WiHM Special - “Monster” Midian Crosby – Makeup FX Artist | Creature Creator | Specialty Costumer | Creative Chaos Wrangler

For over 20 years, “Monster” Midian Crosby has been up to her elbows in silicone, foam latex, and movie magic, bringing creatures, characters, and cinematic nightmares to life. From blockbuster films to gritty indie projects, their artistry has touched feature films, TV series, commercials, and live events, making actors unrecognizable and monsters way too real.

As the CEO and Lead Artist of Monster Makeup FX™, Midian has tackled everything from hand-laid beards to full-body muscle suits, and lifelike prosthetics to jaw-dropping creature builds. Her passion? The endless puzzle of problem-solving on set, turning budget and time constraints into creative gold—because nothing fuels her more than the thrill of making the impossible happen. Now, in honor of Women in Horror Month, I talk with her about her early interest in the genre, working on some of her past creations, 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?

Midian Crosby: Oh, I started young—like, probably-too-young young. The ‘80s and ‘90s were prime horror years, and I was right in the middle of it. My parents were these free-spirited, anti-establishment types who took me traveling all over the world as a baby, so strict rules weren’t really a thing in our household. Honestly, it felt like they were experimenting with alternative parenting techniques, which mostly meant letting me watch things that probably should have traumatized me.

My older brother Shawn, a live sound engineer, was into horror, and whenever he visited, he’d bring magazines like Fangoria and Cinemafantastique. But the real turning point? Michael Jackson’s THRILLER premiered on MTV when I was six, and it broke my tiny brain, I loved him, so naturally I had to love him as a zombie and werewolf too, so naturally THAT means I have to love zombies and werewolves. CLASH OF THE TITANS, with the Harryhausen Medusa and Cracken and Pegasus was literally my favorite movie for a very long time as a kid, still is a huge favorite. Around the same time, my parents let me watch Creepshow, which introduced me to my all-time favorite horror subgenre: body horror. The segment with Stephen King turning into a giant alien plant? Absolutely nightmare fuel. My dad thought it was hilarious that I was terrified and would chase me around the room while I screamed. He also enjoyed bedtime stories like, “There’s an alligator under your bed,” or “Gummy worms have real worms in them.” So yeah, I didn’t sleep in my own bed consistently until way past an appropriate age.

My mom and I would stay up late watching USA Up All Night with Gilbert Gottfried and Rhonda Shear, and she used to say that watching Texas Chainsaw Massacre “made her feel better.” She later denied ever saying that when I started telling people. Guess she realized it was a weird thing to admit.

When I was nine, my dad took me to his office Christmas party, where the adults were drinking and doing blow while I was plopped in front of the TV—which just so happened to be playing John Carpenter’s The Thing. That movie scared the hell out of me, but it also made me think, How did they make that look so REAL?! That’s when the wheels started turning.

Then there was home video. I was mesmerized by VHS cover art—Jaws, Piranha, Dawn of the Dead, House II—all lined up at the grocery store rental space (yeah, THAT was a thing). I’d just stare at them, equal parts fascinated and terrified. Swimming pools? Nope. My own bed? Definitely nope. But I had to keep watching.

The TV series V aired at my bedtime, so I developed sneaky tactics. “Can I brush my teeth while it’s on?” I’d ask innocently. They’d say yes, and I’d brush so slowly, silently lurking behind the couch until they forgot I was there.

And then, the ultimate “mistake”: My parents gave me a TV in my room with HBO and a headphone jack when I was 10 or 11. It was game over. Tales from the Crypt became my obsession, and every October was a horror movie marathon. Whenever I visited my brother, I’d stay up all night watching literal stacks of movies like The Fly, Dead Ringers, Videodrome, Lair of the White Worm, Basket Case, Brain Damage, Andy Warhol’s Dracula, and The Hills Have Eyes.

At some point, I “borrowed” a copy of Clive Barker’s Books of Blood from my brother (never returned, sorry Shawn). That led me to Cabal, which became the movie Nightbreed, which gave me the name Midian—a name I legally changed to when I was 15. Horror has been with me for literally my entire life.

