Celebrity Makeup Artist Lucky Bromhead
Sing! Dance! Act! Thrive! Podcast Episode 004
My guest today is makeup artist Lucky Bromhead who spends a lot of time with the gang from Schitt’s Creek, as the personal makeup artist to Catherine O’Hara and Annie Murphy.
Lucky and I used to work together many years ago at MAC Cosmetics where she was a trainer. She has worked backstage at Toronto Fashion Week, Fashion Cares, the Sundance Film Festival, the Toronto International Film Festival and as head of makeup at MTV Canada. Lucky has had the pleasure of working with Bono, Kanye West, Elvis Costello, Cyndi Lauper, Alessia Cara, Daniel Levy, and many more.
During our conversation, she gives valuable advice on makeup for actors on auditions and for headshots and for musicians about being authentic. She shares her journey as an entrepreneur in the arts. We have a great discussion about creativity, and following your passions.
Celebrity Make Up Artist Lucky Bromhead
Sing! Dance! Act! Thrive! Podcast Episode 004
Welcome to Sing Dance Act Thrive, featuring conversations with performing artists and industry influencers on what it takes to succeed in the arts. I am your host Diane Foy and I believe that you really can make a living from your creative talents. As a publicist, podcaster and coach. My mission is to educate, motivate and empower you to thrive with authenticity, creativity, and purpose.
Diane Foy 0:41
Hello, and welcome to episode number 4 of Sing Dance Act Thrive. My guest today is makeup artist, Lucky Bromhead who spends a lot of time with the gang from Schiit’s Creek as the personal makeup artist to Catherine O’Hara and Annie Murphy. Lucky and I used to work together many years ago at Mac Cosmetics where she was a trainer. She has worked backstage at Toronto Fashion Week, Fashion Cares, the Sundance Film Festival and the Toronto International Film Festival. She was also the Head Makeup Artist at MTV Canada. She has had the pleasure of working with Bono, Kanye West, Elvis Costello, Cyndi Lauper, and Alessia Cara. During our conversation, she gives valuable advice on makeup for actors on auditions and for musicians about being authentic. She shares her journey as an entrepreneur in the arts. We have a great discussion about creativity and following your passions that I think you will really appreciate. Our connection was a bit wonky during this interview. So bear with us if parts of some words get cut out. You’ll get the gist of it. So I hope you enjoy it.
Diane Foy 1:56
Hello, welcome to the show.
Thank you for having me.
Diane Foy 2:00
So we’ve known each other a long time. I was thinking the other day, I think it’s 1996.
Yes a couple of years ago.
Diane Foy 2:08
Since then you’ve gone on to work with a lot of different artists and have more of your freelance career. What have been some of the highlights?
I’ve been doing it for 27 years, there’s been a lot of highlights really been very fortunate. You know, with my years with Mac cosmetics, definitely things like keying fashion shows and taking part in like Fashion Cares, big aids fundraiser that was definitely a highlight. Also meeting other makeup artist and being inspired by them. You know, that was a huge highlight of that portion of my career. Something most people think, oh, it’s all about celebrities or whatever. But actually, you know, your fellow artists are a huge part.
Diane Foy 2:55
Yeah, MAC was great back then. They offered so much training. We all became better artists for sure.
Absolutely. Yeah, I learned so much with MAC Cosmetics.
Diane Foy 3:08
When did you start with MAC?
I started with MAC and I think it was 1991 or 92.
Diane Foy 3:15
Were you fresh out of like makeup school?
No. I actually, I didn’t like technically go to a makeup school per se. But I guess we’ll talk about that a little later. But you know, MAC was this like company that there was nothing like it before, not only product wise, but you know, even their whole approach to makeup and all that kind of stuff. And they were hiring makeup artists. And I had gone to an art school and you know, I was really drawn to it also because all of the people who worked for MAC looks so cool.
Diane Foy 3:50
Yeah. Like, I want to be one of them.
Yeah. And they weren’t you know, your usual sort of like makeup ladies like they were cool people that looked like they had just stepped out of a nightclub or a runway or something. And I really want to be part of that. It was very exciting. And yeah, so I remember going to the MAC head office, here in Toronto and applying for a job. Oh, yeah. But before I went I shaved off my eyebrows.
Diane Foy 4:23
As you do. Yeah.
