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Courtesy Images From blockbusters to quirky indies, Variety’s 2024 Artisans to Watch cover makeup, hair, stunts, editing, sound and music. Many artisans will spend years working their way through various positions, building up an incredible catalog of work and experience as they do so.
they become department heads and find themselves in charge. 10 Artisans to Watch celebrates those who are breaking through this season, making an impact on their craft in recent movies and series.Variety will salute the 2024 class at SCAD Savannah Film Festival on Oct. 29.
Devendra Cleary – Sound Mixer, ‘Twisters’ Cleary’s first experience on a film set was as a sound PA for the 1999 film “The Hungry Bachelors Club.” Cleary, who was still deciding between working in cinematography or audio, describes this time as a “defining era” that solidified his path as a sound mixer. After continuing to work through college, Cleary landed his big break in 2001 on “Buffy the Vampire Slayer” as a utility sound technician. That job led him to “Glee,” where he worked as a sound assistant, boom operator and music playback operator for 11 years. His recent credit is on the upcoming “Star Wars: Skeleton Crew.” Having been a lifelong fan of legendary “Star Wars” sound designer Ben Burtt, Cleary says he is still “blown away” that he was able to work on a Lucasfilm production. “It’s unbelievable,” he says. “Needless to say, it was the most fun I’ve ever had on any project.” — Jack Dunn
Reps: Agency: Innovative ArtistsInfluences: SkyWalker Sound, Geoffrey Patterson, Ben Burtt
Andrea Datzman – Composer, ‘Inside Out 2’ Datzman was about 8 years old when she inherited a family heirloom — a piano that had been painted green by an aunt. “It was an amazing forest green. That thing rolled into our house and I was stuck to it instantly,” she says. It was the first time she got into music.
When scoring Pixar’s latest, Datzman pinpointed how each of the emotions animated in the film felt in her body: Anger, Sadness, Joy, Fear, Anxiety, Ennui and Envy. She also allowed herself to attempt a composition on a stream of consciousness by “figuring out how something feels, fits a character or with a particular scene. How does that feel? How does it make my body move?”
Datzman has worked on various Pixar films before, including the first “Inside Out” along with Michael Giacchino. This is a full circle moment for her. “That first score is extremely precious to me. I worked on every note of that score too, not as a composer, but in working in the background.” — Emiliana Betancourt
Reps: The Gorfaine/Schwartz AgencyInfluences: James Horner, Elmer Bernstein and the “Ren & Stimpy Show” soundtrack
Julie Diaz – Supervising Dialogue/ADR Editor, ‘Y2K’ “My guilty pleasure movie is ‘Twisters,’” declares Diaz, supervising sound editor behind “Everything Everywhere All at Once”, “Reggie” and “Insidious: The Red Door.”
She loves when people bring up Oscar-winning “Everything Everywhere,” noting that she is always curious whether people cried at the ending, saying part of her job was to emotionally and sonically capture gut punch after gut punch towards the film’s conclusion.
“In the mixing process, dialogue and music are king,” Diaz says. “So it is important to my job to make sure the dialogue is clean and effective to tell the story. Then the music is tasked with conveying tone and emotions alongside the words and nuances; this is what sonically connects the audience with the picture and makes them feel as intended.” Diaz is an advocate for representation but does not want Latin creatives to be seen as a means of filling a quota; she wants the industry to see them for their talent.
Up next for the Savannah College of Art and Design alum is “Y2K,” a comedy-horror feature starring Rachel Zegler, the Kid Laroi, Fred Durst and Alicia Silverstone. Diaz describes the film as similar to “Superbad” in both tone and humor. — Andres Buenahora
Influences: Ben Burtt, Richard King
Jade Healy – Production Designer, ‘Wolfs’ Montreal native Healy got her start on the sets of “American Psycho” and “Virgin Suicides” as an assistant at Muse Prods. Healy quickly realized producing wasn’t for her, which prompted a swift transition to the art department. “I started asking questions of the production designer and was like, ‘Wait, so I read the script and then figure out what it should look like. I like this,” Healy says. After meeting Ti West as a set decorator on “Cabin Fever 2,” Healy got her break in 2009 working on “The House of the Devil.” She counts “The Killing of a Sacred Deer,” “I, Tonya,” “Marriage Story” and “The Green Knight” among her credits. Her latest is “Wolfs,” the George Clooney-Brad Pitt vehicle that was shot in Los Angeles despite taking place in New York. With 20 exteriors to scout for, Healy describes finding New York in L.A. as “trying to find a needle in a haystack,” but ultimately, she made the most of the challenge. “There was one review that said something like, ‘The production designer, Jade Healy, was having the time of her life,” Healy says. “And I was like, ‘I was!’” — JD
Reps: Agency: WMEInfluences: Photography, Google Earth rabbit holes, Zillow
Danielle Immerman – VFX producer, ‘Kingdom of the Planet of the Apes’ Immerman’s most recent project, “Kingdom of the Planet of the Apes,” required 1,521 VFX shots. Although this certainly posed a challenge for Immerman and her team, she found it “hugely satisfying” collaborating with such an expansive crew. “Having so many artists and creative people focused on one common goal and working with them to achieve it, especially when we all could see we were working on something special, created an infectious atmosphere,” Immerman says. — JD
Influences: Other VFX professionals and colleagues, the supervisors and directors she collaborates with daily.
