Best Picture
One Battle After Another
95.8%
Best Director
Paul Thomas Anderson (One Battle After Another)
95.5%
Best Actress
Jessie Buckley (Hamnet)
96.0%
Best Actor
Timothée Chalamet (Marty Supreme)
93.6%
Best Supporting Actress
Teyana Taylor (One Battle After Another)
88.7%
Best Supporting Actor
Stellan Skarsgård (Sentimental Value)
94.1%
Best Adapted Screenplay
One Battle After Another
95.2%
Best Original Screenplay
Sinners
96.5%
Best Casting
One Battle After Another
95.4%
Best Cinematography
Sinners
93.8%
Best Costume Design
Frankenstein
95.8%
Best Film Editing
One Battle After Another
95.1%
Best Makeup and Hairstyling
Frankenstein
95.8%
Best Production Design
Frankenstein
95.5%
Best Score
Sinners
95.1%
Best Sound
Sinners
94.4%
Best Visual Effects
Avatar: Fire and Ash
94.3%
Best Animated Feature
KPop Demon Hunters
96.4%
Best International Film
Sentimental Value
96.4%
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Makeup and Hair roundtable: ‘Frankenstein’ and ‘The Testament of Ann Lee’

Makeup artists Mike Hill and Stephanie Pasicov share the inspirations behind their work and the passion that drew them to their craft.

For Frankenstein makeup artist Mike Hill and The Testament of Ann Lee’s Stephanie Pasicov, their passion for their craft was ignited at a very early age.

For Hill, who has worked with Oscar-winning director Guillermo del Toro on The Shape of Water, Nightmare Alley, and now Frankenstein, his deep love for creating monsters began when he was just 5 years old. "I was very young and watching all the classic monsters on TV in the early '70s. Then I would walk to the river bank and dig up the clay and try to replicate these things." Looking back, Hill sees the foundation of his career in those early experiments: "The little boy who just liked monsters and really want to keep making them."

Pasicov was also drawn to the craft at a young age. "I was very young. My father was a cinephile, so I was able to watch movies that were well beyond my age bracket," she says.

During Gold Derby’s 'Meet the Experts: Spotlight' hair and makeup panel, both artists emphasized that adaptability is essential in their profession, sharing instances when they needed to pivot quickly on set. Hill recalls a particularly striking moment with Frankenstein star Jacob Elordi's eye: "One of the first days of shooting, one of his eyes, became irritated with the lens." When the lens was removed, "it was a very lucky accident. I said, 'You know what I kind of like it with two different eyes like that. It kind of works.'"

Pasicov’s “happy accident” was a bit more chaotic. While shooting on a ship in Sweden, the entire crew became seasick, and one actor developed severe pinkeye. “But it was kind of amazing, because this was telling their journey … we said, 'We're going to leave it. We're not going to try to hide it.'”

Both artists emphasize that the most underestimated part of makeup work isn’t the technical labor but the psychological space created at the start of each day. As Pasicov explains, “Oftentimes a big part of what we do happens in the makeup chair. If you can make [the actors] feel like the character."

Their commitment to their craft is buoyed by a sense of privilege. “It is a simple honor to do this. You've been paid to make magic,” Hill says. Pasicov echoes the sentiment: “We get to do what we've always wanted to do, We've made a choice and it's just so wonderful afterwards when you see it on the screen.”

And now, with a new generation watching closely, they’re keenly aware of their influence. Even with the rise of AI, Hill sees their work in this craft as part of a larger resurgence: “We're not going anywhere. We're becoming stronger. And if we can inspire the new generation that’s what we're here for.”

Watch the full roundtable above. Click each name to watch an individual interview.

This article and video are presented by Netflix and Searchlight.

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