Well that seems like a Britney move. It wasn’t any for distress. It was just that I really want to look like I was from the 20’s. And there was that whole movement in the 90’s. That was kind of like a kick back to the 20’s.
Diane Foy 4:39
Yeah, with painted on eyebrows.
Yeah. Everyone who you know, knows someone from the 90’s has known someone who has been eyebrow fatality, too. So yeah, I went in there and with these tiny little eyebrows, and I looked like I was from the 20’s. And, and got the job! So that kind of, you know, that wasn’t the start of where I was doing makeup. But it was definitely like a huge part. So you know, getting a job at Mac definitely was a highlight at the time and doing the all the shows and all that kind of stuff. And you know, at the time with that company, there was a lot of opportunity for growth as well. So, I really took advantage of that, and was very fortunate to have people believe in me.
Diane Foy 5:35
So you moved up the ranks and became a trainer?
Yeah and with that, I got to travel a lot and, you know, do a lot of fashion week and meet a lot of people. And you know, it was almost like they were Mac was like an agency sort of at the time. And together with that, I also got to train other artists all over North America. So I met so many people, that I still have a huge connection to today, like you’re one of them. And, you know, those people branched out all over the world, these makeup artists, and I’m still in contact with. So many of them, and I’m so eternally grateful for that.
Diane Foy 6:20
Yeah, it’s always cool. When you when you look through a magazine or see something on TV, its like, Hey, I know that makeup artist.
And in some cases, I know that actor or I know that musician. People say that would be your side job. So, you know, there was just a lot of creativity going on there back in the day. And it was really very cool. So I was there for quite a few years. And then I decided to you know, I had done my time there. I did what I needed to do. And then I moved on to MTV which was launching in Canada. I use to be the head of makeup there and did all of the shows that came out of that building and there was a lot!
Diane Foy 7:05
When I became a publicist, I took artists to that show, I forget what it’s called MTV Live, was it?
Yeah, that was one of the shows. Yeah, that was the show that the musicians would play on bands and musicians and stuff. There were quite a few shows, there was One Girl, Five Gays, there was the hills after show and the after show and movie night and MTV Live, like he said, and oh my goodness, we had so many shows coming out of MTV, and I did the makeup for all of them. And so that was a highlight as well working in live TV and learning how to work in live TV was, you know, it was really like an episode of 30 Rock. And really, really fun and crazy. And also, I got to meet some of my idols growing up, and do grooming and makeup on some of those people, like, you know, the Beastie Boys and the Cult. And you know, and then there would be these people who were these kind of up and coming people that you know, would get thrown into your makeup chair and you really didn’t know what was going to happen with their career. They seemed talented. But you know, some of them would sort of disappear and others would, you know, be the names that we know like Adele and Rihanna. So that was a very cool experience.
Diane Foy 8:27
Oh wow, Adele back then.
Yeah, she was really funny. We all loved her. But yeah, so that was a very cool time.
Diane Foy 8:34
That’s a thing like you get to know people a little bit while they’re in your chair.
Oh, for sure. Yeah. And it was really neat. Also, it kind of spoiled me a bit for seeing live music because, you know, the bands would do their sound check. And there would be no one in the concert hall except for maybe their management and I would always go up and watch regardless of who the band was or what the genre of music was. It was always said something that was interesting to me. So I get to watch with the sound tech and you know, it would just be five people and me watching. You know, the Beastie Boys do a sound check or whatever.
Diane Foy 9:13
Yeah, I’ve been in those situations too where you’re like, you’re one of five people there. And you’re just is this really my life?
Yeah. And then they would finish the song. And you know, in your mind, you’re hearing like a screaming crowd that then there’d be like five people like clapping.
Diane Foy 9:30
And you’re one of them. You’re like, how did I get in this room? Especially when it is someone that’s amazing that you are a fan of.
Oh, yeah, it’s so cool. And then, you know, after that after I left him to do eventually, I realized I had to like buy tickets and stand in front of the stage. Like often I would watch from the side of the stage as well, while they were performing. And suddenly, I would have to like stand in line up and buy the ticket and be a normal citizen and I was like, wow, I really got spoiled. And I had no idea at the time how, you know? Absolutely fortunate I was it was so cool.
Diane Foy 10:09
And were you with MTV until it was no longer in Canada?
Pretty much I left just before it went away. Is it still around? I don’t even know it’s awful, because I don’t really watch that much TV.
