AN EVENING WITH... HEBA THORISDOTTIR

"The Other Boleyn Girl" by Justin Chadwick / Scarlett Johansson & Heba Thorisdottir

Recreating History: In "Once Upon a Time in Hollywood," you recreated the glamour of 1969. How do you ensure that a period look doesn't feel like a "costume" and instead feels like living skin breathing under the California lights?

- Heba: The film captured a pivotal moment in Los Angeles, reflecting both the cultural shift and the evolution of its fashion scene. The “old guard” was giving way to the emerging Hippie lifestyle and fashion, which made the collaboration between myself, Janine Rath-Thompson, Hair Designer, and Arianne Philips the Costume Designer, especially rewarding creatively. Unlike on Inglourious Basterds, where KNB took care of the character FX Makeup, Quentin didn’t want exact likenesses, so it fell on my department to do the character work. I had more contact lenses in that film than in other project I have done! Contact lenses are such an easy way to change people without a lot of makeup. Quentin preferred Dakota Fanning with her beautiful blue eyes but added, you girls decide and of course in addition to freckles all over her face, chest and arms, she got brown eyes! In the first scene she shot, she was standing in the doorway talking to Cliff Booth (Brad Pitt) and had to face the bright California sun the entire scene. Her character had this ice-cold stare and barely blinked. Afterward, she said that she couldn’t have achieved that without the lenses—they functioned almost like sunglasses, allowing her to maintain that intense, unwavering gaze.

Before reading the script, I assumed I would be doing Sharon Tate’s “signature makeup” on Margot Robbie. However, Quentin wrote her as an almost dreamlike figure—seen in quiet, intimate

moments: waking up, running errands, simply existing. It was a brilliant choice, revealing a side of Sharon the public rarely saw. As a result, her look remained predominantly natural, with minimal makeup except in a couple of scenes. In the beginning, I began shaping Margot Robbie's eyebrows to match Sharon's, and the more the eyebrows looked like Sharon’s, Margot started to resemble Sharon less. When I realized that, I paused and we discussed it and we ultimately chose a middle ground that honored both Sharon’s essence and Margot’s natural features. Brown contact lenses also played a key role in completing her transformation.

Additionally, we had unexpected casting contrasts, such as a blonde, blue-eyed actor playing Roman Polanski, and then Damon Herriman (Manson) suddenly walked in, shaved with short hair! "Once Upon a Time in Hollywood" was truly my dream job.

The Tarantino Standard: Working with Quentin demands absolute fidelity to analog texture. What is the challenge of designing for a director who rejects CGI and wants everything, even the most subtle makeup, to feel real and organic?

- Heba: I absolutely love working with Quentin, and one of the main reasons I do is that he wants everything to be practical. He shoots everything on film, which helps with makeup because there is still magic in film, whereas with a digital camera you are just recording. (For those who don’t know, film are still frames, and when the film goes through the camera, it loses a click between frames, which the eye doesn’t catch, hence the magic.) So, if someone has a breakout or skin issues, it’s easier to hide with less makeup. Personally, I connect better with characters in films if they look more real, and for me, part of that is seeing skin. Therefore, skincare has been a huge part of taking care of my actors, so less foundation is needed. I like makeup to be alive and move with the person and not just sit immaculately on top, unless it’s necessary.

The Narrative of Color: You've defined iconic looks for very powerful characters. How do you begin to build a character's color palette? How much does the script influence it versus the natural chemistry of the actor in your chair?

- Heba: I start with the script and do a little breakdown in my head of where the person is from and where they live now. If they live on a farm or in a city, and what year the film is set in, it already tells me what their finances are and what they have access to. Besides the Director, I also meet with the Costume Designer and look at photos from fittings, and of course, I work closely with the Hair Designer. Sometimes we change hair color completely, and I need to adjust my color palette to the hair first and foremost. Finally, when I have the actor in my chair, we discuss the look. Hopefully, I’ve armed myself with enough information to answer their questions if they have any and inform them if they are perhaps asking for red lips and we are in the 60s etc. I try not to form a fully concrete opinion of the makeup before discussing with the actor what they have in mind. Then I arrange all the information I’ve gathered and propose ideas. A lot of what I do comes from instinct and being inspired by someone’s face more than by mood boards. I will make those with a general idea and time period to show the actors, but when it comes time to do it, I try to elevate what they have in the most minimal way, if that makes sense.

Marvel Universe vs. Arthouse Cinema: You've jumped from huge blockbusters like "Captain Marvel" to films with a very personal aesthetic. How does your "360 Artist" workflow adapt when transitioning from the technical precision of VFX-heavy films to the creative freedom of arthouse fiction?

- Heba: I don’t see them as opposites, I see them as two different kinds of precision. The approach for both mediums is fundamentally the same. It begins with the script and evolves through close collaboration with the Costume Designer, Director, and actors. The key difference in film with heavy visual effects is the additional layer of communication with the VFX department; what will be achieved practically versus digitally. On a Marvel film, the work is incredibly technical. You’re designing for multiple cameras, heavy VFX integration, continuity across reshoots, and a very specific pipeline. Every detail must hold up under extreme scrutiny, because it’s going to be enhanced, layered, and sometimes reinterpreted in post.

