In the world of filmmaking, hair and makeup are essential tools for storytelling, capable of transforming an actor into a character who can transport us to another time and place. Few understand this better than Heike Merker, an Oscar-nominee hair & makeup designer. Her latest projects include the new Wes Anderson film, The Phoenician Scheme, and Maria, starring Angelina Jolie. Our co-founder, Jenny, had a chat with Heike Merker and her colleague Marie Maggio to discuss the creative process and how they use OM-SE to care for actors' skin on set.
Scarlett Johansson and Benicio del Toro in Wes Anderson's The Phoenician Scheme.
Can you tell us how you got started in film makeup?
Heike: I started back in 1993 while I was still in hair and makeup school. The local film university was looking for students to help with their short films. It was a great beginning because everyone was a beginner. Eventually, everyone spreads out and starts their own careers, but they remember you. That’s how it works: it’s all about connection and people wanting to work with you again.
Marie: I come from a hairdresser family, so I first trained as a hairdresser. Then I went to South Africa for makeup college and met a German makeup artist there who then brought me into the film industry.
"We’ve used OM-SE on the set of Maria, The Phoenician Scheme, and an upcoming film that is not out yet"
Heike Merker and Marie Maggio.
What has been a highlight of your career so far?
Heike: A movie I loved was Anonymous; it was a beautiful film about the theory that Edward De Vere was the true author of Shakespeare's plays. Another project that was extraordinary to work on was Cloud Atlas. The wonderful part was that every actor played seven different characters across different time periods. We transformed women into men, Black actors into white characters—it was an incredible creative challenge.
My career has been wonderfully varied, with so many other memorable projects. There was Wes Anderson’s The Grand Budapest Hotel, A Hologram for the King (with Tom Hanks), and the fun we had on Crazy Rich Asians. I also designed for The Girl In The Spider's Web and returned to a familiar world for The Matrix Resurrections (starring Keanu Reeves).
All Quiet On The Western Front earned me Oscar and BAFTA nominations. It was not a fun film to work on, given the subject matter, but it was a very important project. And that work continues with my latest projects, Maria, about the life of Maria Callas. And another Wes Anderson movie, The Phoenician Scheme.
Angelina Jolie as Maria Callas. Image copyright Netflix / Pablo Larrain.
What does your process look like when designing a character’s makeup?
Heike: As the hair and makeup designer, my process starts with the director's vision. I then go into research and put together a portfolio of images for every character, sometimes even for each scene. Visuals are key, as you need to feel the director's reaction to find the right direction. What’s on paper can be very different from reality.
Years ago, we’d have more time with actors, but today the process is faster. We now rely heavily on Photoshop to create and present different looks—testing hair colours, styles, and makeup digitally. Most actors are so busy that this is the only way. The final step is to bring the digital concept to life in physical tests before shooting begins. That’s when you see how it works in movement, and you can tweak things until they are perfect.
Hair and makeup table on set.
What’s a typical day like for you and your team during a shoot?
Heike: Once shooting begins, all the looks are set and broken down by scene. We don't shoot in order, so the first day could be the final scene of the movie. You have to imagine the character's entire journey up to that point. For example, if a character has been climbing a mountain for two months without food or a shower, their hair and skin must reflect that. It’s our job to create that reality. The mornings are often hectic, getting actors ready in the makeup trailer before they move on to costume. Afterwards, we pack everything we need and head to set for maintenance, ensuring the look remains perfectly consistent from the first shot in the morning to the last one at night.
"The Hydrating Face Mist is also wonderful for touch-ups during the day"
How do you use OM-SE in your work?
Heike: We primarily use it after we wrap for the day. When we clean the makeup off the actors, we give them a skin treatment using warm towels with the Face Cleansing Oil, followed by the Hydrating Face Mist and your face oil. It helps us maintain the actors' skin throughout the entire movie, so we avoid surprises like breakouts or reactions. They never react to your products. The Hydrating Face Mist is also wonderful for touch-ups during the day to refresh and hydrate the skin. For skin maintenance and treatment, it's just brilliant.
Benicio del Toro, Mia Threapleton & Michael Cera in The Phoenician Scheme.
In which movies have you been using OM-SE on-set?
Heike: We’ve used OM-SE on the set of Maria, the new Wes Anderson movie The Phoenician Scheme, and an upcoming film that is not out yet. Of course, we are also going to use it for the movie we are prepping for right now.
"There's nothing wrong with having wrinkles in your face. I think it shows life."
What do the actors think of it?
Heike: Your skincare has been very well received. The good thing about OM-SE is that the products stand out on the table. Most actors grab them and read the ingredients because they're written right on the bottle, and their reaction is always, ‘Oh, that's nice.’ The feedback is always positive. And your face cloths are very nice, too.
How did you become interested in OM-SE in the first place?
Marie: We are always researching new products, and OM-SE stood out. We love the eco-friendly approach—the glass packaging is fantastic. The products look nice, are 100% ECO-certified, and have really nice ingredients. You want to use good, organic stuff on the skin, not junk.
"I'm a big fan and use OM-SE every day myself."
What does beauty mean to you?
Heike: Beauty for me is more the inside than the outside, to be honest. Beauty comes from the inside.
Marie: Yes, I have to follow on that one. I think we are not the kind of people who think beauty is heavy makeup. It comes from within. You know when you meet people, you can feel their beauty even if perhaps they're not the standard. Growing old in a natural way, I think that is beauty.
Heike: And we don't see that much anymore because everyone is trying to change their face and trying to achieve something they are not. It's very nice to grow old. There's nothing wrong with having wrinkles in your face. I think it shows life.
Mia Threapleton & Benicio del Toro in The Phoenician Scheme.
Do you use OM-SE yourself?
Heike: I'm a big fan and use OM-SE every day myself. It’s an easy and wonderful way to start my day with just three products and the face cloth. I have sensitive eyes, and I remember other brands would make them tear up, but that never happens with OM-SE. It’s just perfect. I love it.
Marie: And it's not greasy, which is so nice. Some face oils leave a film on your skin, but OM-SE really absorbs beautifully and feels incredibly hydrating.
Heike: Can I just ask how you got into making face products?
Jenny: It was born out of my own 18-year struggle with my skin—it was dry, oily, and breaking out all at once. Before and after having my child, my hormones made it worse. I’m a nerdy person, so I decided to take it into my own hands and dive deep into the science of skincare ingredients. I ignored all the marketing aspects, such as texture and fragrance, and focused solely on what would benefit my skin. The key was separating hydration (the mist) from nutrition (the oil), which allowed me to leave out all the texturizers and emulsifiers that didn’t serve my skin, and not strip the skin barrier when cleansing it. People saw the difference in my skin and started asking what I was using, and it grew from there.
Heike: They are good. You can be really proud of them. I'm definitely a big fan.
Jenny: Thank you! That makes me so happy. You can see that I'm smiling. It's always nice to hear honest feedback. I see that our time is running out, I only have one last question.
Any advice for someone wanting to break into the film makeup industry?
Heike: Film sounds glamorous, but most of the time, it's not. The glamour happens on the red carpet. It's hard work with long days, and it's not very family-friendly. My advice is to get a solid education—go to a good school and learn the fundamentals; don't just do a quick course. This base will help you layer up your skills. Start small, be a team player, and understand that it’s not about having a perfect Instagram page. I also think it helps to start when you're a bit older and have some life experience, as you’ll be interacting with so many different people.