Diane Foy 10:25
Like much music is just it may be out there. It’s just not the same.
Right. I don’t know how much original content they do anymore. So yeah, but I left a few years prior to, you know it is changing a lot. And started mine like, full on freelance career. Because even though I worked at MAC and I worked at MTV, and you know, these places I also freelance on the side all the time, because, you know, you kind of have this fear freelancer’s fear.
Diane Foy 10:56
What was it like going from, you know, steady paycheck to all of a sudden, you have no idea when your next job is?
Oh, well, at the beginning, it was terrifying. What? Why? I thought what am I doing, I was so used to kind of looking at my calendar and having all these in wanting to work, whether it was on the show, or you know, my job as a trainer or whatever. And then all of a sudden, it was like tumbleweeds rolling across like, and I was so terrified. But I have to say that it’s one thing that I sort of have to pat myself on the back, is that I kept freelancing, even though I had a full time job, because it kept my you know, contacts out there in you know, the quote, unquote, real world. And so when I started freelancing, I reached out to all the people that I was freelancing with before. Unfortunately, I had also made a lot of contacts at MTV, through record labels. And, you know, actor management and stuff like that. So I reached out to those people, and my freelance career picks up incredibly quickly within two weeks, I was working regularly. So I only had two weeks of pulling my hair out.
Diane Foy 12:22
Yeah, well, that’s better than a lot of freelancers. So along the way, have you been steady ever since? Or has there been those down times?
Yeah, no, well, the down times now are self-imposed. Which is a very nice position to be in. And, you know, I always feel like it as soon as I say something like that I look for something wood to knock on. As we all know, with our, our career, you know, things change, you know, there’s no such thing as job security, even with a you know, quote, unquote, normal job. So that you kind of feel it a little bit more as a freelancer. And then I just kind of, I just try to keep going. And only in the past few years, have I been able to sort of go, Okay, I need to take some time off. Because I’m tired or I need to be re inspired or whatever. So, only in the past little while, but yeah, and then I guess I should know the other highlights in my freelance career then. Obviously, Schitt’s Creek, which was.
Diane Foy 13:40
Yes, going to bring up that, like, you made such great contacts at MTV, because like Dan Levy was part of the MTV crowd.
Yeah. So, you know, I got to work with Dan and I still work with Jesse Cruickshank all the time as well. Which is lovely. And but yeah, Dan, when he left MTV, I remember him coming back and saying, I never realized how important the vibe in the makeup room was, and how important it is to be around the artists in the makeup room that you feel like they are interested and they’re invested. Because, you know, there’s some situations that lack that. And so you know, and then in turn Dan introduced me to his dad, and then his dad, you know, takes me on some of his projects sometimes. Which is so lovely. And then, strangely, I started working with Catherine O’Hara separately from all that gang.
Diane Foy 14:45 Oh, really. It wasn’t even through Schitt’s Creek?
No, we started working together on the on a show that I created called Match Game. And she was a guest. And she was there for three days. And we just got along so well. And she took my card. And you know, we kind of started, our relationship that way. And then fairly shortly afterwards, Schitt’s Creek came around and Dan asked if I wanted to be part of it of course like he has to ask.
Diane Foy 15:18 It’s a dream cast.
And I said, you know, do you know who’s playing the mother yet? And he said, yeah, Catherine O’Hara. And so I was going to reach out and see if, you know, she was interested in having a personal and I was like, Oh, my God, I was just working with her. This is amazing. So you know, it all kind of really fell into place on its own and lots of really fun things that happened through that as well. Like this past summer. Martin Scorsese did a SCTV reunion documentary. So, you know, I got to sit in a hotel room with Martin Scorsese, Catherine O’Hara and her friends. Margaret Overman is a brilliant writer. And, and the girl who does hair on Schitt’s Creek Ana Sorys, and we hung out in a hotel room with Martin Scorsese like what? This kind of crazy, right?
Diane Foy 16:17 Again, it’s one of those moments that you’re like, I’m really in this room. Yeah.
I often think like, you know, 12 year old me growing up in my little hometown and Summerland, B.C. think, if someone would have told me at that age and living there that I would be in this place right now ever feel like, right.
Diane Foy 16:38
So on the set, that’s some pretty funny people that you work with on Schitt’s Creek. Do you just die laughing every day?
