AN EVENING WITH... JANA CARBONI

The Ridley Scott Style: You've worked on visually massive projects with Ridley Scott. How do you translate his pictorial and atmospheric vision into makeup design?

- Jana: It always starts by reading the script several times. The more I read it, the more details I uncover, and those details shape the vision. I take a lot of notes. It's about research, really delving into the story and its world.

Then comes the conversation with Ridley: understanding the tone and atmosphere he wants. He is incredibly prepared. His storyboards, which he draws himself, are a massive key to unlocking the visual direction.

From there, I go back to my archive. When I'm not working, I spend time in museums and exhibitions, collecting images and references that trigger something emotionally. I document everything; I know that at some point it will find its place.

I also spend a lot of time with the costume department, sometimes even sneaking in there. That collaboration is essential for me. My mother was a costume designer, so I naturally feel at home there. Harmony is everything. Hair, makeup, and costume are not separate things: they are one language.

Then I build the mood boards, often placing all the characters together. I need to see if the vision works not just individually, but as a complete world.

The Sequel to an Icon: In Gladiator II, you faced the challenge of continuing a historical visual legacy. How did you decide which elements to retain from the original aesthetic and how to evolve them for current camera technology?

- Jana: It was a real challenge. We needed a new vision, but one that still carried the legacy of the original Gladiator. The beautiful thing about working with Ridley is that he never repeats himself; he doesn't play it safe. That pushes you, but it also requires confidence in your choices.

The core of Gladiator II was contrast: the upper classes —refined, cosmetic, opulent— and the lower classes and gladiators —weathered, scarred, sun-baked, raw—. That visual tension is everything, and I think it really comes across on screen. Designing the twin emperors was also a highlight; it's always exciting to create the "bad guys."

The scale was one of the biggest challenges. Some days we had 18 main actors and up to 1,000 extras. There was a lot of exposed skin, which meant constant work on tanning, texture, and tattoo cover-up. The nobles were pale, while the lower classes were deeply tanned and sun-baked.

Filming in extreme heat, with up to 18 cameras rolling at once, meant everything had to be right immediately. There were very few takes and almost no time to fix anything. That's where a strong team becomes everything, and I'm lucky to have the best.

The Realism of Battle: Your work often involves mud, blood, and sweat. How do you make this "dirt" look realistic and not "made up", maintaining continuity during weeks of filming in extreme conditions?

- Jana: It's all about layers: textures, tones, depth. I have a very pictorial approach, probably rooted in my art school training, combined with a true obsession for detail.

I often ask Dave Stoneman to create custom dirt for me, and I only use my own JC blood; yes, I have my personal shade of fake blood with my initials. 😂 Those details matter, and they're part of what makes my work recognizable: the "Jana touch."

But most importantly, everything has an intention. The dirt and blood are never random. There's always a reason: why it's where it is, what it says, how it happened.

So, please... don't be careless with your fake dirt and blood. 😂

Every project has its own palette, its own language of textures. I approach every film as a completely new world.

House of Gucci and Luxury: In this project, you transitioned from war to the extreme glamour of Italian fashion. How is makeup used to tell the evolution of a character (like Lady Gaga's) across decades?

- Jana: "House of Gucci" was pure joy. For a Roman girl who grew up in Italy in the 90s, it was a dream. Recreating those characters—the Tom Ford era, the Versace runways...—it was heaven.

It was unapologetically cosmetic, glamorous, and audacious; more was more. The complete opposite of "no-makeup makeup." We went big.

Working with Lady Gaga and her team was a beautiful collaboration. Gaga had a very clear and powerful vision; she really immersed herself in Patrizia. It became a true creative exchange and, honestly, it was a lot of fun.

"Napoleon" by Ridley Scott / Vanessa Kirby, Joaquin Phoenix & Scott Handy

Leadership in Epic Projects: As a department head, you sometimes lead dozens of makeup artists. How do you ensure the "visual signature" of the design remains perfect on every extra and every main actor?

- Jana: First of all, you need the right people around you. And yes, I can be a bit of a nag. I don't let it go until I get exactly what I see in my head.

I rely heavily on makeup demonstrations because I find it difficult to explain my vision with words alone. Showing it visually is key. My team now understands my language, but preparation is everything.

I also make a point of spending time with the extras (the crowd). It's important. On set, my role is to support my artists, constantly supervise, and maintain a dialogue with the core team to keep consistency. And yes... I can still be a bit of a nag. But that's how things get done right.

Skin Under Ridley Scott's Lens: Scott is known for his lighting and multiple cameras. How do you adapt skin textures to work under his specific lighting schemes?

- Jana: Working with multiple cameras means everything has to work from every angle: 360 degrees. There's no "off-camera." Everything is visible, all the time.

So you can't be careless. You have to be proactive, alert, and always think ahead. Planning is crucial, especially when actors have multiple looks in a single day.

Days are not necessarily long, but they are intense. Ridley expects talent, but also endurance. And he sees everything. Every detail.

