AN AFTERNOON WITH... KYRA PANCHENKO

"Marty Supreme" by Josh Safdie / Kyra Panchenko & Gwyneth Paltrow ©A24

Kyra, you've been Nicole Kidman's trusted makeup artist for decades. For a new makeup artist, how do you achieve that level of understanding where the actress entrusts you with her image for characters as opposite as those in "The Undoing" or "Being the Ricardos"?

- Kyra: With Nicole, you come prepared... she trusts in you, the director and her team (HMU and costumes) to come up with the design for the character and we do a lot of tests.. you work on the details of the person she is playing such as wigs, sometimes prosthetics, or just minor adjustments such as eyebrows or lip shape... altering anything that helps her get into character. 

In Kill Bill, you created an aesthetic with Quentin Tarantino that is a pure pop icon with Beatrix Kiddo. How do you balance the need for makeup to be functional for action with the creation of an image that must be visually "powerful" and timeless?

- Kyra: Working with Quentin Tarantino on "Kill Bill" was a dream. Quentin had a very clear vision, especially with Uma's yellow tracksuit and I drew on many comic book references to shape the overall look and vibe of her character, The Bride.

Her hair and makeup had to physically withstand intense action scenes, but at the same time, they had to evolve. As the fight scenes progressed, I deliberately "broke her down", adding blood, sweat, and wear while keeping something iconic.

You can't be afraid to push it to the limit. You have to let it get chaotic. In a way, the more we stripped her down and roughened her up, the more powerful and fierce she became.

"Uncut Gems" is a film where sweat and fatigue are almost another character. As Department Head, how do you design that "constant tension" look to be consistent over weeks of shooting and not look artificial?

- Kyra: In "Uncut Gems," working with the Safdie brothers, the approach was very raw. They often cast a mix of actors and real people, so the goal wasn't to transform them too much, but to preserve who they are and just add some character.

Everything had to feel completely authentic to those characters and that world.

Sweat, texture, and fatigue were part of the narrative. They almost functioned as additional characters within the film. But at the same time, continuity is everything. You have to build and track of the level of sweat, sheen, and texture scene by scene so that it evolves naturally and matches the emotional intensity.

There are actually a lot of technical details behind the scenes, even if what you see on screen feels totally raw.

In "A Most Violent Year," you were the department head for a crime drama set in 1981. How do you approach period makeup to make it feel sophisticated (especially on characters like Jessica Chastain) without losing that patina of gritty realism of 1980s New York?

- Kyra: Period work is really about observation.

For A Most Violent Year, the goal wasn't just to recreate the 80s, but to understand what people actually looked like then, especially in New York. There was a toughness, but also a certain elegance.

When it's done well, the audience doesn't notice the makeup; they just believe in the world you've created.

"Marty Supreme" by Josh Safdie / Timothée Chalamet ©A24

You've led departments on large-format series like "The Affair" and "Gypsy." What management skills (beyond the brush) do you consider vital for a makeup team to run like clockwork during 14-hour days?

- Kyra: Leading a department is really about clarity and trust.

Everyone needs to know exactly what the tone of the project is and how to execute it, and you have to trust your team. The energy YOU bring sets the tone for the entire team. It's not just about talent, but about consistency, communication, and respect.

You recently headed "Marty Supreme" with Timothée Chalamet. What challenges does designing for the new generation of big stars pose, and how has the "period" look evolved in this new production?

- Kyra: Working on Marty Supreme with Josh Safdie and Timothée Chalamet was really focused on a transformation that felt natural and authentic.

We have incredible new techniques and products that allow designs and prosthetics to have impressive realism. The work has to disappear, but still be intentional.

For Josh, the 50s in his world weren't so much about being perfectly polished, but about feeling real, textured, lived-in.

"Eternal Sunshine" by Michel Gondry / Kyra Panchenko & Mark Ruffalo

The work of a "Personal MUA". Could you explain the importance of emotional continuity and how makeup helps an actor get into "the zone" before they call action?

- Kyra: That time in the chair is very private. The makeup chair isn't just for getting your makeup done... it's psychological. It's often the first moment an actor starts to become the character for the day.

You have to understand when to talk, when to be silent, and how to support their process. Continuity isn't just about matching how they look, but how they feel when they walk onto set.

You've worked with directors of opposite styles: from Denis Villeneuve to Michel Gondry. How should a makeup artist train their eye to adapt quickly to the aesthetic vision of such different directors?

- Kyra: Each of them approaches storytelling differently, so you learn to read that quickly.

Some directors know exactly what they want and others need guidance or suggestions. It's less about imposing your own style and more about how you support their vision.

Listening to Kyra Panchenko is much more than reviewing a successful filmography; it's a master class on the very essence of our craft: human trust. Her career teaches us that, in the elite of cinema, the brush is only an extension of psychology, and that true mastery lies in knowing how to read the actor's soul before touching their skin.

Thank you, Kyra, for opening the doors to your process and for reminding us that discretion, ethics, and constant study are the foundations upon which a legendary career is built. Your vision not only beautifies the screen, but also elevates the narrative of every story you touch, serving as a beacon for all aspiring artists who dream of leaving their own mark on the industry.

We eagerly await being captivated again by your work in the great challenges that await you in 2026. 

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

See you on the next shoot, Makeup Artist.