Lee Morrison – Supervising Stunt Coordinator, ‘Dune: Part Two’ “I’ve got the best job in the world,” declares Morrison, supervising stunt coordinator behind “Blitz,” “Dune: Part Two” and “Masters of the Air.” “Making sure that you’re not just doing action for action’s sake … that’s why I love working with Denis Villeneuve,” Morrison says. “He applies the same style to storytelling; he installs that same commitment into action so it’s completely driven by what the character is going through.” Morrison credits stunt coordinators Simon Crane and Vic Armstrong for mentoring him at 23 and bringing him into the industry for the “Lara Croft” films. Lee eventually worked on “Casino Royale” under the tutelage of Gary Powell and precipitated him becoming the lead stunt double for the James Bond franchise, working on “No Time to Die,” “Quantum of Solace” and “Skyfall.”
Later this year, he’ll be teaming up with John Krasinski on a “Jack Ryan” project and stunt coordinating for Michael B. Jordan in the “Thomas Crown Affair Project” remake at Amazon MGM Studios. — AB
Reps: Agency: UTAInfluences: Buster Keaton, Steven Spielberg, Francis Ford Coppola
Steve Newburn – Makeup, ‘Sasquatch Sunset’ Image Credit: Getty Images Newburn has always had an appreciation for supernatural interpretations in film. “I can remember being a teenager and thinking that a certain handful of creatures and characters were really kind of the coolest thing ever in my world,” he says.
He was a kid who grew up in the peak of the original “Star Wars” franchise, which elevated his awe for such creatures,. “Add to that a father who worked for NASA and loved sci-fi. I now figure it was fate.” A passion that later became his profession, Newburn explains it all began because he went to check out a creature shop that “quickly became a full-time thing. I didn’t want to leave, and almost 30 years later, I still mostly don’t look at this as work.”
“Sasquatch Sunset” became the perfect vehicle to bring to life his own version of these iconic creatures. “Not just one character, but four distinct characters, played by real actors rather than stunt people or suit people, and it was exciting,” he says. The film uses no digital visual effects, so when it came to putting together the suit and seeing it on camera, everything had to be perfect. This move away from digitalization added a layer of dedication to the craft. He says, “Creating true characters for a film, that need to carry the film entirely… Those jobs are very few and far between. The challenges and pitfalls are there, but the rewards are so worth it in the end.” — EB
Influences: Rick Baker’s Harry from “Harry and the Hendersons”
Sofía Subercaseaux – Editor, ‘Maria’ When Pablo Larraín was seeking an editor for “Maria,” starring Angelina Jolie, he turned to Subercaseaux, his “El Conde” collaborator.
She didn’t know the story of opera soprano Maria Callas. “I knew who she was, but it was very moving to learn about her life and then to see Angelina and Pablo create such a beautiful portrait of her,” she says. “Pablo is a really confident and brave filmmaker, and he is not afraid to try things or make bold decisions. He is also very focused, so we would work for hours and hours without getting distracted, just really in it, and then at around 4 p.m., he would say ‘OK, too much for today, see you tomorrow.’ He is a very generous collaborator; he is always open to ideas and conversation.”
While Jolie’s work made editing “Maria” easy, Subercaseaux says the most challenging sequence to cut was the film’s opening. “The possibilities were endless and we were setting everything up.”
The film’s ending is her proudest moment. “It always moves me. It’s hard to get emotional over something you’ve seen a million times, but every time we watched it back, it hit me. I really love that sequence.” — Jazz Tangcay
Reps: Agency: WMEInfluences: Thelma Schoonmaker and Martin Scorsese
Suzanne Stokes-Munton – Hair department head, ‘Nosferatu’ Stokes-Munton has made her way from wig creator to department head with “Nosferatu,” Robert Eggers’ take on the. vampire tale, her third run as department head. Bald caps, prosthetics and gothic hairstyles help bring Eggers’ vision to life.
“I see my role as a mediator and facilitator with Robert and artistes,” says Stokes-Munton. “Bringing the look to fruition, in the least invasive way, whilst filming. The hair should not impose or hinder, just complement.”