In auteur-driven films, the precision becomes more emotional. You have more freedom, but also more responsibility to create something that feels completely lived-in and specific to the character. There’s less to ‘hide behind,’ so the work must feel instinctive and truthful in a different way.

My workflow doesn’t change as much as my focus does. In one, I’m engineering the look to survive a massive system. In the other, I’m shaping something more intimate and human. But both require the same level of intention it just manifests differently. On a Quentin Tarantino set, if I’m unable to step in for a touch-up, I know that whatever needs adjusting will be visible on screen. In contrast, on a Marvel production, there is more flexibility. If something cannot be addressed in the moment, I can relay a note to the script supervisor, and it can often be corrected later through visual effects.

"Once Upon a Time in Hollywood" By Quentin Tarantino / Margot Robbie ©Columbia Pictures

360 Collaboration: Makeup doesn't exist in a vacuum. What is your working relationship like with costume designers and cinematographers to ensure the final look is cohesive on screen?

- Heba: With costume, I’m always looking at texture, color temperature, and how fabrics will reflect or absorb light because that directly informs finish. A silk dress might call for skin that feels luminous and fluid, while something matte and structured might need a more controlled, sculpted face.

With the DP, it’s a constant dialogue. Our collaboration is essential. I want to know: what is the light doing? Is it forgiving, harsh, directional, cool? That determines everything from undertones to how far I can push dimension.

At the end of the day, we’re all building the same illusion, just from different angles. When it’s working, you don’t see makeup, wardrobe, or lighting separately. You just feel the world.

As Head of Department, what is the secret to managing large teams on massive productions while maintaining quality and detail in every shot?

- Heba: Building a team you trust is key. Then communication. If you have a great team and good harmony, things run smoothly. And you as a boss, must remember you have a team so you don’t need to do everything. I pick my team with it in mind that we are only as good as the weakest link, so I always pick artists with different skill sets so we are covered no matter what gets thrown at us. As they say, there is no I in team and hopefully we can shine together as one. Every compliment is for all of us and if we do not deliver as expected, then it is on me!

"Kill Bill: Vol 1" By Quentin Tarantino / Chiaki Kuriyama ©Miramax Films

The psychology of glamour: You've worked with the biggest stars in the world (Margot Robbie, Scarlett Johansson, Brie Larson). How do you make them feel confident and empowered before they get in front of the camera?

- Heba: For me, it starts with creating a calm, grounded environment in the makeup chair. Always read the room and see where the actor is emotionally that day. There are days where they are chatty and other’s where they want quiet. Let them lead the way. The makeup trailer is often the first moment an actor has to settle into their character for the day, so the energy in that space really matters. I try to stay on top of continuity, the schedule, and exactly what we’re shooting, so I can guide the process and answer any questions they may have. Staying a step ahead—whether it’s anticipating adjustments, maintaining continuity across takes, or knowing when they want a sip of water. When actors feel supported and not overwhelmed by the process, they can fully focus on their performance.And of course, sometimes it’s as simple as handing them a good cup of coffee, tea… a shot of Tequila! or whatever helps them settle in and feel ready.

Heba's kit: If you had to choose three products that define your style and never fail in your beauty or character designs, what would they be?

- Heba: Scarlett Johansson used to joke with me about what I’d do if MAC® ever stopped making Pearl Cream—it became one of those staple products we always relied on. Thankfully, it’s still around, and I’ve made sure to keep a good stock of it over the years. A lot of my makeup artist friends even send theirs my way if they’re gifted some, so it’s become a bit of a running joke.

In general, I tend to rely on products that are versatile and dependable. I love Iconolab Oil—I’ll use it directly on the skin; mix a few drops into foundation to sheer it out, or layer it on top when I want to bring back a natural glow. Alcohol palettes are also a staple for me because they allow for longevity on camera.

"Django Unchained" by Quentin Tarantino / Leonardo Di Caprio ©Columbia Pictures

Listening to Heba Thorisdottir makes one understand that cinema is, above all, a matter of vision. Her ability to transform skin into a narrative canvas has defined the aesthetic of the last two decades. Heba reminds us that makeup is not an embellishment, but a language; a way of saying who we are and what we dream of even before speaking a word. Her legacy is not only in the awards, but in the visual memory of millions of viewers who cannot imagine their heroes and villains without the trace of her brush.

Thank you, Heba, for your vision, for your rigor, and for reminding us that true magic happens at that moment when technique surrenders to emotion.

Your shadow in the history of cinema is as long and vibrant as the red of your most iconic characters.

. 

Keep exploring Heba's impeccable work on her projects via Instagram and IMDb. www.hebathor.com

See you on the next set, Makeup Artist.