At the same time, unless the story demands otherwise, he loves skin that looks like skin: natural, alive, often dewier than matte.

"Gladiator II" by Ridley Scott / Paul Mescal  ©Paramount Pictures

The Actor's Bond: In period films, the makeup process is the actor's final transition into character. How do you help actors of the caliber of Vanessa Kirby or Paul Mescal find that truth through your design?

- Jana: For an actor to perform at their best, they need to feel the character. That connection is essential. Making them feel heard is the foundation of trust.

With both Vanessa Kirby and Paul Mescal, there were significant transformations, but they trusted me, and I listened. That trust is the greatest compliment.

The emperors were also a true process. Ridley had a very clear direction: red hair, inspired by a punk aesthetic. Finding the right tone was crucial, and Giuliano Mariano, hair designer, did an incredible job, especially with the complexity of men's wigs.

For my part, I wanted something opulent yet slightly decadent, very Satyricon. It was about layering subtle imperfections, like Fred's acne, created with delicate Probondo pieces, to break the perfection.

Jana's 360 Kit: On a big-budget blockbuster, what are those products or tools that you consider "your salvation" on set?

- Jana: For me, skincare is as important as makeup. I'm constantly trying new brands and formulas, but there are also timeless essentials that never leave my kit.

I'm a big fan of Chantecaille® and Suqqu®, for both beauty and skincare. I also love Armani®, Surratt®, and Victoria Beckham Beauty®, which I use a lot on set.

For skin prep, I rely on Le Domaine®, Weleda®, and Yon-Ka®, 111Skin®, African Botanics®, Dr. Barbara Sturm®, Elemis®, Santa Maria Novella®, Mario Badescu®, and Talika®. I'm also very interested in tools; LED therapy is a big part of my routine. My favorites are CurrentBody® and Foreo®, and I often use NuFACE in the morning to prep and lift the skin.

Then there are the old-school basics I always carry: my Ben Nye® bruise wheel, my custom JC blood, Ben Nye® cake eyeliner and Joe Blasco cream shadows, and classic RCMA® makeup jars... plus, a neutral quad of Chanel® shadows is always somewhere in my kit.

For foundations, I tend to rotate between Surratt® drops, Armani Luminous Silk, Lisa Eldridge®, and Chanel Les Beiges for women. For men, I prefer lighter foundations like Chantecaille® or Chanel® BB creams, with Tom Ford® and Chanel® bronzers for subtle sculpting and warmth.

"House of Gucci" by Ridley Scott / Jared Leto, Florence Andrews, Adam Driver, Lady Gaga & Al Pacino

The Evolution of the Craft: After years at the top, what do you think is the most important skill a young makeup artist needs to develop to work on international productions?

- Jana: Talent, passion, humility, teamwork, patience, and a strong work ethic—these are essential.

The post-COVID boom created a false perception of the industry, especially for the new generation or those who started during that time. Suddenly there was an enormous amount of work, and that made it seem like that was the norm—constant opportunities, rapid progression—but that's not the true nature of this business.

It's great that today there are so many solid makeup and hair schools that provide a strong foundation. But after that, you need to put in time within a team. If you want to become a designer, you need to truly understand your craft, and that takes time.

Don't rush. Don't skip steps. Don't jump from trainee to supervisor. That apprenticeship time is invaluable: it shapes you.

Now we're returning to a more realistic pace: less work, but with people who are fully responsible and experienced in their roles.

In my team, everyone has their place, but when necessary, we are all on the same level. We support each other; that's what makes a strong team.

 Young Jana: If you could go back to your early days in the industry, what advice would you give yourself to successfully navigate such gigantic and demanding sets?

- Jana: I've always been a bit of an old soul, and quite shy when I was younger. Looking back, I wish I had approached this journey with a bit more lightness.

But I'd say: stay true to yourself. Trust your instincts. Not everything has to make sense, and keep pushing yourself to get to the next level... stay curious!

Be yourself, even if you feel a bit strange. That's exactly what makes your vision special.

"Gladiator II" by Ridley Scott / Joseph Quinn ©Paramount Pictures

Conversing with Jana Carboni is, in essence, diving into the living history of contemporary cinema. Her career teaches us that makeup is not just about brushes or products, but about possessing a deep sensitivity to understand light, the weight of history, and the vibrant humanity that inhabits each character. Jana represents the ultimate aspiration of every artist: the ability to transform the most rigorous technique into a form of pure magic, capable of making us believe in other worlds, whether in the arena of a coliseum or the immensity of a desert future.

Her legacy lies not only in the iconic images she has helped create alongside directors like Ridley Scott, but in her work philosophy, where respect for the craft and the relentless pursuit of authenticity through art are the only rule. Thank you, Jana, for your generosity in sharing your vision and for being a constant inspiration to all of us who love this profession. Your mastery reminds us that, as long as there is an artist capable of seeing the soul through the skin, cinema will continue to be the most fascinating mirror of our existence.

We invite you to explore Jana's work through her social media channels Instagram, IMDb. 

See you on the next shoot, Makeup Artist.