An accomplished make-up and special effects artist, Alexys Paonessa has crafted her career working on a slew of impressive titles performing a variety of roles in the process. Now, in honor of Women in Horror Month, I talk with her about her early interest in the industry, creating 3 Keys Media, working on some of her past films, and upcoming projects.
Me: Hello and thank you for taking the time to do this. First off, when did you get into horror in general? What films specifically got you into watching horror movies?
Alexys Paonessa: Hey Don!
Thank you for including me, this is awesome of you to take the time for this and just helping indies so much. I grew up with a lot of movie fans, and horror has always been my go-to genre. My Grandpa loved anything based on Orwell, so War of the Worlds, Invisible Man, and Time Machine are some of the earliest ones I remember. My stepdad has always been a big Stephen King fan, so we always had all of his books and movies around. Then in middle school, I got into Gingerdead Man and Toxic Avenger with my friends.
Me: When did you initially discover an affinity for make-up and special effects? What aspect of this industry appeals to you?
AP: I got into special effects when I started watching movie bonus features and doing my friend’s makeup when they’d let me. I took every art class I could and luckily had good mentors throughout my life. I use more chemistry than I ever read.
Me: Having worked on various aspects of film production, do you have any particular preference for working on any?
AP: The makeup department, not to be too obvious, is my favorite department. Whether it’s a creature, gore, or beauty, it is awesome to make someone happy with something you helped create. I’ve only directed twice, but I am getting much more comfortable. I still have a lot to learn.
Me: What would you consider your favorite part of the process involved in effects work? What part do you dread having to do?
AP: I really love the assembly and painting process, it’s always a little scary until you see it come together and get it approved. Estimates are my least favorite part of the process, mostly because every project is different. You want to get them done as soon as possible so you can get started, but not forget anything or price yourself out.
Me: As well, you also are part of the production company 3 Keys Media. What led to you becoming involved with it? What has been your most memorable accomplishment through this company?
AP: 3 Keys Media started during COVID with my roommates (Matt Festle and Matt Leal). We wanted to keep working on projects and knew we wanted to make movies together. We made HACKED mostly in our apartment with the help of friends. Being able to co-direct Isleen Pines with Matt Festle was really awesome, and not something I thought I’d be able to do.
Me: Among your early accomplishments was providing the make-up for the filmmaker Dustin Ferguson on many of his films. How did this come about? What was it like getting to work on so many of his features?
AP: Festle actually reached out to Dustin Ferguson to help with his sound, and eventually I helped with effects. You learn a lot working with a low budget and usually have more freedom with design. It is more for a portfolio than to pay rent. He would usually just tell me his movie references, and let me go for it.
Me: In addition, you’ve also had the chance to work on the effects for films like “16 Bit,” “Shadowmarsh,” “Alien Planet” and “Isleen Pines” among others. What do you recall from your experiences working on these films?
AP: 16 Bits was hilarious to work on and an inspiring indie. Aaron Mento is very smart with a low budget. He asked for a Cronenberg-esque effect for a scene, and it was a lot of fun to create. The nipple prosthetics were silicone “reusable”, but with every wear, the edges got worse. Matt Leal’s Shadowmarsh was a pretty quick turnaround as well, so creating the creature went more to a swampy cult member robe. I sculpted the feet out of upholstery foam over very thin shoes which I don’t think you ever see, but they turned out neat. Alan Maxson, who played the creature, directed Alien Planet. Working with a director/actor who understands special effects already was a really cool, collaborative experience. I was key makeup and pre-painted all of the prosthetics, and Alan worked with me a lot on getting the paint right. Alan was also blasting blood on set so it was a really fun time. Isleen Pines was pretty difficult preparing to direct and get effects ready. We would be on set for 12 hours and go home to work outside (chemicals) pretty late. Matt’s sound mixer died on day 2 and I lost my voice I think day 1. I know we show it’s a fake penis, but I am pretty proud of that kill in Isleen.
Me: What did you go through on a typical day on set? What type of priorities and tasks do you go through to ensure a successful day of filming?
AP: Ideally, I have some time to load in and set up. Figure out if I need to set up lights and where the nearest sink is. I’ll touch base with the AD/director if there is anything affecting makeup or effects that day. After I get through the initial makeup (if I’m alone), I’ll quickly clean and pack my set bag for touch-ups. Knowing what is going on helps me know when I’ll be needed most, and when I can give talent space. If the director is happy and the talent is comfortable (also happy), that is a pretty successful day for me in the makeup department. If gore is involved, then grossing out the crew means it's a good effect.
Me: Do you recall having any odd or funny on-set stories about yourself or any of the other cast/crew members?
AP: Early on, I didn’t completely get the pressure out of my blood pump once and sprayed myself with some blood in the woods, so always decompress your blood-spraying devices. We bring it up a lot, but letting Oliver Poser hose people with blood is always fun. On Isleen he really brought Carrie levels like we wanted.
Me: How do you do to keep your creative energy flowing?
AP: Music is a huge motivator for me, I do a lot of pre-production or work from home so I listen to music constantly. I love art and history, so researching for references helps inspire me a lot with my work. Artemisia Gentileschi’s Judith Slaying Holofernes was the inspiration for the ending of Isleen Pines, we wanted to have lots of blood and some symbolism. There aren’t a lot of great depictions of female rage, and we tried to honor that.
Me: What else are you working on that you’d like to share with our readers?
AP: I am currently working on special effects and some costumes for Aaron Mento’s Degradable! We film this month and I am really looking forward to trying not to laugh on set. I’m also editing a short I co-directed, Ixchel, it’s a part of Randy Van Dyke’s Party of Darkness Anthology! We just finished filming the last short, and have a pre-order Indiegogo running right now. Randy put so much into this movie, and we are just super grateful to be a part of it with some of our favorite filmmakers.
Me: Lastly, being that this is our Women in Horror Movement, what special message do you have for any women out there looking to join in the industry in any capacity as you are one yourself? Thank you again for your time!
AP: Always be willing to adapt/learn and don't give up. There are ups and downs in every career path, and times when we feel like we failed or should go a different direction. The only way to make more space for women in horror is to keep creating it.
Thank you so much for the questions, Don!
This interview ran as part of our 2024 Women in Horror Movement celebrations! Click the banner below to check out our complete coverage:
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