Yolanda toussieng biography

Hair and makeup design is critical to the creation of a character, and its effect on the actor might be dramatic or subtle. It could involve any combination of glamour, aging, fantasy, special effects, biographical realism, or period details that recall a specific era. Whether it was the unrecognizable transformation of Robin Williams as Mrs.

Doubtfire or the alluring nature of Uma Thurman as Poison Ivy, Toussieng's artistic direction transforms actors into unforgettable characters. Her first win for the film Mrs. They would try daily during their lunches and got me an interview in I finally started working for Universal in They started me in the wig room since they saw I had previous experience in a wig shop.

My first head job in the hair department was in for the movie The Toy. I would say it was never really a hard road, challenging maybe, but never rough. I loved learning new techniques and mastered them very fast, so I never really had a yolanda toussieng biography time getting to where I am today. Can you tell our readers more about what you do and what you think sets you apart from others?

I am a department head hairstylist. I work with directors and actors to build characters visually in movies and TV. Also, in some of the work I did on the Batman Movies, the character Poison Ivy ended up being one of my favorite characters to work on. To stand on the street and watch these characters walk by in a Halloween parade made me realize how satisfied I was with that part of my work.

My background is in art, and I think I draw a lot from that. Photo caption: Colin Farrell character progression. Lace wig and beard on right. E: Can you also speak about doing doubles. Y: Doing doubles is a very important part of my work. Having a quality double can really benefit a director. On one movie I worked on, the big end sequence required a stunt man on a motorcycle to double the lead.

The director let the hair and make-up department chose the stunt man, and we were able to create a double that was such a good match, the director was able to shoot a lot closer and get a lot more coverage than he was expecting…. Y: The difference between a good and bad double can be in the quality of the wig, finding an actor with the proper hairline, whether or not you need to use a bald cap to double a bald actor, etc.

A lot of it comes down to experience — knowing what tricks to use and what choices to make. The most important job after the look has been created is…. Does it still look right? Is her ponytail still on her right shoulder? Did the dirt stay on, or did the actor wipe it off? Did you attend a school or training program? Who were your mentors? Y: When I started, there were apprentice programs at the studios, and I was fortunate enough to get a job at Universal.

They put me in the wig room, and I stayed there almost a year. The old make-up and hair department at Universal is now the Jurassic Park ride! My mentors were all of the hairdressers I met when I first started in the business. Y: I made it through school by drawing. I had the same art teacher in middle school and high school, and we would illustrate two books a year for the writing department.

It was the most success I had in school.

Yolanda toussieng biography

So I went into hairdressing and took that art with me. E: What advice would you give to someone who wants to follow in your footsteps and do the type of hair and wig work you do? Y: First you need your license. I would then recommend working for the public for at least three years.