By high school, I was watching bizarre art-horror like Begotten and absurd gems like The Forbidden Zone (Richard Elfman is a treasure and my first cassette tape was Oingo Boingo’s Good for Your Soul ). Horror wasn’t just a genre—it shaped who I am.

Me: When did you initially discover an affinity for makeup and special effects? What aspect of this industry appeals to you?

MC: Well, initially, I thought I was going to be an actor. My mom, however, discouraged that. She told me I would “never make any money” doing that, which, of course, she may have had firsthand knowledge of since I later learned she had taken acting classes in NYC… before pivoting to become a mental health worker and eventually an RN psychiatric nurse. Classic mom move, right?

I always knew I wanted to work in movies, but growing up in Colorado, I had no idea how to break into the industry or that it was even possible. So, I spent my teenage years doing a bunch of random jobs until my early 20s when I stumbled upon a Fangoria magazine. Lo and behold, there were THREE ads for schools teaching makeup effects! That was my “Aha!” moment. I knew immediately that this was my path. Out of the options—The Art Institutes, Joe Blasco, and Tom Savini’s school—I chose The Art Institutes because they offered an actual degree and qualified for student loans. Plus, Pittsburgh had a low cost of living, and with no family financial support, it seemed like a smart choice.

I had a background in photography and clay, and I had dabbled in goth makeup, but back then, there was no YouTube, no Stan Winston online schools—basically, the internet was still a baby, and information on this field was scarce. I didn’t get into it fully until I was in it. I worked on my first feature film, The Wickeds (a horror film with Ron Jeremy), while I was still in school. I even played a zombie in it! I did some acting here and there, mostly in theater, but I really hated watching myself on screen. My final acting gig was actually the only one I got paid a little for, right after college, while I was working for free as the makeup department head and effects artist on George Cameron Romero’s (yes, George Romero’s son) first feature, The Screening, where I played Bat, a death-obsessed goth girl who says iconic lines like “Dead girls are HOT!” (Yes, that was my big line, and I owned it). That film never got released, but I got to know some cool people like Sam, Frank, and Greg Nicotero (of The Walking Dead) who were in the movie too.

But what really draws me to this industry is the magic of practical effects—creating that illusion, that tricks the audience into telling the story. There’s something thrilling about building creatures and characters, whether they’re real or imagined. We “shop-to-set” artists are part magicians, part mad scientists, part specialty costume makers, and part makeup artists. “Shop-to-set” just means we do the prep work in the studio—lifecasting, sculpting, molding, casting, painting, finishing, fabricating—and then we bring it all to set to apply the final work. After weeks (or months, if we’re lucky) of prepping something, testing it off-site, and doing everything we can to make it work, you still don’t know if it’ll go perfectly on the day of the shoot. Especially with blood rigs and complex effects—anything can go wrong. But when it does work? You feel like a rock star. Everyone (me, the director, the DP, the actors) is stoked. It’s a rush. When it goes wrong? Well, that’s usually because of rushing, last-minute changes, or—my personal favorite—unexpected environmental issues, like trying to get silicone to set in a freezing slot canyon in Utah. But hey, that’s the chaos we live for in this business!

Me: Having worked on various aspects of film production, do you have any particular preference for working on any?

MC: Well, the best job I’ve had to date has definitely been on Guardians of the Galaxy 3 and the Christmas Special. I absolutely LOVE aliens, and those multi-piece, 2-to-4-hour-long makeups. Pure joy. There were so many makeup artists working on those shows, and the main rule was “no drama.” We all worked hard and moved like clockwork. On most shows, you’re typically assigned to a specific makeup for the duration of the project, but Alexei Dimitrov, the Department Head, had us rotating regularly, which was fantastic. Plus, we actually broke the world record for the most prosthetics used in a feature film on that project. James Gunn’s love for practical effects is something I truly appreciate!

At this point in my career, I want to focus on the two areas I love the most—basically, the “pendulum” of makeup, if you will. One side is all about the prep work in the shop with a team of badass artists—creature suit making and body horror prosthetics, the kind of stuff that makes people say, “How did they do THAT?!” It feeds the “escapist Frankenstein nerd” in me who gets to create things that don’t exist—like body horror and monsters. Then there’s the other side, where I get to be a department head on more subtle films with powerful stories—think realistic makeup like scars, tattoos, character elements, and period makeup. This side of things takes me out on set, working with actors and directors, and it really satisfies my “study nerd” side who loves researching and perfecting effects that are so subtle, that they blend seamlessly into the story. If I do my job in these cases, no one should even notice, it should just be another tool to tell the story.

