AN AFTERNOON WITH... SARAI RODRÍGUEZ

Your career has encompassed many roles, but making the leap to Head of Department involves a shift in perspective. What was the biggest challenge in transitioning from being an artist to leading a team, and what three qualities do you look for in an artist on your team today?

- Sarai: In our work there are always many challenges, from connecting with the director's vision of the project and how the production company wants to manage it, to managing your own team and creating a climate of creativity and camaraderie. The relationship with the actors is also important, as is creating a workplace where people feel comfortable.

I think it's very important in a creative job like ours to always try to learn new things and step outside our comfort zone. Essential qualities for me include teamwork, creativity, a desire to learn, and being a good person.

As Head of Makeup, how do you manage the initial design phase of a character? What is your method for translating the director's vision into cohesive makeup that works from concept to daily application?

- Sarai: Well, it depends on the project… I'm not someone who always does the same thing or is always guided by the same things. I think each project requires different things that serve as inspiration.

 But generally, it's about thinking about the psychology of the character, what they feel, what it produces in their body, their mood, the environment they live in, their past, what they like… Going beyond the script.

 It depends a lot on which director you work with and their working style, not just on how I do it. There's an adaptive process for both of us.

 It varies depending on the project, because each project requires different things. Sometimes you create a design and then test it, tweaking it based on how it works for the actor.  how it complements the wardrobe… 

 Sometimes you have clear concepts and designs, but as you experiment, you shape them and everything can change. The creative process is quite fun, but as an art form, there are no set rules that will always be the same.

In productions with tight budgets or very fast shooting schedules, how do you prioritize the quality and durability of prosthetic makeup? What advice would you give to maintain the standard without compromising efficiency?

- Sarai: With the time constraints we sometimes depend on, we have to find ways and think outside the box to make a design fit within the timeframe. 

For example… in "The Truce", my latest film released… in several prosthetics we had to see how we would deal with them because there was no time to put them in silicone and thanks to thinking about it and the help of my colleague Óscar del Monte, they were able to be made in transfer so that we could apply them very quickly.

 For example, "CHIEF URKI," I wanted him to be one-eyed… that wasn't in the script, but I imagined a character who  He had diphtheria (a very common disease at the time) and wanted the disease to have deformed his eye. That piece is beautiful, and Óscar did a great design. It was initially designed in silicone, but then he made it using a transfer technique, and it worked very well.

 The application was complicated but quite fast and we were able to do it, otherwise it wouldn't have been possible due to the filming schedule.

Sometimes you have to be inventive to get where you want to go, because in Spain we are never given the time or money to do this type of characterization.

 If you want to do some things, you have to find a way to achieve them.

 I'm now starting to see series where they are doing it here, and I'm really happy about that. I've seen some really cool work from colleagues with prosthetics and very well-done characterizations.

The Importance of Basic Details: Speaking of tools, what is the importance of a high-quality flat mold (transfer mold) in the final result? What do you look for in a mold to make it an 'essential' in your work kit?

- Sarai: Above all, it has to be very well-shaped; I think that's the most important thing. That makes it adapt better to the skin. And then it has to be very elastic so it can be more flexible.

Versatility and All-rounder: For a makeup artist who does everything from beauty to special effects, how do you value tools that offer versatility in a compact format? Do they help optimize time and reduce the weight of your travel kit?

- Sarai: I think makeup and FX are two different departments. I really like effects, but I do them humbly; I think it's super important to work hand in hand. There are things I would never get involved in because I have considerable respect for my FX colleagues. That said... I love transfers; I can't imagine working without them, and I find them incredibly versatile. With a little imagination, you can use them for so many things.

The Anti-Stress Factor: Beyond the finish, how does the reliability of your materials (that they don't break, that they don't stick) influence the reduction of stress on set, where time is limited?

- Sarai: The stress is unavoidable at any given moment… There are so many factors that can affect the longevity of makeup that we have no control over. Longevity can be affected by the weather, atmospheric pressure, the actor's skin… It's very difficult to keep everything under control at all times.

When I filmed in the Himalayas, we were at an altitude of 3000/6000 meters depending on the day. For example, on certain days, the transfers and prostheses would form air bubbles due to the atmospheric pressure, and I had to change them many times. It took me a while to find a procedure that worked.

 Sometimes the actor's skin repels things, and drying time varies depending on the weather...

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?

- Sarai: Well, I have no idea, but I'm dying to find out!

The Portfolio That Makes the Difference: If a student aspires to work on high-level productions, what kind of work should they prioritize in their portfolio? Are they looking for more technical skill or the ability to tell a visual story?

- Sarai: I've never had a portfolio, so I don't know . I consider other things when choosing someone to join my team. Sensitivity, camaraderie, experience, enthusiasm, passion, creativity... I don't know, every case is different. I suppose it's about connecting with the way people work.

Personal Kit: If you had to put together a 'survival kit' with only five non-negotiable items for an unexpected film set, what would they be?

- Sarai: How difficult!!  Alcohol-based palettes, prosaide, oily palette, a good skincare and mattifying treatment product.

Post-Goya Advice: After such a solid career, if you could give just one piece of advice to the Sarai who was starting out, what would it be? What should newcomers know about perseverance and mindset in this profession?

- Sarai: What should newcomers know about perseverance and mindset in this profession? I'm not one to indoctrinate anyone because I'm still constantly learning in this profession and in life, but perseverance is very important, as is confidence.  be a good person and a good partner.

Attitude is Everything: On a human level, what personal quality is most valuable on a film set and facilitates collaboration with the directing, art, and photography teams?

- Sarai: Empathy, dialogue, and camaraderie.

We are immensely grateful to Sarai Rodríguez , Goya Award winner, for her time and for sharing her experience in leadership and art. Her dedication reminds us that excellence is the sum of talent, perseverance, and the selection of tools that meet the highest standards, always with a positive and humane attitude.

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

At lolitamakeupshop.es , we are proud to support the level of expertise she represents. Our mission is to ensure your tools are of the highest quality.

See you at the next Make up Artist shoot.