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#79 - Jake Garber

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Manage episode 315107482 series 1013636
Content provided by Stuart Bray and Todd Debreceni. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Stuart Bray and Todd Debreceni or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://ppacc.player.fm/legal.

Our conversation recently with Jake Garber at The Prosthetics Event in Coventry was, we think, a very important chat worth listening to for anyone who is trying, or thinking about trying to get a foot in the door into the (oftentimes) wonderful and exciting world of movie and television makeup.

Even for peeps already working in the industry, Jake’s extensive level of expertise and experience in a special and makeup effects career has seen him in many roles from straight beauty makeup and workshop lab work, as well as supervising workshops and sets, key makeup artist as well as being a personal artist to talent such as Samuel L. Jackson.

His TV credits include over 100 episodes of The Walking Dead, The Orville and Westworld. Movies include Avengers: Endgame, Hateful Eight, Django Unchained, Inglorious Basterds, and Kill Bill 1&2. That broad range of experience was wonderfully displayed at the Prosthetics Event to a packed education room.

We asked him about his work and how he broke into the industry, and then focussed on the specific skills and areas of attention someone looking to get into the field should be aware of. It was a fantastic discussion, and Jake dropped gold nuggets everywhere with his revealing and incredibly useful talk.

It’s important to learn to create small in the beginning; a realistic nose has no fanfare, no pazzazz, but if you know, you know. It’s not about calling attention to the work, it’s being able to fool the viewer into believing it’s real by not calling attention to it.

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Many thanks as always for your time checking the stuff out. You can email us direct at [email protected] or leave us a voice message directly on the website.

If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us? Send them a link and help us grow!

-Stuart & Todd

  continue reading

96 episodes

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#79 - Jake Garber

Battles With Bits of Rubber

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Manage episode 315107482 series 1013636
Content provided by Stuart Bray and Todd Debreceni. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Stuart Bray and Todd Debreceni or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://ppacc.player.fm/legal.

Our conversation recently with Jake Garber at The Prosthetics Event in Coventry was, we think, a very important chat worth listening to for anyone who is trying, or thinking about trying to get a foot in the door into the (oftentimes) wonderful and exciting world of movie and television makeup.

Even for peeps already working in the industry, Jake’s extensive level of expertise and experience in a special and makeup effects career has seen him in many roles from straight beauty makeup and workshop lab work, as well as supervising workshops and sets, key makeup artist as well as being a personal artist to talent such as Samuel L. Jackson.

His TV credits include over 100 episodes of The Walking Dead, The Orville and Westworld. Movies include Avengers: Endgame, Hateful Eight, Django Unchained, Inglorious Basterds, and Kill Bill 1&2. That broad range of experience was wonderfully displayed at the Prosthetics Event to a packed education room.

We asked him about his work and how he broke into the industry, and then focussed on the specific skills and areas of attention someone looking to get into the field should be aware of. It was a fantastic discussion, and Jake dropped gold nuggets everywhere with his revealing and incredibly useful talk.

It’s important to learn to create small in the beginning; a realistic nose has no fanfare, no pazzazz, but if you know, you know. It’s not about calling attention to the work, it’s being able to fool the viewer into believing it’s real by not calling attention to it.

-----------------

Many thanks as always for your time checking the stuff out. You can email us direct at [email protected] or leave us a voice message directly on the website.

If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us? Send them a link and help us grow!

-Stuart & Todd

  continue reading

96 episodes

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