My First Movie Experience Was An Eye Opener…

And I will never forget it.

I have agonized over telling this story. Mostly for fear of coming across as entitled or whiney and hurting my chances of ever getting another opportunity again. An opportunity that has been on my bucket list since I watched my first episode of Star Trek: The chance to work on set as a professional special effects makeup artist.

In August of last year (2024) a friend reached out to ask if I would be interested in working on a movie as an SFXMUA. I was ELATED. She explained that a friend of hers would be in contact if I were. The only issue was I had JUST had reconstructive surgery on my left leg, something I definitely made sure to mention. My friend, also colleague and coworker multiple times over, also passed along that I am physically disabled. My right leg is prosthetic, my skeletal system is underdeveloped and too small. Because of these issues, I have worked with mobility aides.

When I worked as a hair stylist, from 2010 to recently, and salon owner, I used a saddle stool. It’s on wheels so you can very quickly slide here and there and easily adjusts for height and angle. The saddle shape makes it easier on my lower back, which resembles a rollercoaster track more than an actual spine. When I was younger, and my issues weren’t so pronounced, I didn’t use it as much. But, because I didn’t, and because of poorly made and ill-fitting prosthetics, the issues became more pronounced, and the saddle stool was the only way I could get through a day.

The good news about the gig was that it wasn’t until November, so I had some time to heal. The procedure I had done takes roughly six months to completely recover from, since they literally cut my leg off just below the knee and put it back together with hardware. But, knowing myself, and the fact that I have been having orthopedic surgery every year of my life since I was born, I knew my limits, and I knew I would have my stool.

My friend and colleague explained and vouched for me and I was told they would be in touch with the information I needed to start.

I was ELATED.

The thing I have wanted to do my entire life, that I never had the chance or opportunity to do before had happened. Thanks to the podcast and YouTube channel, I’ve been adjacent to the industry for almost five years now. But, now, I’M IN IT.

Months passed, and I didn’t hear anything until 3 or so weeks before filming was supposed to start in Downtown St. Louis on November 11, 2024.

I met with the other SFX artist, and I was given access to the production schedule. I gave my expectations for compensation and was told I would be paid at the end of filming.

I was told what characters we were doing when, but given no concept art, or real descriptions, nor most importantly, a script. To this day, I have never seen a script.

Normally, when an SFX artist is hired for a job, you are immediately given a script and meet with the director to find out what vision he has. Then, the HOD, or Head of Department for SFX, would come up with concept art. The director approves or declines, and then you move on to makeup tests.

None of this happened. In this case, the HOD was someone who had never done actual special effects before. They had some experience in body painting but nothing about molding or prosthetic appliances. The only other person other than me that had was unfortunately dealing with a serious illness and wouldn’t be able to participate as previously thought. So, the only real SFX artist involved was me.

In fact, I started coming up with concepts on my own just to try and prepare myself.

I explained multiple times the materials I would need to come up with the looks on the production schedule. None of it was ever provided. I had to use my own latex, alginate, silicon, plaster, etc, to create gunshot wounds and zombie bites.

I spent those weeks sculpting, molding, and even trying to make devil horns out of pool noodles. Those actually turned out pretty amazing but too light for the ballet scene they wanted to film. Yes, Satan was going to do ballet at some point. They loved the work I was doing.

I had to replace materials a couple of times to replenish my own supply. I bought an airbrush machine since we were going to be doing a lot of face and body painting. They had provided some contacts, three bottles of airbrush paint, and a cheap $5 wig and goatee from Johnny Brocks. They told us we could keep from that whatever didn’t get used. I shared multiple times that we would definitely need more than that. They said they couldn’t afford it. This was a VERY special effects heavy movie, 2 Million Dollar budget, and that’s all they said they could provide.

I made it clear from the start that I required a contract and remuneration. That in no way did I work for free or out of the kindness of my heart. I did not know these people. It’s not like I was doing a friend a favor. I hadn’t even seen a script to be like, “Oh wow! I want to be a part of this!’

I was told right before filming that they couldn’t afford to pay me as I asked. That they wanted to offer me “8% When they sell the film.” My response was “You spelled IF wrong.” That’s a zero-guarantee situation. I made it clear that was a no go for me. I don’t care if you think Ryan Coogler is going to watch whatever this film is, I need to get paid.

I wanted the experience, but I’m living on disability. I can’t afford to just give material away. Silicone is NOT Cheap. And neither is my time.

After several conversations, the producer, Jacoby Curry, PROMISED he would pay me from his own pocket, $1000.00 at wrap. I went ahead and agreed so long as it was put in writing and I got my contract.

I spent the last week or days up until filming going back and forth with Jacoby about my contract.