Every single day. Well, first it starts in the makeup trailer much to the chagrin of Eugene who is just trying to sit in silence and but we are all he’s great. We all laugh on that trailer before we even get to the set. And then, you know, I mean, everybody saying Annie Murphy, Chris Elliott, just every single person is so funny. And it’s so incredible to watch them work. And honestly, we are laughing all the time. Every take is different. You never know what’s going to happen. Everybody can it keeps you on your toes. It’s the most fun. It really is quite amazing.
Diane Foy 17:33 Wow. Yeah. Must be amazing to be around all that energy.
Oh, yeah. And just watching how they have that energy bounces off of each other while they’re in. You know, Eugene and Catherine have like a 40 year relationship. And then you know, bringing in fresh it you know, like Annie Murphy and Dan and watching Dan and his dad together watching Dan watch his daughter Sarah is the cutest thing in the world. So it’s fun to have that kind of elements on the show as well. And it’s just brilliant to all around really. And it’s such a wonderful crew as well, because the whole crew is so talented. The Art Department, the writers, you know, like everybody is just so freaking talented. It’s crazy. And, the bar is raised so high, and you go to work every day, striving to meet it wanting to meet it know, like, be enthusiastic to get out of your comfort zone and do better. And it’s an inspiring situation to be in.
Diane Foy 18:48
Yeah, and Catherine’s character on there is like, it’s always fabulous, you know, makeup and hair styles and hats and clothes and all that. Did you have any input in like creating the character’s makeup?
Yeah. She’s so I mean, I think that this is how it goes with most people. I’m not sure. But with Catherine, it’s, it’s a she is a very collaborative person, she does have a very, you know, I think it may be comes from her improv background or something, I don’t know. But she’s, she’s just a very open minded person, she does have a clear vision of what she wants, but she’s also interested to hear how you see things and how you interpret. And I remember, you know, after reading the scripts, we sat down together and she said, Who do you see when you see this woman? And I described what I saw. And she was like, yeah, I’m on board with that. I’m yeah, I see that, too. So then we started doing makeup tests. And, and, you know, we came up with Moira Rose, whose makeup doesn’t change too much, because we decided that there were a few things that Moira really had to hang on to because she just does not want to let go of who she was in her, you know, in the good years, in the rich years. And so, you know, my interpretation of that was kind of how Anna Wintour never changes her hair. But, you know, it’s always in style. And Moira’s look is kind of something that’s smoky eye is a classic thing. Mind you, we exaggerate it a little bit. So that it’s you know, Moira, but yeah, so we decided that her look was something that regardless of she was, you know, going to buy groceries in Schitt’s Creek or go to the cafe her we can’t win. When does she ever buy groceries? Why did I say that? She’s always in the cafe, when she’s going anywhere she’s going to put on that red lip. It’s her it’s her armor against the reality of living in that town. So it was fun to do that. And then you know, of course there’s the other people on the team, Deborah Hanson, and together with Dan Levy, do the costumes and I mean, everything that she wears is legit. It’s real. It’s there’s nothing knockoff designer. It’s all real. And they’re just so brilliantly curated and put together and she I love watching her you know teeter around in the crazy Alexander McQueen heels through Schitt’s Creek. It’s just the most fun thing to watch.
Diane Foy 21:51 And where do you shoot that?
We shoot well in studio in Toronto for some of it and then the other stuff is in Uxbridge in a little town called Goodwood. Anna Sorys as you know, does these amazing wigs and hairstyles and she and Catherine have a lot of fun collaborating on those as well. And yes, it’s just we laugh so hard in the trailer, its criminal, really.
Diane Foy 22:20 And how long does the shoot last? Like? How many months? Are you shooting?
Lucky 22:25 We shoot about three months, all together.
Diane Foy 22:29 And then what do you do? What other type of jobs fill in the rest of the year for you?
Well, I work on The Great Canadian Baking Show also with Dan. I try to, you know, I kind of go from show to show if I can. But in between I do other I have other clients, you know, like Jesse Cruickshank and Alessia Cara. And, you know, so I’ll do shorter gigs with those people generally, unless I’m doing a show with Jesse. But yeah, I kind of in between the shows that I’m doing, I will do my other clients, because people or will do press days as well. Actors will come in to promote these are musicians will be promoting an album. And so you know, I’ll do stuff like that. That’s fun, too.