Balancing these two is essential, but man, it can be tricky to nail it down. It’s like being pulled in opposite directions.

Me: What would you consider your favorite part of the process involved in effects work? What part do you dread having to do?

MC: My favorite part of effects work? Hands down, it’s when I’ve spent weeks putting something complex together, and then on set when it all comes together, I hear that glorious “holy shit, it WORKED!” from the director and/or showrunner. There’s no better feeling. You can test something over and over in the shop, but there’s always that little bit of tension until it’s actually on camera. Once it works, it’s like hitting a home run—everyone’s ecstatic.

But on the flip side, blood effects… ugh. While they’re incredibly satisfying when they go right, they can be unpredictable little troublemakers. The timing, the reset process, and the fact that these effects are often scheduled at the very end of the day, meaning you’re rushed with only one shot to get it right, makes them a potential headache. It’s like trying to perform surgery while running a marathon in a time crunch.

As for the part I dread? It’s when I have to cut down on the cool, custom details because of time or budget restrictions. That’s a bummer. And long hours in extreme weather conditions—either freezing cold, scorching heat or rain—can really wear you down. Also, let’s not forget the good ol’ production phrase “Hurry up and wait”. You spend hours prepping for a shot, only to end up waiting 10+ hours before they’re ready to roll the cameras. It’s a test of patience, for sure.

Me: What do 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?

MC: Well, honestly, I’m not sure there is such a thing as a typical day on set. This is one of the biggest struggles for people with “regular” jobs to understand what we do in film and TV. Every production is different. Union shoots are generally more regulated, while indie productions can be all over the map in how they do things.

For the most part, we start with what we call a “pre-call,” where we get there before most of the crew—anywhere from 3am to 8pm (and I’ve had the pleasure of a midnight call for a 6am shoot, which is just as fun as it sounds). We get settled in, prep, and then it’s time to apply makeup and prosthetics to the actors. Once they’re prepped, they go to hair and costumes, then it’s shoot time. Between scenes, we touch up makeup, and make adjustments based on the script, like if a character has been crying, bleeding, or getting stabbed (you know… a regular Tuesday). On a Union shoot, there’s something very important to note: we’re contractually guaranteed a hot, sit-down meal every 6 hours. If we didn’t have that, or they let us go too long without, people would literally walk off set—food is that important. After 12-17 hours of shooting (usually, it’s around hours 14-19 for us makeup, hair, and costume folks), we remove the makeup, clean up the actors, and then rush home to get a few hours of sleep before doing it all over again.

The Union’s been really helpful here by negotiating for better working conditions—more reasonable hours, base wages, healthcare, and pension payments. But let’s not kid ourselves—this job is not always kind to the body or the mind. I mean, every year, sadly, a handful of production folks die from driving while sleep-deprived. That’s where Union rules come in, like guaranteed turnarounds—meaning we get 10 hours of rest between shifts (depending on the contract and location). If we don’t get that, production has to pay us at a much higher rate until we do get it, but the union had to fight for those protections.

Also, every day our start time will likely change depending on when we wrap. Working in film means no meals with family, dates, doctor appointments, or friendly get-togethers till it’s over, unfortunately. We might start at 3am on a Monday, but by Friday, we don’t start until 5pm, which means we lose most of Saturday to shooting and sleeping, only to reset for another 3am call on Monday. It’s no wonder film people end up a bit… well, let’s just say coo-coo. This job is tough on both the mind and the body, and honestly, it’s the hardest part of the job.

Me: With work ranging from episodic TV shows to feature films and shorts, what type of difference is there in preparing for the different types of productions? Is there a preference for either type of production?

MC: Feature films are definitely my preferred pace, especially when they shoot for more than a month. It’s nice to have some breathing room, and it’s a bonus to be able to prep future looks during any downtime. TV, commercials, and live events are great, but man, the pace is brutal. There’s just not enough time to prep or finesse things as much as I’d like.