He would swear it was coming in the morning, then in 15 mins, then by end of day. The night before I was expected on set, I was told he would have my contract waiting for me in the morning. I said ok. But I was also telling myself, “I’m giving them one day. If I go up there and there’s no contract, then I’m done. Because, at this point they’re just screwing with me.” I needed to see for myself.

The HOD and I decided to carpool. They lived halfway between my house and set. So, I met them at their house and road the rest of the way to set. On our way to the set, the director reimbursed HOD with money for gas, but none for me. HOD also promised I would have everything I used replaced.

I had to bring everything I had with us to set. Because, again, they provided no real makeup. And thank God I did, because we needed it. I brought a large suitcase, another smaller case, a case for my airbrush machine and guns, and my saddle stool.

We met at a loft in downtown St. Louis and had to lug all of this upstairs ourselves. Remember, I had my left leg reconstructed roughly 3 months earlier. Not just that the most stable leg I had was a residual limb in a fiberglass boot, but there was still pain. We had no idea we had to go upstairs like this, and with zero help. When we entered the loft, there was a mattress on the floor, poor lighting, NO SURFACE for us to work from whatsoever, barely two chairs, garbage and filthy food covered dishes all over the kitchen area, bongs in the fridge, feces covered toilet… it was gross.

We had to explain that we needed chairs, lighting, and a surface. They provided one extra light and a small, low-to-the-ground end table. There was no where to really work. They told us they needed an Uncle Sam and this guy painted half American Flag and Half indigenous symbols. And then we were basically left alone. I think there was one bottle of water in the fridge next to the bongs and that was about it.

We spent hours hunched over that tiny table, trying to get this all done. By the time I finished the American flag guy, the director tells me he needs to be wearing contacts. But also, I was told how much they loved the work I was doing, “Oh, you’re like, PROFESSIONAL.” After I spent all of that time painting his face and covering tattoos. Also, the poor kid had never worn contacts before. Ugh, that wasn’t even my biggest issue, though.

My contract was nowhere to be seen. By the time we were ready to pack it in, it was late, I was exhausted, in agony, and starving. Jacoby FaceTimes me to thank me for my awesome work. I told him, “CONTRACT. I will not work again, I cannot work again without my contract.” He said he would get it to me that night.

We were packing up to leave, and I asked if this was where we would be the next time. I was told yes. I asked if my saddle stool would be safe there since I have three other very heavy cases to load and I am in so much pain. They said, “Yes, it will be safe. We will make sure nothing happens to it.”

I waited all night, but my contract was not sent to me. I was promised that it would be sent in the morning.

The next day, I still had zero contract. My family shares a vehicle and both my daughter and boyfriend had work and appointments. And I was agitated that I still had not gotten my contract, so I decided to take the day to decide if I really wanted to continue.

After weighing everything, I chose not to.

I reached out to Jacoby and explained why I wasn’t able to continue and asked if they would please put my saddle stool in HOD’s car and I would meet with them at the salon they work at to retrieve it. I figured that made it easier on everyone. He begged me to stick with it, promised I would get a contract, but I made it clear he had had months really to do it, and never did. That I had heard that several times before and nothing happened. He eventually relented and agreed that my stool would be returned how I suggested.

That was in November. It is now March 15th, and I have never received my stool.

I was never reimbursed for the materials I used.

I was never paid for my day of work.

I reached out many times to either be ignored or strung along more.

I finally told them to just send me $300, and I can replace my saddle stool. Because, without it, I’m unable to every even attempt to work a set or any makeup job if the opportunity ever rose again.

I sent cashapp requests, venmo requests. Paypal requests! Nothing. I even contacted my some-time agent and had him speak with Jacoby.

Eventually, Noah, the director, contacted me and asked what was going on. This was last month. When I told him, he acted surprised. He had no idea. He said Jacoby told everyone, “She’s done with us. No one contact her”. When Noah asked me why I hadn’t contacted him, I explained that Jacoby is the producer. This is his territory. To make sure cast and crew are taken care of and paid. I didn’t want to bother a bunch of people who are supposed to be busy doing their job. This was Jacoby’s job.

I told them that I was going to share my story. I even sent the link to where it would appear. They begged me not to. Jacoby said it could damage his career. Where has been the concern for my career when I had to use ALL of my materials and kept my mobility aide?

He said I would have my money by the end of the day.

However, what I got was a text from Jacoby telling me I would have my saddle stool back and that HOD was going to bring it to me.

It’s been roughly a month since then. All I have gotten are three texts from Jacoby telling me HOD had car issues, but I would have my stool this week, then the next week etc.

I still have no saddle stool. I was never paid nor had anything replaced as was promised.

I have saved every text.

I have uploaded them HERE as proof.

It was awful. Just awful. I was used, misled and flat out lied to. And all I have to show for my first experience on set is missing materials and a missing mobility aide.

So much for scratching that off my bucket list.

I know now that I may never get a chance to do that after all.