AN EVENING WITH... JENNY LIN

"Hypnotic" by Robert Rodríguez / William Fichtner

You've worked on visually massive projects like Alita: Battle Angel and Hypnotic. How do you design makeup for productions where interaction with CGI and visual effects is constant?

- Jenny: Working on projects with heavy visual effects requires thinking about makeup in both an artistic and technical way.

On “Alita: Battle Angel,” collaborating with the VFX team at WETA and Director of Photography Bill Pope was incredibly important. You have to understand how lighting, 360 scan sensors, and digital augmentation points will interact with the makeup you create on the skin.

What made Alita particularly unique was placing a fully CGI character alongside a fully real character, played by Christoph Waltz. The goal was to make that interaction feel completely believable.

Director Robert Rodriguez wanted the character of Alita to have subtle, enhanced makeup elements—eyeliner, mascara, shadow—so that when her eyes were digitally augmented, it felt natural and grounded. That collaboration between the makeup department, visual effects, and the director was fascinating to witness.

Even on technically complex productions, the foundation is still real emotion and humanity. Makeup helps anchor the character so the audience believes in the world.

In Spy Kids: Armageddon and We Can Be Heroes, the tone is more family-friendly and vibrant. What challenges does it present to maintain freshness and color in action films aimed at a young audience but with the technical demands of Robert Rodriguez?

- Jenny: Working with Robert Rodriguez is a master class in efficiency and creativity.

His sets move incredibly fast, and he's deeply involved in every aspect of visual storytelling. Robert often edits footage every night and sometimes sends notes early the next morning, allowing us to quickly adjust as production continues. I have enormous respect for how hard he works and how clearly he communicates his visual vision.

For films like "Spy Kids" and "We Can Be Heroes," the makeup needed to feel vibrant, youthful, and energetic without appearing artificial. Color plays a significant role, but it still has to translate naturally on camera and remain consistent throughout long shooting days.

We often filmed outdoors on the backlot in extreme heat… sometimes over 100 degrees (38°C) on hot asphalt, so durability and longevity of wear became as important as aesthetics.

The challenge was to create bright, animated characters that looked full of energy and life, while maintaining continuity and realism.

You led the makeup department for Queen of the South for 46 episodes. How do you manage the makeup evolution of a protagonist who goes from fighting for survival to wielding absolute power, ensuring the change is credible to the audience?

- Jenny: That kind of character evolution is one of the most rewarding aspects of long-form television storytelling.

With Teresa in “Queen of the South,” the transformation couldn't feel sudden. It had to develop gradually so that the audience felt her rise before consciously noticing the visual change.

Early in the series, her look was softer and more vulnerable — minimal makeup and very natural skin. As she grew in her power, the makeup evolved with her: stronger structure, sharper definition, and more intentional choices.

Storytelling often moved between the younger Teresa and the future “Queen” version of her character. The Queen's look was structured and controlled, while young Teresa's appearance was raw: sweat, dirt, cuts, and exhaustion.

That visual contrast helped reflect her emotional and psychological journey.

After a series with such a heavy load of action and crime drama, how was the transition to designing a series like "Tell Me Lies", where makeup must be subtle but loaded with emotional intention and 2000s nostalgia?

- Jenny: "Tell Me Lies" was a completely different challenge, and one that I loved.

The makeup is intentionally subtle but carries a lot of emotional narrative weight. The series moves between the mid-2000s college years and a 2015 timeline, so the makeup needed to reflect those periods authentically without feeling like a costume.

The 2000s weren't one singular look; there were clear shifts between early, mid, and late decade trends. We also saw the rise of YouTube beauty culture, which influenced makeup trends of the time.

Textures were key… glossy lips, soft shimmer, smudged liner, and youthful skin. In the 2015 timeline, we started to see more intentional contouring and lip definition reflecting the characters' maturity.

Lucy's makeup, for example, evolves with her emotional state. Sometimes it's polished, sometimes enhanced for themed parties, sometimes messy, and sometimes almost bare.

I also loved collaborating closely with the DP (Director of Photography) and lighting team. The series has very atmospheric cinematography, so choosing textures that interact beautifully with light became a major part of the overall visual design.

