The Art of Truth

Alfred Hitchcock once explained that making a film is about telling a story—a dramatic and human story, not a banal one. As he said, “What is drama, after all, but life with the dull bits cut out?”

What often divides “cinema” from “content” is the ability of the director, actors and crew to skillfully tell a grounded human story without leaning into the maudlin. Crafting such nuanced storytelling is always a team effort, with the director, cinematographer, set designers, makeup artists and others all playing crucial roles in maintaining that delicate balance—and Oklahoma film and makeup artist Sharon Tabb is happy to contribute to that finished work.

“Everything that I have done, and that I do for those projects, is very collaborative. When I’m on a film or television project, you read the script, you break it down to the best of your knowledge of what you think it should be,” Tabb says. “Then you talk to the director, and you see what their vision is.”

Tabb has been working in the beauty industry since she was 19, cutting her teeth working at a Chanel counter in Riverside, California. She stood out from her colleagues by focusing on one thing in her consultations: the truth. 

“It was funny because when you go to those cosmetic counters they try to sell you on these 10-step programs,” Tabb recalls. “And I would just tell people straight up, ‘I think you just need this and this, and go and do the other stuff later and come back,’ and then I do their makeup. Then they were sold.”

Tabb’s desire to find the truth through makeup is an approach that has continued through her various career touchpoints: her first makeup production job on an anti-smoking PSA at age 21; politically minded fashion editorials over hot-button topics like sustainability and gun violence in schools; and even a stint in reality TV. Whether she was working out of Los Angeles or Oklahoma, Tabb soon built a resume of film credits serving as makeup and hair department head. 

Considering her approach to the truth in her work, it makes sense that Tabb got the call to work on “Reservation Dogs.” As she put it, show co-creator Sterlin Harjo wanted “realness” for his talent, so it was Tabb’s challenge to find the balance of realism (characters not wearing noticeable makeup) and non-realism (covering skin imperfections and controlling for shine). Some viewers may think that the characters in “Rez Dogs” (as Tabb calls it affectionately) aren’t wearing any makeup, meaning Tabb did her job well. 

“They’ve got to look like these are kids on the reservation. They would not be made up or looking like soap opera people,” says Tabb. “So no matter what we did to blot them, to powder them, they looked kind of lived-in.”

This also included addressing challenges likely unique to shooting this show for three seasons. As it was shot out of order and over months of weather and seasonal changes, the Indigenous actors would have significant skin tone shifts that made editing continuity difficult. Tabb recalled some key moments of stress in the early days of shooting when actor Lane Factor was getting a tanline in the shape of a PPE mask on his face. 

“I go look on the monitor, and I’m like, ‘You’ve got to be kidding me.’ It had happened just in a few hours, but he looked pale around his mouth because he’d been wearing a mask,” says Tabb.

So, to keep the continuity of the actors’ skin tones, Tabb developed a specific technique of deepening their skin tone with liquid bronzer at the beginning of the production period, and then applying less product over time as the Oklahoma sun would tan them—that way their skin looked even throughout the entire shoot. 

Tabb carried this technique and others to her time as hair and makeup department head on 2023’s Fancy Dance, written and directed by Erica Tremblay, a production with mostly Indigenous talent. Tabb developed the hair and makeup looks of all the actors in the film, including Academy Award nominee Lily Gladstone (who also appeared in “Reservation Dogs”). 

“Her character on ‘Reservation Dogs,’ she was a prisoner, so she’s clearly not going to have makeup on, so we did ‘no makeup’ makeup,” says Tabb. “It was a very similar character for Fancy Dance, because again, we’re dealing with an economic situation where they’re very poor.”

Tabb does have a dream of working with Gladstone again one day—but putting her in glam makeup: “Please, one day, can I not let her have dark circles?” she says with a laugh.

Tabb’s concern for the actors’ wellbeing goes beyond just a concern for their appearance (although that’s important to her in her role), and into caring for them as people after a long day of shooting. As most sets have 12-hour days minimum, Tabb helps the actors feel and look their best by offering spa-like amenities.

“Not only do I take their makeup off, but we do these mini-facials, so we make it like a relaxing spa. Everybody gets a hot towel, people get a little facial massage,” says Tabb. “If you think about it this way, too: by prepping their skin for tomorrow, you’re helping save more time.” 

Many actors are unaccustomed to this treatment. Tabb recalled that one of her A-List actresses was expecting a speed station of makeup wipes people can grab and go. Instead, Tabb’s meticulous approach to makeup pre- and post-application emphasizes how seriously she takes her craft.

“I feel like any hair and makeup we do, helps set the tone,” says Tabb. “Because these actors, they’re very serious. I mean, this is their livelihood. It’s fun, but we’re here to tell a story.” •

To keep up with Sharon’s work, follow her on Instagram @sharontabb or on Facebook at Sharon Tabb - Makeup Artist & Hair