Some of the bigger TV shows feel more like shooting a feature in terms of length—like 9 months long, which at least gives some extra time to perfect things. But then there are features (like Tyler Perry productions) that shoot super fast, so it really all depends on the budget. I’d love to see a resurgence of those mid-range budget films—like the $10-20 million range—small enough to feel unique, but big enough to give you some time to really nail the details.

I’m also a big fan of short horror films. They’re so fun to work on, and I love watching them at film festivals (Renegade Film Fest, Telluride Horror Film Fest, Buried Alive)—they’re all brilliant! A well-organized, 2-4 day short horror shoot is an absolute blast.

Prep time is where the biggest differences really show up, though. For features, we might prep for 30-90 days. TV shows might give us only 2-3 weeks of prep, while commercials and social media verticals might only give us a few days. And that’s where the challenge lies—especially for effects. If I get a call for a commercial and don’t already have the right pieces in stock—like, say, a generic zombie prosthetic that’s not custom-fitted for a specific actor—there might not be enough time to make or ship the right pieces. That’s when it gets tricky!

Me: With your work on films like “Curse of the Necklace” and “Red One” among others, what was the set like while shooting the film? How did the cast and crew react to the type of film being made?

MC: Well, those two films are like night and day when it comes to production style, even though they are both Union. Red One was massive, and I was just a tiny cog in that huge machine, while Curse of the Necklace was smaller and much more intimate. On the bigger productions like Red One, everything is compartmentalized. We mostly interact with our own team, and there’s a clear chain of command that has to be in place for everything to run smoothly. On the other hand, Curse being a smaller project meant people wore a lot more hats, and there was more direct communication between departments.

On Red One, I was applying the makeup for Rammalu (one of Krampus’s hoard) with a partner (shout out to Lia Malamo, Matt Sprunger, and someone else I’ve totally blanked on—sorry, my brain’s fried!). We did this under the guidance and structure of department head Joel Harlow. There’s a lot of moving parts on those big shows, and the structure keeps everything running smoothly.

Curse of the Necklace, however, was a bit more hands-on. Greg McDougall, the makeup effects designer/sculptor, and I prepped items in the shop, then took them to set, along with other artists like Omar Sfreddo and Eric Garcia. We applied the makeup effects and managed the needs, but we were somewhat separated from the makeup department head, Shantell Jordan. On makeup-heavy shows, the makeup effects team and the standard makeup department are often kept separate.

Then, on shows like THEM S2, I just worked in the shop of designer Andre Freitas, and only a small number of us went to set since there were a ton of bodies to transform. It’s always interesting to see how different productions are organized and how the pace changes depending on the scale!

For most of us working in film, we’re all incredibly passionate about what we do, but at the end of the day, it’s still a job. We do it to the best of our ability, whether it’s a massive blockbuster or a smaller, indie project. Our goal is always the same: to create work that makes an impact—whether it’s leaving the audience happy, shocked, sad, or scared. That’s what we’re aiming for. Well, that and getting paid, because it IS work, even if we love it.

Me: Being the make-up department head for the ‘Scare Tactics’ reboot series, what type of involvement, if any, did you have with creating the pranks being set up?

MC: Oh, I may have made a few suggestions here and there, but no, the writers were doing their thing off in their own world. What was really cool, though, was that we did have one of the writers on set, along with the showrunner and producers, and they were super open to listening to ideas. My role was mostly as a sounding board—like, they’d ask, “Is this possible?” While I can’t take credit for designing the pranks, I was there to help bring their wild ideas to life, which was super fun and exciting. I also handled all the basic makeup and beard needs for the show.

This was my first time working on something prank- or reality-adjacent, and let me tell you, it definitely had a unique vibe! The cast and crew were absolutely wonderful, and we had a blast. The showrunner, Elan Gale (who’s also behind F-Boy Island), is an amazing leader. He really brought spectacular energy to the whole thing. It was a fantastic experience!

Me: Do you recall having any odd or funny on-set stories about yourself or any of the other cast/crew members?

MC: I’m a bit hesitant to get into specifics because, well, contractual obligations and all that, but there were plenty of fun moments on set! One standout was Gabriel Pimentel, the little person actor who was also part of the original Scare Tactics series. He’s such a joy to work with and incredibly spry—honestly, the way he leaped over that railing as the devil baby was downright impressive! Then there’s Stephen Blakehart and Baron Vaughn, both of whom have this awesome dry sense of humor that sneaks up on you when you least expect it.