Diane Foy 23:28
Yeah, I want to ask you about working on set. I know as being a makeup artist myself. But there’s always etiquette, professional etiquette when you’re working with celebrities. So I wanted to ask, what do you think the do’s and don’ts are for talent when they’re working with a styling team?
I think being on honest in your communication and being articulate with what it is you want him don’t want. And to treat every single person with kindness, because and respect because every person’s job is important on the set. So you know, when you’re going in fresh, maybe you don’t realize that the person who’s bringing you coffee or whatever. It’s highly possible that in two years, they’re going to be the person hiring you. Because things change very quickly in our industry. And you never know who you’re talking to. And even beyond that even behind self-serving thing like that, where it’s like. You only have to be nice to people who are important. Just being kind to people, the more famous people that I work with, the kinder they are, they have high standards, and they have high expectations, but the way that they treat people is with respect.
Diane Foy 24:52
I found that to like, the more famous the person is they’re just so amazing and sweet. And then it’s those mid ones that are just like the ego it takes over. Do you ever find that a makeup artist ends up being like an assistant? Yeah, get me coffee, get me this?
Well, it depends on the genre that you’re working in. Because that’s not really going to happen on a film set. Because there’s specific people dedicated to those specific jobs. So you would actually kind of be stepping on someone’s toes who’s been hired to do those things. But there’s definitely you know, when it comes to, especially the beauty team, there, ones can get blurred, I think because it is an intimate thing, doing someone’s hair and makeup. And you do become very close with people because you’re around them for and not only around them, you’re right in their face for 16 hour days, sometimes for months and months. So you start to know everything about them. You know, sometimes they rely on you for certain things just to you know, provide a safe space for them. And all of that stuff is great. But I think that you also have to, you know, keep in mind that you’re at work, it’s a job, you know, don’t get it twisted. And keep your mind on what’s happening. The purpose of why you’re there, you’re there to do the job. And treating people respectfully is always going to be a win.
Diane Foy 26:292
Yeah, if that’s just your way you are with everyone, it’s gonna read that and the way you treat people is usually how they treat you to.
Lucky 26:38 Yes, what you give out is what you get back.
Diane Foy 26:40
So do you have advice for I know, like on set, you know, talent has the makeup artist, but a lot of actors might well, when they’re going to audition, they go, do their own makeup, stage theater, I know they end up doing their own makeup. Do you have any advice for them?
Sample if you’re gonna go to an audition, I think it depends on a few things as far as how you how you take care of your parents. One is where you are in your career. So you know, if you’re if you’re starting, and you want to kind of be a blank slate, and even though you’re auditioning for a specific role, you can do things with your hair and makeup that give a direction of the character. But I think if you really, really camp it up, or go too strong in the direction of what you think the character is going to be, it can limit you. So I would keep it subtle, but you know, it’s okay to give a bit of a flavor of the person that you’re trying to depict. Because you also want to show them that you are easy to direct and you will listen to direction and maybe, you know take on a completely different direction than the one you came in with. But if you’ve already really made up your mind about what’s going on with this character sometimes that can work against you. And I know a lot of actors that I know who go for meetings with people, you know, rather than having an audition, sometimes you go for like a lunch. And they’re really just kind of seeing if they can see you as this person. And you know, I know that sometimes the actors that I know will just do this very subtle thing. Like if they’re playing somebody from a certain era, they’ll wear a skirt that kind of evokes that feeling. Or, you know, a little hint of a red lip or something. You know what I mean? They’re not coming in character. They’re coming as themselves with a flavor of the character that they’re hoping to play.
Diane Foy 28:48 And what about makeup for head shots?
Yeah, I think if again, if you’re starting, I think I would keep it as natural as possible. Not too trendy, not too heavy. Obviously, you want to look grim. But you know, I wouldn’t go with any crazy trends like big eye browse or crazy highlighter on your shapes, really bold colors or anything like that. I think that’s the best way to be just to look like yourself and sort of openly yourself. Unless I mean, I also know that some people, if they’re trying to change the direction of their career, like you know, if they’ve only been playing one type of role for many years, they will do head shots that kind of look a little bit more grown up, more vampy or more, you know, whatever the direction that they’re trying to go. But again, it will be a flavor of something it won’t be, it won’t be drag. Because really, you need to look like yourself, when you show up to that audition. They have to look at your head shot and look at you and say, oh yeah, that’s the same person. If you’ve been made up and retouched to the point of not being recognizable, then that’s not good.