As a freelancer, Stokes-Munton enjoys the element of surprise and the excitement of a new challenge, and she got one with “Nosferatu,” which is is shot on 35mm. “I have experienced Robert’s way of shooting in many countries, where film stock is at a premium, so there is an enhanced challenge for hair as scenes are often one take.”
Her favorite look was sported by Simon McBurney as Herr Knock, who “allowed his head to be shaved badly, making it far more comfortable for those scenes,” she says cryptically. — JT
Reps: Agency: Gems
Paul Tazewell – Costume Design, ‘Wicked’ Image Credit: Sophy Holland for Universal Pictures Tazewell has worked on a variety of projects ranging from Broadway shows including “Hamilton” and “Suffs” to big screen adaptations like Spielberg’s “West Side Story” and the upcoming “Wicked.”
Tazewell explains the different strategies needed to master both: In theater, “you see the whole picture all at once,” the audience has a complete view of the stage and the scenery and lighting rarely change in each scene, while in film, “it is about what is going to be captured for that moment on screen, and then how it speaks to the character, so it’s just a much more intimate relationship.”
Starting his career in the early 1990s, Tazewell says that, at the time, there were few costume designers of color in theater and it brings him pride to now be a point of reference for any newcomer. “If young people can see that somebody that looks like them is doing what they might potentially aspire to do, I think that that’s powerful work,” he says. — EB
Reps: CAA, Paradigm
More from Variety # Talents to watch in 2024: A look behind the scenesAs we dive into 2024, the entertainment industry continues to shine a light on those remarkable behind-the-scenes talents who bring stories to life. In this article, we explore the creative minds shaping some of the year’s most anticipated releases.
Meet the industry’s rising stars
The spotlight often falls on actors and directors, but it’s the artisans in composing, editing, and costume design who add the magic. Let’s delve into some standout names poised to take center stage this year.
Composing the future with ‘Inside Out 2’
Inside Out 2 is not just a sequel, but a musical journey. The composer behind this much-anticipated film has crafted a score that delves deeply into the emotional spectrum explored by the characters. Expect melodies that linger long after the credits roll.
Crafting the narrative: The editor of ‘Maria’
The editor of Maria has woven a tapestry of visual storytelling that melds intricate character arcs with a gripping plot. This artisan’s keen eye for detail and narrative pacing ensures that every scene hits with emotional resonance.
Dressing the part: ‘Wicked’ and its costume wizard
Wicked promises to be a visual feast, thanks in large part to its visionary costume designer. Tasked with adapting an iconic stage production for the screen, this artisan has infused the costumes with new life, balancing homage with innovation.
Bringing stories to life: A closer look at technique
The symphony of a score
A great film score does more than accompany action; it underscores the emotional journey. In Inside Out 2, the composer utilizes a blend of traditional orchestral arrangements and contemporary electronic elements. This fusion reflects the film’s cross-generational appeal, providing both nostalgia for adult audiences and freshness for younger viewers.
Explore more here.
Editing that tells a story
The film Maria is a masterclass in editing, where each cut not only moves the story forward but deepens our understanding of its themes. The editor’s precision in timing and rhythm makes for a compelling viewing experience that keeps the audience continually engaged.
Discover more about the film here.
Costume design that speaks volumes
Costumes in Wicked do more than dress characters; they tell a story within themselves. The designer has reimagined traditional elements with bold, new aesthetics, using color and texture to evoke the essence of different characters and settings. This meticulous attention to detail enhances the film’s immersive quality.
Find out more here.
Current industry trends
The evolution of film scoring
Contemporary film scoring has increasingly integrated electronic music to complement traditional orchestration, catering to modern audiences’ tastes. This trend is evident in Inside Out 2, where the fusion creates a rich auditory experience that appeals broadly.
The art of seamless editing
The role of an editor has evolved with the advent of digital technology, offering unprecedented control over pacing and structure. Editors today are storytellers as much as technicians, a role exemplified by the editor of Maria, who has skillfully balanced narrative cohesion with dramatic impact.
Innovation in costume design
Costume designers now frequently draw from a diverse array of cultural and historical references, blending them to create visually dynamic outfits. The designer for Wicked has set a new benchmark in this field, marrying historical accuracy with creative flair.
An abundant year ahead
2024 holds immense promise with talented artisans reshaping the landscape of entertainment. These composers, editors, and costume designers are not just behind-the-scenes contributors but pivotal storytellers whose work profoundly impacts the final product.
Stay tuned for more insights into the world of cinema and follow us for the latest updates and in-depth analysis of your favorite films.
Discover the boundless creativity of the emerging talents of 2024 and stay connected with us for more enthralling stories and industry insights. Share this article with fellow film enthusiasts and join the conversation on our social media channels!
