Christine Blundell: Painting the Silver Screen
Thick black eyeliner and spider-like eyelashes pop against a canvas of vibrant blue eyeshadow. Neon pink lipstick and blush stain the woman’s lips and cheeks, as clusters of clear jewels crawl up her cheekbones. Thin auburn eyebrows peek from behind curtains of blond bangs. A half-up ponytail stands atop her head while the rest of her yellow curls bounce across her shoulders. Yet, the colorful features are overshadowed by the kitchen knife stabbed into her forehead. The look is nothing short of bold. But do not be afraid; actress Bea Svistunenko is wearing a look designed by Christine Blundell for “Beetlejuice Beetlejuice.”
Blundell is an award-winning hair and makeup artist who has styled many faces in films over the last 40 years. Blundell’s latest designs can be seen in Tim Burton’s “Beetlejuice Beetlejuice” where she worked as the lead hair and makeup artist.
While working on “Beetlejuice Beetlejuice,” Blundell and her team worked with Burton and the actors to design side characters like Bea Svistunenko’s character Nadia and revamp returning characters like Winona Ryder’s character Lydia Deetz, the main protagonist characterized by pointy black bangs and a gothic style. Blundell and Ryder worked together to maintain this unique look for the sequel, keeping her signature hair and bold eyes. They wanted to continue her impression from the original movie while still enhancing the character to make her fresh for audiences.
“One of my favorite moments was getting Winona ready on the first day for the hair and makeup test,” Blundell recalls. “When we got her ready and [costume designer Colleen Atwood] got her dressed, we went out on stage, and I walked behind her so I could just watch Tim’s face, and when he saw her, he [gasped]. It’s wonderful. It’s moments like those that you realize that you’re working on a film that is so emotionally close to your director’s heart.”
Blundell was born and raised in London, England. As a young adult, she enjoyed cutting hair and bought Scallywags, a salon in Stevenage, to continue developing her talent. Eventually wanting to move back to her hometown, Blundell sold Scallywags and got a job working for the local production of “Phantom of the Opera.” She joined London Weekend Television shortly after – it was here that she added makeup to her repertoire. Her colleagues at LWT connected her with director Mike Leigh, and Blundell has since been part of the entertainment industry.
“It wasn’t a pre-destined path, but it seemed to kind of all fall into place,” Blundell said.
Before “Beetlejuice Beetlejuice,” she worked on “Casino Royale” (2006), “Sherlock Holmes” (2009), “Wonder Woman” (2017) and “Aladdin” (2019), among others. She won the Oscar for “Best Makeup” and the British Academy for Film and Television Arts award for “Best
Makeup/Hair” for “Topsy-Turvy” (1999) and has been nominated for four additional BAFTA awards.
Blundell has worked on over 70 movies, and her versatile skillset has allowed her to adapt to each one. She understands that every story is unique, and while some films like “Beetlejuice Beetlejuice” require bold or colorful designs, she prefers a natural style.
Blundell said, “I love watching the film, and unless the makeup has to jump out, I like people to look really normal and like you’re in there with them.”
Blundell values the connection between audiences and characters and knows that her role as a hair and makeup artist is to deepen that connection by visually enhancing the stories through the actors. The more natural the look is, the more visually relatable the character is.
Whether the looks are bold or natural, Blundell has worked closely with other film departments to execute her designs. She has learned how to pay attention to filters, lighting and camera angles to match actors’ skin tones and the mood of the scenes.
“We’re not beauticians, we’re technicians… We’re there to make the film come alive,” she said.
Even though Blundell has loved every cast and crew she has worked with, she shared that part of the job is often working in remote places, touching up makeup and hair while standing knee-deep in the mud, and working from dawn until late at night. Every project is a mental marathon.
“I still can’t sleep the night before filming,” she said. “I think everyone in this industry suffers a little bit of imposter syndrome. At the end of every job, it’s like Jesus we did it again team, so well done.”
Despite the chaos, Blundell’s passion for her profession has never faltered. Her work and exposure to other departments have made her appreciate crew members and designers like herself even more.
Blundell shares her hair and makeup expertise with aspiring artists as principal of her academy, Christine Blundell Make-up Academy. She founded CBMA in 2006 after the BBC stopped providing their training programs and new artists were struggling to analyze scripts and create suitable designs. She was also raising two small children and wanted another job that kept her closer to
home. After collaborating with a friend and fellow makeup artist, Blundell outlined her courses, and though she started with only four to six students, CBMA has grown to have about 40 graduates annually. Blundell has been able to hire her students for projects and give them both in-class and on-set experience.
Blundell said, “It’s been running for a long time now, so we’ve got a good alumni. I’m very proud of them. They’re taking my jobs as well now. It’s imminent, I know.”
Blundell’s work can be seen in more upcoming films as she continues to make her mark – bold and natural – in the entertainment industry and hair and makeup design.
