor's own skin?

- Zaira: I always find it easier to darken than to lighten (for example, to add a touch of sun to skin with reddish tones). The pale scenes were achieved with ultra-pigmented makeup and extremely hydrated skin, so that the makeup layer would be as thin as possible. Areas of the pale face that don't need lightening (for example, dark circles or the eyelid) are left without makeup, and darker pigments are added later if needed (to exaggerate a vein, a sore or inflammation, or to redden a tear duct). I apply all the darkening colors with makeup that lacks opacity, so that I can spread them on the skin while maintaining its natural transparency (just as our veins show through our skin, we have to leave this sense of transparency). It's a process similar to watercolor painting, where the opacity comes from the paper, and we only layer diluted pigments.

In thrillers with a very defined aesthetic, how do you decide the level of realism of a setting so that it contributes to the plot without breaking the visual sophistication of the film?

- Zaira: It's built little by little, and I usually raise the issue with the director, the continuity supervisor, and the director of photography. There are many adjustments on set to what I've already started to consider during pre-production (more dark circles under the eyes, fewer dark circles, dark circles lower, dark circles higher, etc.). We don't want any one particular element to define the character's state; the beauty lies in subtly witnessing a general deterioration. I also like to give this deterioration a social connotation; for example, sharp, slanted dark circles that convey dynamism and proactivity, or rounded dark circles that suggest a more skeletal or defeated character.

"Sirât" by Oliver Laxe / Bruno Núñez & Sergi López ©El Deseo / 4A4 Productions

For a design to work, the team must be a cohesive unit. What professional standards do you demand in your environment to ensure the makeup department's machinery never loses its balance?

- Zaira: I've never had large teams with me, but I hope to work like that someday. I think it's wonderful to work without being bound by what's considered "beautiful or ugly," so we can delve into the story we want to tell. I believe it's important to prioritize skin health to reduce the amount of "concealing" work involved in makeup, to be extremely careful with disinfecting materials, to feel comfortable raising any questions or problems, and to communicate with other departments so we're all on the same team.

The psychology of the "Bridge": The actor must blindly trust your technique to be able to fully commit to the character. How do you build that bridge of mutual trust during the hours of work in the chair?

- Zaira: It's difficult when it comes to people who aren't used to having makeup done. I genuinely believe in looking after the actors' health, and I always keep a first-aid kit of skin remedies, both natural and conventional, to help with any problems that may arise.

"Sirât" by Oliver Laxe / Sergi López

You've seen the evolution of the industry from the inside. To what extent has the use of high-definition silicone molds allowed makeup artists to focus more on the artistry and less on correcting technical errors?

- Zaira: It's a radical change, and it's fantastic to press the silicone flat molds against the skin so the prostheses adhere as well as possible. It ensures less preparation time and controlled continuity. I prioritize this whenever possible, and I prefer it a thousand times over transfer paper.

What is your method for ensuring that "continuity" in the character is technically consistent over weeks of filming, and how do you maintain that continuity in dusty and windy environments?

- Zaira: This film had very few direct makeup continuity shots, which helped a lot. It was a road movie shoot, and the most important thing was that the makeup could withstand hours of filming. Then it's about making the daily schedule understand that the actors live and need touch-ups every day so they can eat and rest. It's all teamwork.

For those who see your career path as a guide, what is the fundamental pillar that, once crossed, transforms a makeup artist into a true professional character artist?

- Zaira: I think we're all professional character designers as long as we do it and train for it. It's great to share with colleagues and emphasize interdepartmental collaboration. Understanding the contexts of the films we make helps us make decisions. This is something we should all be able to do: the more we know about the film's social environment, the more tools we have to play with telling the story.

We are deeply grateful to Zaira Adén for sharing her valuable time and expertise with our community. Her 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 makeup.

We invite you to continue exploring Zaira's impeccable work on her projects through her social media accounts on Instagram and IMDb .

See you at the next Makeup Artist shoot.