Law & Order: Special Victims Unit: The Unofficial Companion by Susan Green, Randee Dawn
Authors: Susan Green, Randee Dawn
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then there are her specialties. “If I don’t make chicken cutlets and meatballs for a while, they ask for them,” she points out. “(Episode director) Peter Leto will tell me, ‘I have to have a chicken cutlet.’ And everybody wants a Mexican day.”
Ole! In addition, Brown provides “crafts service” (the multitudinous snacks and beverages available throughout the day on any movie or TV set) and hot meals when shooting continues late into the night.
“All the delicious food Lisa makes for us is not cheap,” notes cost-conscious unit production manager Gail Barringer. “But I just leave that alone because keeping (cast and crew) fed keeps them happy.”
The cooking takes place in trucks that are able to travel to locations. “We have two ovens, six burners, nine refrigerators, and three sinks,” Brown explains.
Waistline consciousness is a factor at times. “Right after New Year’s, I know to buy more egg whites,” she says. “Come January, everyone makes resolutions. By February, they’re back to the way it was.”
And other holidays tend to guide the menu. “Around Thanksgiving, I serve sweet potatoes and turkey. For St. Patty’s day, it’s corned beef and cabbage.”
Some people appreciate her gourmet skills. “Chris (Meloni) loves fresh tuna seared with wasabi sauce,” Brown notes. “Mariska (Hargitay) eats real healthy. Ice-T? Whatever’s there, he’s happy. He’ll eat anything as long as there’s meat. I am really blessed with a very nice cast and crew.”
She also probably qualifies as a workaholic. “I have to be there three or four hours before the crew, so I often have to leave my house at 2 or 2:30 in the morning. I stay until lunch is over—and lunch can be at 4:40 P.M. or later—then two to three hours more. I’m always a-movin’ and a-groovin’.”
CHAPTER SEVENTEEN
GOOD LOOKS
T o capture the realism that gives SVU its primetime punch, the performers have to accept people constantly fussing over them. A brigade of hair, makeup, and wardrobe specialists must be available at the start of each workday and for as long the cameras are rolling.
Whether at the New Jersey soundstage or in a trailer on location, these wizards of physiognomy ensure that the mere mortals in their care come across as enduring TV characters.
Rebecca Perkins, head of the makeup department, and Brian Badie, her counterpart for hair, share a cramped room also frequented by their respective staffs along one of the winding SVU New Jersey hallways. It’s where they tend to the regular cast and guest stars.
“We’ve got five chairs in here and they’re full all day,” explains Badie, who joined SVU in season nine. “We switch (the actors) between hair and makeup.”
Perkins, on board the show since the end of season five, points out that “Chris and Mariska often have to be ready first thing in the morning . . . And one of our team will always go to the set when they’re shooting.”
Indeed, stylists armed with powder, blush, spray, combs, and such gather behind the director until he stops the action, then swarm over to the players to check their faces, coifs, and clothing. The person from costumes can usually be identified by the collection of safety pins dangling from her belt—presumably for any sudden wardrobe malfunctions.
Perkins and her helpers generally lavish more attention on Hargitay, especially before the day’s emoting begins. “Mariska has to look like she’s a cop, but she’s a beautiful woman. We decided never to get in the way of that. I usually spend a half-hour on her. Chris? Seven minutes.”
For Badie, the time frame is almost reversed. “Mariska’s hair has to fit with her bone structure. It looks best medium length. She likes it long. . . . When I cut, Chris’ hair takes the longest time. I’m really particular. I ask him for a half-hour. Mariska’s more like twenty minutes, max.”
As for the other two detectives, Badie says Ice-T’s previously long locks
Ole! In addition, Brown provides “crafts service” (the multitudinous snacks and beverages available throughout the day on any movie or TV set) and hot meals when shooting continues late into the night.
“All the delicious food Lisa makes for us is not cheap,” notes cost-conscious unit production manager Gail Barringer. “But I just leave that alone because keeping (cast and crew) fed keeps them happy.”
The cooking takes place in trucks that are able to travel to locations. “We have two ovens, six burners, nine refrigerators, and three sinks,” Brown explains.
Waistline consciousness is a factor at times. “Right after New Year’s, I know to buy more egg whites,” she says. “Come January, everyone makes resolutions. By February, they’re back to the way it was.”
And other holidays tend to guide the menu. “Around Thanksgiving, I serve sweet potatoes and turkey. For St. Patty’s day, it’s corned beef and cabbage.”
Some people appreciate her gourmet skills. “Chris (Meloni) loves fresh tuna seared with wasabi sauce,” Brown notes. “Mariska (Hargitay) eats real healthy. Ice-T? Whatever’s there, he’s happy. He’ll eat anything as long as there’s meat. I am really blessed with a very nice cast and crew.”
She also probably qualifies as a workaholic. “I have to be there three or four hours before the crew, so I often have to leave my house at 2 or 2:30 in the morning. I stay until lunch is over—and lunch can be at 4:40 P.M. or later—then two to three hours more. I’m always a-movin’ and a-groovin’.”
CHAPTER SEVENTEEN
GOOD LOOKS
T o capture the realism that gives SVU its primetime punch, the performers have to accept people constantly fussing over them. A brigade of hair, makeup, and wardrobe specialists must be available at the start of each workday and for as long the cameras are rolling.
Whether at the New Jersey soundstage or in a trailer on location, these wizards of physiognomy ensure that the mere mortals in their care come across as enduring TV characters.
Rebecca Perkins, head of the makeup department, and Brian Badie, her counterpart for hair, share a cramped room also frequented by their respective staffs along one of the winding SVU New Jersey hallways. It’s where they tend to the regular cast and guest stars.
“We’ve got five chairs in here and they’re full all day,” explains Badie, who joined SVU in season nine. “We switch (the actors) between hair and makeup.”
Perkins, on board the show since the end of season five, points out that “Chris and Mariska often have to be ready first thing in the morning . . . And one of our team will always go to the set when they’re shooting.”
Indeed, stylists armed with powder, blush, spray, combs, and such gather behind the director until he stops the action, then swarm over to the players to check their faces, coifs, and clothing. The person from costumes can usually be identified by the collection of safety pins dangling from her belt—presumably for any sudden wardrobe malfunctions.
Perkins and her helpers generally lavish more attention on Hargitay, especially before the day’s emoting begins. “Mariska has to look like she’s a cop, but she’s a beautiful woman. We decided never to get in the way of that. I usually spend a half-hour on her. Chris? Seven minutes.”
For Badie, the time frame is almost reversed. “Mariska’s hair has to fit with her bone structure. It looks best medium length. She likes it long. . . . When I cut, Chris’ hair takes the longest time. I’m really particular. I ask him for a half-hour. Mariska’s more like twenty minutes, max.”
As for the other two detectives, Badie says Ice-T’s previously long locks
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