Diane Foy 30:15
And what about for musicians who, you know, the character they’re playing is often just themselves. So they wouldn’t have the rules of keeping it simple. But do you have any advice for musicians or performers in creating their look?
Wow, you know, it’s interesting, because so many of the people that I admire, the strongest common thing that I can say about them is that they are undeniably themselves in whatever shape that takes. So if you’re Karen O’, or, you know, they always look like a work of art in a way, you know, and they do their makeup and ways, but kind of Avant-garde, and I tend to admire the musicians, and the artists who really listened to themselves because it’s really easy to be put through sort of a machine, you know, like a publicity machine where you, you are supposed to look a certain way. I do think it’s important to show up, and to care about what you’re doing all the time. But I think it just that can mean different things for different people, maybe my advice would be to an artist like that, is that if you’re working with someone like makeup artist, don’t do anything that you’re uncomfortable with, sometimes, you know, there’s certain makeup artist that really want to kind of put their stamp on you. And I think that it might not be who you are. So you know, be vocal in saying what you do and don’t want. Don’t let somebody impose anything upon you. Whether it’s what you’re wearing, or how you’re wearing your makeup, or your hair or whatever, do what you feel is the expression of you is.
Diane Foy 32:23
This topic is pretty much the reason I got into coaching is that so many artists come to me for publicity, and they’re just not ready. They don’t have their stuff together. And so I’m taking them through foundation of really getting to know who they are, what their values are, what looks they’re comfortable in. And once you kind of figure all these things out, when you go to do a photo shoot, or you do work with a makeup artists or fashion stylist, you know exactly what you want.
Yeah, and I think it’s important to think about that as a performer. And what that is, you know, and because you can have the opposite spectrums of things where you’re someone like Alicia Keys, who doesn’t want to wear makeup anymore, or your Lady Gaga, or you’re, you know, you can, there’s room for all this stuff, there’s room for all of it and more in terms of what your images, but it’s important for you to know what that is, and embrace it, and stand in it.
Diane Foy 33:36
So a lot of artists are entrepreneurs, they have to be a freelance themselves, what skills and knowledge should be a priority to acquire?
Budgeting is definitely important, because there are going to be those times where you’re like, wow, how am I going to pay my rent, you know, when I was started freelancing, I would make sure that my rent and bills were covered, and you know, food and stuff like that, were covered. And then I would try to save a little bit as well. And so, you know, even if something really went awry, and I really wasn’t working, that I would have a bit of a backup, so at least I would have money and saved up to cover those things in the event of a dry spell or, or whatever life brings you a family emergency, you know, things happen. It’s not just about not working and having a dry spell other things that can happen to take you away from work and having some money saved up is always a smart thing. You know, having a good presence on social media is important nowadays, and building a community around yourself is very important. And that’s not just with clients, it’s actually probably more so with your fellow artists, because although they may be your greatest competition, they’re also your greatest allies. So keeping your community alive and supported and giving where you can back to your community is important. And I would just say, you know, in those down times too it can be like quicksand, you know, if you start to feel like negative about it. So I wouldn’t dwell there too often if possible. I just try to keep busy, do creatives because you know, your portfolio, your social media, all that stuff has to stay looking fresh.
So I’ve changed careers a lot. Like I just discovered there’s a name for it. It’s a multi-potentialite or multi-passionate. Was there anything else you ever wanted to do?
I’m a little bit like you in a way that my job changes daily. So yes, I am showing up in your makeup. But I don’t know if I’m doing beauty or especially effects or, you know, working with somebody for red carpet, or it changes all the time, and the people that I’m seeing change all the time. So I never get bored. And on the side, because it is an art and a visual art. I also I paint and I take drawing classes, and I do things like that as well. Just not for money. And theatre, as well. I went to theater, school and stuff. So I you know, it’s always been about the arts in some way, which it sounds like for you too similar. Comes to my career, I just never, I understand where for some people that they want to be able to kind of multi, it’s not multitask that’s not the right word, you would probably be better at describing this.
