Peter Jackson Quotes

I always do makeup touch-ups myself, especially for blood, wounds, and dirt. It saves so much time.

It was a challenge to be able to create a character without being able to use one's normal set of expressions. All the rubber and makeup attached to your face left you with only a modest range of facial movements.

All that prosthetic makeup drains you. By the time it's lunch, you're done.

When I played Tonto in 'The Lone Ranger' and was playing the older Tonto, I would just leave the makeup on and go to sleep because it was a four or five hour job; it was, from the waist up, all over me.

I did 'Slither,' so I've done seven hours in the makeup chair. So two hours for zombie makeup is like nothing. That's a walk in the park for me. When you do seven-hour makeup and then eight hours of work, you're thinking, 'Oh God, what did this do to me?' You're under that rubber forever. It's crazy.

When I was younger, my goal in life was to work in special FX makeup. Liquid latex and fake blood! That was the dream!

Some people ask me, Do they put aging makeup on you? It's just this very nice street makeup.

I'm still learning how to do things - like lining my eyes? Forget it.

My big challenge, I will say, is contouring. God help us all with contouring.

I trip off it. You know what's interesting about the makeup is when you get up close and you know he's been working on your face, and you see where the makeup starts and it stops, and how seamless it is. You could look at it for hours.

In a pinch, I could always get work in pictures as a makeup artist.

I like to work in films, but I'd love to work in the technical side of film. I'd love to work with, say, Greg Nicotero [The Walking Dead] in kind of, like, special makeup effects. I'd probably say, "Good with clay and latex." Although I don't know what kind of job that'd get me.

At the worst it was eight hours of makeup, and I couldn't sit down; I was in this crouched position. [on the traumas of being an actor in full make up]

Technically, a makeup artist's canvas is the face and body. The difference is that my painting of makeup is integrated into the painting of the flesh and not on top of it. I think in some ways it is more difficult to expressively deploy makeup.

Put it this way: If I had to go back to 1968 and wear the makeup that John Chambers made for the original 'Planet of the Apes' series, I think I would rather wear a unitard.

I was at Pepperdine University in Malibu, and during my sophomore year, I played a dying burn victim on 'ER.' The makeup artist put burn makeup all over my body and I couldn't move or eat for 12 hours. I lost 8 pounds that week.

Paying to teach in the trenches was like putting my face through a cutout hole at a carnival while a quarterback threw pies at me. At least with a carnival, I'd see it coming.

Film is not an easy occupation. There's a lot of occupations that are difficult and film is one of them.

Making films is hard. Awesome, but hard.

I love playing 'Madame Vastra.' Although I do suffer, spending three-and-a-half hours in make-up every morning to have her lizard skin put on. I was so excited the first day when we did the make-up test, but after six hours, I was like, 'Can we finish now?'

When I was little, I didn't know you got paid for acting. My parents put the money in the bank for me, but I just thought it was this fun thing that I was so excited to do. You got to be on the set and get a little bit of makeup and be on camera.

I love sitting in the makeup trailer and getting my makeup done in 15 minutes as opposed to an hour and a half.

I asked, 'What is this guy?' They said, he's part-fish, part-bird, maybe a bit of lizard, and you don't have to go through five hours of makeup to play him. That was good enough for me.

I think that makeup can be challenging, especially when you are younger.

I think the toughest thing about being an actor in a film is to be with a director who doesn't know what they want. And that can be really, really frustrating.