Today we’d like to introduce you to Jack Lazzaro.
Thanks for sharing your story with us Jack. So, let’s start at the beginning and we can move on from there.
Like many people in the film business, I got started as a child in theater. I grew up outside of Cleveland, Ohio, acting in plays, building sets, and doing makeup for our regional theater, The Beck Center. I also competed in the national forensics league- speech and debate, not cadavers- in high school.
From there, I found myself at the University of Cincinnati, CCM for acting in their conservatory program. There I acted in plays, built sets, made costumes, and did makeup. Once I graduated, I moved out to Los Angeles to find my way into film making. I took a class in special effects from one of Hollywood’s masters in makeup. He convinced me that if I wanted to, I could make a career out of doing makeup. A few weeks later, I had an internship at a special FX lab. Over the next few years, I worked my way up through the ranks. Making molds, running foam, punching hair, you name it. Getting paid to learn is the basis of most artisan crafts and I tried to learn it all. Eventually, I found my way on set. And that’s when I knew this was what I had to do. I even found myself filming in Eastern Europe. I was hooked.
Then the writer’s strike of 2007 hit the industry.
When that happened, when that door closed, I found a window a dove right through. I made my way to Louisiana and found a great film community there. It was definitely a heyday. I had set up shop in a wonderful town where I eventually met my wife and we had a child. The state messed with the tax incentives, and once again the door was closing. Again I found a window and dove through. This time we ended up in Jonesboro. It was a perfect place for us to welcome our second daughter into the family. And that brings us to now.
Overall, has it been relatively smooth? If not, what were some of the struggles along the way?
Living the life of an artist in a craft industry is tough. For years we have had to “go where the work goes.” For most in this business, they love to live out of hotel rooms. I have been lucky enough to live where we are filming or bring my family with me. So I guess that’s a struggle and a blessing. Now that my eldest is entering kindergarten, I don’t know if that will change or remain the same, but we have been lucky so far.
We’d love to hear more about your work and what you are currently focused on. What else should we know?
When I was very new to the film business, I observed a makeup artist on set, and I was blown away. The different facets of the job captivated me in a way that is hard to describe. One of the best things we get to do is help tell the story of these characters visually. Trials and tribulations leave their mark on these characters and we get to paint it.
Sometimes I get the rare opportunity to work with a makeup team on a special project. We try our best to elevate each other. I had a great experience like that recently on Netflix’s Ozark. It was difficult, demanding, and exhilarating. That in itself was rewarding until we found out we were nominated for an Emmy. That took a village of people all working together. What a wonderful thing can happen when the “whole” is more than the sum of its parts.
Any shoutouts? Who else deserves credit in this story – who has played a meaningful role?
I have been lucky. I wouldn’t be here today without the men and women who took me under their wing early in my career and continue to hire me.
First is David Atherton. Old school Hollywood makeup artist who has helped me all along the way. He was the makeup artist for some of my favorite movies growing up, like Tombstone and Dances with Wolves. He has consistently given me jobs where my skills were put to the test and has always shown me the path. The world needs more Athertons.
Another is Fleur Morell. She is immensely talented at makeup. She also had faith in me when many others would not have. There was a time on Netflix’s “Dumplin” that comes to mind. We had a week of many drag queen makeups to do and never enough time to do it, but not only did we get it done, it looked great, and we had the best time doing it. She also recently came to my aid on IFCs “Brockmire.” That show jumped in time almost 50 years. Not many mentors would come work for a pupil. She is one in a million.
As far as teammates are concerned, I have been blessed to work with some of the same groups of people from Los Angeles, to Louisiana, to Georgia. Time and time again, we stand shoulder to shoulder to get the job done, and I can’t wait to do that for many years to come.
Contact Info:
- Website: JackLazzaro.com
- Instagram: @lazzjackjack
- Other: https://m.imdb.com/name/nm2722840/
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