John Huck, who played some of the more bizarre characters like the clown and Sasquatch, was also hilarious and totally game for anything, which made his characters even more memorable. One of my personal highlights was turning the lovely Molly Quinn into a doll in that now-famous Pat McGrath runway style—total glam moment!

Oh, and I can’t forget Raheem Holt, the local Atlanta actor who is basically a walking ball of sunshine. He’s so infectiously positive and energetic, that his joy could lift even the sleepiest of mornings. Sometimes, those hours spent in the chair connecting with the actors as I transform them are honestly the most enjoyable part of the job.

Now, not every production is full of rainbows and butterflies (shocking, I know), but honestly, most actors are an absolute pleasure to work with. I can only recall a handful over my 20+ years in the business who were, let’s say, less than delightful to work with!

Me: Also being involved with acting in several of these projects, was it difficult balancing these multiple roles in these kinds of films?

MC: Honestly, I don’t know how anyone manages to do more than just act in movies. It’s already a mental workout to go in and out of character, and trying to juggle all those roles at once? My brain was like, “Nope, too much!” Acting is way harder than they make it look. Sure, it comes naturally to some people, but even the best actors still have to remember lines, hit marks, and pretend to have emotions—whether they like the person or not.

I found it especially challenging when I was doing everything (hair, makeup, effects) on The Screening (George Cameron Romero’s unreleased feature) while also playing the character BAT. I ended up getting the flu on one of my bigger dialog nights, and let’s just say I totally pulled the diva card. I insisted Cameron come talk to me, and I sobbed like a drama queen, asking for a reschedule. But of course, no sympathy. They just told me to suck it up and get it done. So, I did. (Spoiler: Not my finest acting moment.)

At this point, I’ve officially hung up my acting hat. Though, I think taking an improv class again could probably help with my “sometimes” shyness. That said, outside of interviews and class content, I don’t have any burning desire to be on camera. I’m much happier working behind the scenes.

Me: What else are you working on that you’d like to share with our readers?

MC: For anyone interested in learning makeup effects—whether for fun or as a career—I’m teaching classes in Atlanta, and I’m planning to offer some online options and possibly travel to other cities in the future. Make sure to follow me on Instagram @monstermidian for updates on those. There are a few films I’ve worked on that are still in post-production, but I’m keeping mum about them until they’re out. However, definitely check out Fight Night on Peacock—it’s not a horror show, but it’s historical and beautifully made. I didn’t have a large role in it, but I did get to work on it fairly regularly, and it turned out fantastic.

As for the projects I’m lining up for this year? I can’t spill the beans just yet, but trust me, there are some cool things in the works. In the meantime, feel free to check out my IMDb and websites (monstermakeupfx.com and monstermidiancrosby.com) to keep up.

And for any filmmakers out there, I’ll be doing an FX for Filmmakers presentation at The Plaza Theater for the Atlanta Film Society on September 13th. It’ll be available on their website soon (atlantafilmsociety.org). If you’re around at the upcoming Atlanta Film Festival, come say hi or reach out online. Let’s create some epic horror together!

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 the industry in any capacity, as you are one yourself?

MC: I’d highly encourage every woman out there to:

1. Trust yourself more

2. Build strong support networks with other women

3. Learn from and work with other women.

There are a lot of great men in this industry—I’m not knocking them at all—but women must support each other. Male-dominated fields have a tendency, often subconsciously, to dismiss or devalue our work, so we must look out for one another. Talk to as many people as you can, learn as much as possible about how this field operates, and always keep an eye out for opportunities. Start asking for supplies or resources to build your kit and slowly ask for more as you grow. It’s all about learning the art of negotiation and truly valuing your time, so start practicing that early on.

This industry is vast, and you’ll never stop learning. You might never feel like an expert, but as long as you’re learning something every day, you’re growing.

Me: Thank you again for your time!

MC: Appreciate you giving women in horror a voice with your platform. This has been a lot of fun.

This interview ran as part of our 2025 Women in Horror Movement series. Click the banner below to check out all the featured interviews in this series: