AN AFTERNOON WITH... Laura Pérez

The Impact of the Gaudí Award: You've won the Gaudí Award twice (2021 and 2023). How do you manage technical rigor and creative pressure to achieve that level of excellence in projects as different as La Vampira de Barcelona and Los Renglones Torcidos de Dios ?

- Laura: Winning a Gaudí Award is recognition of teamwork and a very specific way of understanding this profession. In my case, technical rigor and creative pressure aren't managed separately; they go hand in hand from the very beginning.

The technical rigor begins long before filming: research, historical documentation, materials testing, camera tests, and a very precise design of the makeup and special effects in constant dialogue with the director, cinematographer, and costume designers. In The Vampire of Barcelona, ​​for example, it was essential to respect a very specific historical context, create believable characters, adapt the makeup to black and white, and at the same time create a dreamlike world in the color sequences, as required by director Lluís Danés.

In The Crooked Lines of God, however, the creative pressure was different. In this case, the design was handled by Montse Sanfeliu and Carolina Atxucarro. The challenge was to develop the characters' psychology, their emotional and mental exhaustion, and to do so in a progressive and coherent way. The challenge lay in maintaining impeccable continuity and using makeup as a narrative tool to accompany each character's internal evolution.

To manage pressure, preparation and trust in the team are key for me. When the groundwork is solid, creativity flows more freely, even in stressful situations.

You currently manage the makeup, hair, and special effects departments. What is the biggest challenge in unifying the vision and execution across these three disciplines? What advice would you give regarding time management between prosthetic application and hair styling ?

- Laura:

On a film set, the priority is getting things done: speed, reliability, and immediate decisions. There isn't always time to explain why; what matters is that it works now.

In teaching, on the other hand, it's about breaking down the process, making controlled mistakes, and understanding causes and consequences.

The key is to teach criteria, not just techniques: Why you choose that material and not another. When something "works" on camera and when it doesn't. Which mistakes are acceptable and which ones can ruin a shoot. Combining time between filming and teaching is practically impossible due to the long and demanding schedules of a fiction film shoot. For this reason, I've chosen to concentrate my teaching into one intensive course per year, held at Stick Art Studio, lasting three weeks. My goal is to quickly impart all the knowledge required for a fiction project so that students graduate prepared to face the professional market and approach any type of project with sound judgment.

The Genre Challenge: Your specialization in SFX and your passion for horror films are evident. How does the need for hyperrealism in horror influence the design, sculpting, and application of prosthetics, and how does this differ from historical setting FX?

- Laura: In horror films, hyperrealism isn't an aesthetic choice. The viewer has to believe that it's part of the body, even if it's grotesque. If the prosthesis is perceived as an "effect," the horror is lost. Therefore, in the design process, we always look to real and forensic anatomy for reference.

In volume, even a millimeter of excess can turn a believable wound into something cartoonish. The fine work on edges, pores, and transitions is key because the prosthesis should disappear, not impose itself.

And finally, in the application, the integration is meticulous: invisible edges, transparencies, very subtle layers of color, controlled highlights. The design considers movement, perspiration, breathing, and time spent in the frame. The prosthesis has to withstand the elements without revealing itself.

In contrast, in a historical setting the objective changes. The aim is not to shock, but to complement the narrative.

Prosthetics are usually integrated into a set of settings: clothing, dirt, hair, aging... and the whole must have a purpose and create a character or effect.

The Key Piece of the Kit: In the creation of silicone prostheses, the precision of the mold is crucial. Speaking of flat molds and transfer tools, what do you look for in a mold to make it a 'must-have' that justifies the investment?

- Laura: Without a doubt, Platsil 20 is my go-to material for creating flat molds. It guarantees that the piece transfers a clean volume, precisely preserving the modeled texture without distortion or loss of detail.

Furthermore, its strength and durability make it a reliable tool for continuous use, essential when the mold has to perform both in the workshop and under the real-world conditions of a film shoot. This stability is key to working safely, achieving consistent results, and optimizing on-set time.

When a mold always performs the same way, it ceases to be a risk and becomes an asset. And that, in SFX, is what truly justifies the investment.

How do you achieve an undetectable blend between a realistic SFX prosthetic and the skin on set? What role do the surface finishes (texture) of your molds play in the final credibility demanded by award-winning films?

- Laura: The fusion between a Bondo prosthesis and the skin is achieved by understanding that the integration does not begin in the application, but much earlier, in the mold.

In a set, bondo works like a living fabric: if the volume, thickness and edge are not well resolved from the beginning, no adhesive or makeup will correct it later.

The most common mistake is trying to "fix" on set what should have been resolved in the workshop. When the prosthesis is well-designed, the integration becomes almost automatic. When the mold is well-made, the Bondo is not perceived as an addition, but as a continuation of the body.

The Stress-Reduction and Efficiency Factor: On a demanding shoot, how does the reliability of your equipment (that it doesn't break or fail) influence stress reduction and time optimization? What's your go-to piece of equipment for quick repairs on set?

- Laura: Reliable equipment allows you to focus on other aspects during filming, rather than worrying about whether the prosthesis will last one more shot. This reduces stress, improves communication with the director, and prevents delays that ultimately affect every department.

With years of experience, you know that the materials you use guarantee the piece will maintain its durability throughout the entire day on set. Under normal circumstances, retouching or refreshing color and/or blood will only be necessary if the narrative requires it.