Diane Foy 36:45
I’ve learned a lot since I just it was a TED talk. It was fantastic. Or I’m like, OMG, she’s describing me of how you’d be okay, I want to be a lawyer. And I put all my energy into that. I go to law school, and then I’d get bored. And then I wanted to be in a punk rock band. So I put all my effort into that, as you just went on and on about I’m like, omg it’s me. Like, I loved makeup when I was doing that. I did it for a long time. But I think I’ve discovered my Why is I just always want to be around the arts and performers. But what I do in that world changes because I get bored. I get bored. And also I get you have so many different interests. Like there’s a million things I want to do. And I can’t do it all. That’s frustrating. You have too many interests?
Yeah, I can relate to that. I for sure. I really relate to what you’re saying. But I think that because I’m challenged so often in my job. But it’s how I have set up my career. Where it’s been, you know, a lot of people just do bridal, for example. And that is amazing for them, I would die. Don’t get me wrong. I like doing it sometimes. But you know, if I was just doing the one thing all the time, and I’m kind of I’m very lucky because I’ve kind of, I work in different genres of makeup all the time. I still work in the fashion world, and I still do editorials. And I put I do TV and film sometimes. And I you know, it’s always different. Whereas some people will pigeonhole themselves into just one thing. And I think that, if that’s what I was doing, if I was only doing body painting for the rest of my career. I think I would maybe start to go a little Cuckoo. I mean, on the side, I do, I really want to say do do but I’m a 12 year old boy and its going to make me laugh, I do do other things. I like writing and you know, and I actually kind of collaborate with some of the writers on some of the shows that I work with, on occasion. And that’s kind of a underlying passion of mine, that maybe someday in the future. You know, I don’t really make these, like specific kind of goals for myself. I just do what makes me feel good. And what keeps me satiated, and things that I try to align myself with people that elevate me, and give me a sense of integrity about what I’m working on. And I think as long as I continue to do that, then I will remain happy at what I’m doing. And I’m never sure where that’s going to take. And I’m okay with that. If suddenly I write something and it works out and people pay attention to it, or that would be great. But if it doesn’t, that’s okay, too, because I have other things that also keep me happy and creatively fulfilled and stuff.
Diane Foy 39:57
Yeah, it’s cool to have like a new or interests that may be, you know, you can start doing little by little and see what happens.
Yeah, well, I think to what you’re saying, though, I think it’s important to not sort of plug away at something, if you’re bored by it, something’s wrong, you got to either look into, you have to inspire yourself, if you’re if you know, in back your mind that you’re very passionate about that one specific thing. And you keep going back to it, even though you stray from it for a little while you keep going back to it, you never should feel like you’re plugging away at it. Being inspired, sometimes takes work. Everyone thinks that you just sit there and inspiration, you know, comes down like a butterfly and lands on your shoulder, which does sometimes, but you got to feed it, you got to work for it, it’s a muscle, it’s a muscle that you have to work out.
Diane Foy 40:53
Same with anything, well, anything, but also anything creative. You know, you have to make it a practice.
Yeah, and but if it’s something that you’re practicing and practicing, and it always feels wrong, or you always feel bored, then, you know, maybe it’s time for you to reassess.
Diane Foy 41:13
And I think the multi potentiality thing is that we kind of throw ourselves in to a certain topic, because we’re just, like, thirsty for knowledge and, and dive right in. And that takes us a while to figure out that maybe it’s not what we want to do long term, but you know, we just are so obsessed with that time, and then it kind of loses interest. And then oh! something shiny over there. We have a new interest. But that’s what makes it passionate.
Lucky 41:40 Right? But that’s okay, too. Because you acquire all that.
Diane Foy 41:44 Yeah, and it all comes together.
You know, it’s like it, that’s actually great. And this is the stuff that makes human beings incredible. All of that experience, all those tangents that we go on all the time. And, you know, it’s one thing that I think freelancing has taught me in a way, is that the future being unknown, is a gift. Whereas before, I used to look at the future being unknown, and be terrified. But, you know, the future being unknown can take on any shape. And the potential for that is astonishing, and, you know, terrifying and exhilarating. So that’s one thing that freelancing has taught me is to embrace that train of thought.
Diane Foy 42:40 So I won’t ask you what your five year plan is.
Lucky 42:45 Well, I plan to turn five years older, and accumulate more dogs and watch more Netflix.
Diane Foy 42:56 For me, it’ll be cats, and maybe a dog.