More details here if students and makeup artists are interested:

HOW TELL ME LIES MAKEUP DESIGNER...

"Alita: Battle Angel" by Robert Rodríguez / Rosa Salazar

You are Gina Rodriguez's personal makeup artist on projects like "Not Dead Yet" and "Lucky 13". How does having such a close and lasting creative relationship influence proposing new looks for each different character she plays?

- Jenny: Working with an actor consistently builds an incredible level of trust.

When you know someone's face, their expressions, and how they move on camera, you can design looks that truly support their performance. Over time, a shorthand develops where communication becomes very intuitive.

Gina and I met while working on "Spy Kids: Armageddon." I remember her telling me she loved how I led my department with respect and care for the crew, and that meant a lot to me.

That level of trust allows us to explore creative ideas together while ensuring she always feels safe and supported in her character.

What is the biggest benefit for a production when the lead actor has their trusted makeup artist leading their image, especially in terms of workflow and confidence on set?

- Jenny: Trust and efficiency.

Film sets move incredibly fast, and actors are under immense pressure. When they have someone they trust helping them get camera-ready, it removes a lot of stress from their day.

It also creates a smoother workflow for the department because communication is clear, and continuity is easier to maintain.

When actors feel supported, they can fully focus on their performance, which ultimately benefits the entire production.

"Alita: Battle Angel" by Robert Rodríguez / Christoph Waltz

You are currently at the helm of "NCIS: Origins". As a prequel to such an iconic franchise, how much pressure is there to respect the established look, and how much room do you have to innovate and create a 90s aesthetic of your own?

- Jenny: There’s definitely a responsibility when working within an established franchise like NCIS, but a prequel also gives you the opportunity to explore the world before everything became familiar.

With NCIS: Origins, we wanted to honor the DNA of the franchise while embracing the textures and aesthetics of the early 1990s. That meant different finishes… more satin-matte skin and understated makeup that reflected the time period without feeling overdone.

The goal is authenticity – to create something true to the era that also feels cinematic and relatable to a modern audience. 

In series like "The Gifted", "character" makeup is fundamental. How do you organize a team so that special effects and beauty makeup coexist harmoniously under a single creative vision?

- Jenny: Communication, preparation, and respect for the team are everything.

On The Gifted, we worked closely with special effects designer Corey Castellano. Our work often overlapped; for example, I would create Jamie Chung’s beauty makeup for the character Blink, and the SFX team would add her tattoos and prosthetic ears afterward.

Other characters required entirely different approaches… some mutants based purely on beauty makeup, other creatures driven by special effects.

Experiences like The Gifted, which had a massive cast, reinforced something important for me as a department head: no one can do it alone.

Throughout my career, working in production hubs from New Orleans to Dallas, Atlanta, Los Angeles, and now Toronto, I’ve learned how essential collaboration is. Every artist brings unique strengths to the department.

My role is to guide the creative vision of the showrunners, directors, and writers, but the collaboration within the beauty and SFX teams is what truly brings that vision to life.

Some of the most valuable lessons in my career have come from observing other departments… directors, cinematography, wardrobe, lighting, and visual effects, because great makeup design only works when it supports the entire visual language of the film.

"Queen of South" Season 3/4  / Alice Braga ©USA Network

At the end of the day, makeup is a storytelling tool.

Whether I’m designing a look for a sci-fi world, a crime drama, or a character-driven series, the goal is always the same: to help the audience feel something without taking them out of the story.

One of the most important lessons I’ve learned as a makeup designer is that great work is never created by one person. The best departments are built on collaboration, trust, and respect for every artist involved.

When every department works together towards the same vision, that's when filmmaking becomes truly magical!

Listening to Jenny Lin is learning that makeup is, above all, a narrative tool. Her ability to jump from the most complex science fiction to the most intimate realism makes her one of the most complete and respected professionals in the industry.

Thank you, Jenny, for teaching us that the smallest details are what make a story unforgettable. We look forward to seeing how you continue to define the image of modern television.

We invite you to continue exploring Jenny's impeccable work on her projects through her social media instagram and IMDb.

See you on the next set, Makeup Artist.