But in the event of a catastrophe, my "wild card" material: I usually carry several copies of the prosthesis, along with Pros-Aide cream or Telesis, which allow me to quickly resolve any unforeseen event without compromising time or quality.

On set, safety doesn't come from improvising well, but from having planned everything beforehand.

The Success Profile: You've worked at Stick Art Studio and Zero SFX. What well-rounded profile do you think a FX makeup artist needs today, and how do you balance technical skills with a leadership mindset?

- Laura: Today, a special effects makeup artist needs a much more well-rounded profile than a few years ago. Mastering techniques is no longer enough; the modern professional must combine technical skill, creativity, time management, and on-set leadership.

A prosthetic artist must manage the entire prosthetic lifecycle: design, sculpting, molding, application, and finishing. Knowledge of materials, adhesives, and how they behave on camera is essential. Versatility allows for adaptation to different genres: horror, historical, fantasy, aging effects, and more. Each project demands unique criteria, and the makeup artist must anticipate potential problems before they arise.

A special effects makeup artist doesn't just apply makeup: they lead a team, coordinate with production and other departments, and make quick decisions that affect filming. This requires composure, clear communication, and the ability to prioritize. Technique without leadership is like having tools without knowing when or how to use them.

The more reliable you are in your materials and processes, the more confidence you inspire in the team and management. This allows your leadership to be natural and respected, not imposed. But above all, and perhaps most importantly for me, it's about creating a healthy work environment, leading the team with respect, and ensuring that each day ends with everyone feeling they've enjoyed themselves and reaffirmed their love for this profession.

At FX, technical skill and leadership are essential, but without respect, motivation, and positive energy, the results are unsustainable. A motivated team not only works better, but also learns, collaborates, and contributes creative solutions that elevate the project's quality.

The Rookie Mistake and the Solution: What is the most common conceptual or application error you see in students starting out in prosthodontics? What practical exercise do you recommend to quickly improve fusion and coloring skills?

- Laura: The most common mistakes I observe are usually an incorrect choice of materials, modeling process or final application. 

The problem arises when the appropriate products are not used for the molds or the technique is not controlled, which causes the prosthesis to not correctly transfer the desired volume or texture.

Even with a good mold and prosthesis, failing to achieve a realistic skin effect is often due to not using the right product to replicate pores, lines, or the specific texture of the area where it will be applied. Sometimes, even with a well-applied prosthesis, too much color or blood is added. This ruins the piece, destroys the subtlety of the pores and details, and negates the intended realism.

To achieve a good prosthesis, it's necessary to work on it from the modeling stage, ensuring that its volumes, pores, and lines are realistic. Depending on the area where it will be applied, sometimes it doesn't even require color; too much color or blood can ruin all the previous work. The key is to respect the original piece and enhance it just enough so that it looks authentic on camera.

It's important to acknowledge that the new generation, interested in pursuing academic training or learning from practicing makeup artists, arrives with a solid foundation. This is reflected in high-quality work, fully valuable for their professional development.

Trends in Materials: Are there any emerging techniques or materials in SFX, whether in prosthetics, adhesives, or coloring, that you think we will see more of in the coming years and that are changing the way we work?

Laura: After years of experience in the industry, we've witnessed the constant evolution of materials, designed to make the FX professional's work easier. Personally, I'm all for trying new products as they come onto the market, while still relying on those that have already proven their effectiveness, combining them strategically. The ultimate goal is always to guarantee the durability of the work and achieve the most realistic finish possible.

However, no matter how excellent a product is, I believe that the application and judgment of the artist are the true determining factor of the final result.

Regarding artificial intelligence, I admit that it is an area that causes me some concern.

The Portfolio That Stands Out: If a young makeup artist aspires to work on your team, what do you expect to see in their portfolio? Are you looking for a diversity of techniques or perfection in a specialization?

Laura: I especially value finding work with realistic finishes, whether through mastery of various techniques or through a clearly defined specialization, since not everyone excels equally in every discipline. Depending on the needs of each project, it's essential to have professionals who are proficient in the specific techniques it requires.

The goal is always to form a solid and complementary team, in which each member contributes their knowledge and specialization to fit together like the pieces of the same machine: where one cannot reach, the other can.

Although I must admit that after years of experience, it is a priority for me to create a team that, apart from being great professionals, are also positive people who bring harmony to the team and to a work set.

Having won multiple awards for your art, if you could give just one piece of advice to the Laura Pérez who started out in 1999, what would it be? What should newcomers know about perseverance in this profession?

Laura: This question evokes a special emotion in me, because when I started my studies I thought I loved this profession, but with time I can say that reality has far exceeded my expectations. To my past self, I would say to continue believing in herself, to train as much as possible, to learn from current professionals, and to understand that it's not an easy path, but that with effort, perseverance, and dedication, goals can be achieved.

To those just starting out in the industry, I would convey the exact same message: continuous training, perseverance, curiosity, attitude, and commitment are fundamental. And, above all, avoid unnecessary competitiveness and admire and/or learn from your colleagues. One of the phrases I repeat most often in my courses is: “Your classmate, in the future, could become your best client and your best ally in any challenge.”

We are immensely grateful to Laura Pérez , two-time Gaudí Award winner, for sharing her perspective as a leader in makeup and characterization. Her success demonstrates that excellence requires a fusion of passion for the art, discipline on set, and the selection of reliable tools .

We invite you to explore Laura Pérez's work through her social media: Instagram , Imdb .

See you at the next Makeup Artist shoot ;)