Yeah, I, you know, I’ve never done that sort of, I think that most people though subconsciously have a checklist, you know, sort of a thing that, but for me, I don’t have that sort of, you know, write it down kind of plan, things will happen. And I’ll go, oh I just marked that off of the checklist that I didn’t even realize that I had going on my head that you know, it when you accomplish.
Diane Foy 43:28 Yeah something in the back your mind that you always kind of want to achieve.
Yeah it’s important to always try to, you know, not every second of your life. Yeah, that would be crazy. But I think it’s, it’s a good thing to do things that scare you a little bit.
Diane Foy 43:46
I think after a while you get used to that fear, I think, because some people look at my life and go, Oh, I couldn’t, I could not live that way. And I’m like, I’m just so used to it. Like the ups and downs, it’s a roller coaster, what goes up must come down, and vice versa.
Yeah and everything’s cyclical. So, you know, even when it comes to really, really amazing things happening, and having a really great stretch in your career where you’re working a lot, you’re working on all these great projects, and all that kind of stuff, everything comes down again. And, you know, this is when we were talking earlier about treating people with respect, it’s like, you know, some people are on their way up when you’re on your way down. And vice versa. And but you know, the thing is, is that even when you’re like quieter, and when I say down, I don’t mean that, like you’re, you’ve failed or something like that. It’s just that you’re in maybe an incubation phase with your creativity, or, you know, you’re quieter or whatever. And especially in this industry, there’s a new flavor of the week, every few weeks now. And so you know, someone’s going to be like the cool person that everybody wants to work with, and whatever, but then that goes away too and then all of a sudden, you’re working on something that people are like, I remember her she was good, let’s, let’s try her again. It comes back. Like it’s all cyclical. And I have faith in that. And so even when I sort of feel like, you know, a little trepidatious about the future, I have faced and I try not to compare myself to other people too much. Because that can be especially in the age of social media, I just try to be happy for other people’s accomplishments, which I do genuinely feel. And I tried to just do me and I did the same advice that I was giving to the artists that we were talking about, about knowing who you are, and what you’re famous, you have to do that in my field too.
Diane Foy 45:47
I ask this of everyone at the end, what is your big picture? Why? Why do you do what you do? What is the driving force?
I think that what I do marries so much of what brings me joy. So the relationships that I make, and the fun that I get to have with people and being around people who inspire and elevate me. And the hands on work, the actual artistry, it, marries all of those things. And that’s what keeps me going every day.
Diane Foy 46:28 Cool. Any final words of wisdom?
Lucky 46:30 Get enough sleep. Take care of yourself. Remember to eat.
Diane Foy: Remember to eat, that’s a big one for me anyways.
Lucky: You know I think for most hair and make up people, remember to eat. Self-care is really important. RuPaul said something like you know – if you can’t love yourself? How the hell you gonna love somebody else? Can I get an Amen up in here?
Diane Foy 46:57 Wonderful. That’s words to live by via RuPaul. Thank you for taking the time out to talk to me and being on the show. And where can people find you online?
Lucky 47:09 Oh, I’m lucky make up across the board, Twitter, Instagram, Facebook, Lucky Makeup.
Diane Foy 47:14 And your website is luckymakeup.ca?
Lucky 47:17 Yes
Diane Foy: 47:18 It was wonderful to talk to you.
Lucky 47:20 You too. It’s so nice to hear your voice. Thank you for having me!
Diane Foy 47:23
Thank you. It was so great to talk to Lucky. I hope you enjoyed the interview. She had some great things to take away from it. One important thing was treat every single person with kindness and respect. For auditions, she said depends on where you’re at in your career. If you’re starting out, you want to be a blank slate. You want to show them that you’re easy to direct. And you can add a little flavor of the character you are going out for but keep it subtle. For musicians and performers, her advice mirrors mine, and that it’s important to be authentic with who you are as an artist. And when working with an image team be vocal about what you’re looking for what you want and don’t do anything you’re not comfortable with. She pointed out the building a community is important, not just with your clients, but more so with your fellow artists. Although they may seem like your greatest competition, they’re also your greatest allies. One thing that was amazing was what freelancing has taught her is that the future being unknown is a gift. The future being unknown can take on any shape. And the potential for that is astonishing, terrifying, and exhilarating. And freelancing has taught her to embrace that. For more detailed show notes visit dianefoy/004 and I’ll have links to Lucky’s website. And if you enjoyed the episode, please subscribe, rate and review and share with your fellow artists.
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